September, i 9 2 j 
75 
2^0 LU. 
/A A-^COM« 
fV t>W Tb A >c. 
”P E- W ^ £. A E-Ti- E- 
'i)A'e.NW' H Tui-iT 
u ^ o ^^. 
“P-r YC H £, 
<ri_ A'feA.'^ UTT 
■Tam MV 
H AUTI CU O’ 
KC E. J’/ £,l-iZATiE_TH 
\'C»mG G>c.oTt<;£_V. 
C^OE_S-^* /~\ATa-Y 
The tulips are planted in drifts lohicli lie generally lenglhivise •with the border, the bulbs along the 
fringes of each drift intermingling with the bulbs on the edges of the adjoining drifts in order that 
no one color will stand out too sharply, but be merged in the whole effect 
ground. First, let us take the background 
planting which rises just beyond the wall 
to frame the garden in. I have used White 
Pine in scattered groups because its rich 
yet soft texture gives weight to the composi¬ 
tion. To lighten this again and give grace 
to the planting, I massed in Dogwood, with 
its starry bloom and slender spreading 
arms. Next, for the contrast furnished by 
their sheets of pink bloom, I used Mains 
floribunda and, as an accent, a vivid Japan¬ 
ese Cherry. Lower down and close against 
the wall I placed Weigelia to trail her rosy 
arms across the soft gray of the coping 
stone, and Deutzia, in her party frills of 
white, I nestled up against the laurel’s 
green. Beyond these, in the shadow of the 
trees and at the gate-ways, for the richness 
of their texture, are Rhododendrons—pur¬ 
ple, mauve and pink. 
Inside the wall, in such a way as to 
accentuate the garden’s form and line 
I planted apple trees, the fragrance of 
whose flowers had given me the keynote of 
my theme. Below these, and in among the 
tender sea of green formed by the foliage of 
the summer flowers, came tulips. 
In every way their colors must reinforce 
and bring out the design. The corners 
must not be blurred with weaker shades 
but should gain an added strength of form 
from color. There should be no pale shades 
planted up against the w'all except as acci¬ 
dental notes. The colors must not blend 
in even runs nor be grouped in masses like a 
patch work quilt, but should be kept inter¬ 
mingled in a joyous mass of irridescent, 
blending, glowing color. 
To gain this end I worked out this bulb 
planting plan as a guide by which to scatter 
out my bulbs, every one of which must be 
placed before you start to plant, and as you 
scatter let the groupings overlap or you will 
get that patch work quilt effect. 
Along the paths, where trailing plants 
tumble their blossoms in heaps against the 
flags, I planted sweet Narcissus, and placed 
that dainty tulip, Picotee —holding her 
pink edged petticoats on high—where she 
could wade among the foaming Arabis. 
For strength at the corner I planted bright 
King Edward V. Such other glowing shades 
as Queen Mary's vivid cherry-rose. Princess 
Elizabeth's deep pink and Nautiens, I 
scattered through the beds in such a bal¬ 
anced way that while the color makes no 
set design the garden’s form is kept. Next, 
to give shadow, depth and richness to the 
planting as undertones, I added purples— 
Ztdu and Marconi. 
The lighter shades are planted in and 
scattered next. Pale Snzon —buff rose and 
a deeper lining; Psyche —a silver gleam on 
her pink petals, and Fanny —clear and pale 
to blend in to the deeper tone of Clara Butt. 
{Continued on page 124 ) 
CamI.' 
; Atwood^ 
[zyCKLXA 
«OHi 
'OiOTl. 
tAtywAi 
-TAt<MA* 4 'i CtAI 
The tulips in the plan at the top of the page are set in the herbaceous pattern shown on this plan. 
By the time their loveliness has begun to fag the flowers and foliage of the plants in this later bloommg 
planting push through, fill the empty spaces and hide the faded spikes 
