August, 19 2 0 
55 
The walks, steps and pools are 
on the main axis. Beyond is 
the wall fountain. Hazel IV. 
Waterman, garden architect; 
planting by Kate 0. Sessions 
tural adjustment. It continues 
the line of the house for a short 
distance, then becomes irregular 
in line and in height to meet the 
requirements of the contour of the 
land, embracing the garden pa¬ 
vilion, and at the farthest comer 
including and subordinating the 
garage. Its solid base, buttressed 
at intervals, is lightened above by 
panels of open design. The whole 
composition is merged into con¬ 
tinuity by exterior planting, flow¬ 
ers, leafage of vines and shrubs, 
and branches of interior over¬ 
hanging evergreens. 
Although the garden belongs to 
that class where privacy is de¬ 
sired, the treatment of the wall 
has an undeniable friendliness 
which disarms criticism of exclu¬ 
siveness. Featured in an orna¬ 
mental setting, a cement seat is 
placed convenient for the public. 
The several gateways form pic¬ 
turesque breaks in its elevation; 
the gates, attractive in design, are 
jade in color. Through their spin- 
died panels tantalizing glimpses 
of the garden may be obtained by 
the passerby to whom the delights 
of the interior are inaccessible. 
Within the walls the lot in¬ 
clined toward the house; a deter- 
The pools form the central feature 
of the main garden, the water 
overflowing the low curved lip of 
the upper pool into the lower. 
Broad steps link the two levels 
mining factor which suggested the 
formal treatment to the garden ar¬ 
chitect. By means of an architec¬ 
tural scheme enclosing terraces and 
central pools, impressions of dis¬ 
tance and breadth are obtained 
which from the actual boundaries 
seemed inconceivable, while the ef¬ 
fects produced by terraces rising 
from the house are unusual and 
more varied than those possible to 
a level or a descent. 
Planned and planted on the 
principles of garden craft, the spirit 
of the Italiaji garden prevails; 
there is, however, almost a medley 
of details and colors. Strong in¬ 
dividuality is shown in the com¬ 
bination of materials—brick, ce¬ 
ment, tile, and bronze—which, with 
the grouping of flower-planted 
spaces and foliage, create a pleas¬ 
ing diversity and justify an arti¬ 
ficiality intended to astonish the 
spectator. 
There are three divisions or ter¬ 
races, divided by retaining walls. 
Nearest the house the first division 
has a wide brick-paved walk and 
two groups of steps leading to the 
second terrace, the main garden, 
rising slightly to the retaining wall 
which sustains the third terrace. 
(Continued on page 82) 
