,illustration3 ,garden of the ,villa of 
,castello4                              
,,the ,,garden ,,as ,a ,,picture        
,by ,beatrix ,jones                     
,,illustrations ,,by ,,henry ,,mccarter 
,garden literature of to-day1 as we all 
know1 does not confine itself  merely to
 flowers1 insects1 and the weather1 but 
is equally  authoritative as to         
astronomy1 cookery1 philosophy1 and even
 matrimony4  ,some quotations from old  
writings1 however1 come back over and   
over  again1 like the burden of a song1 
and we have grown so accustomed to  them
 that we feel almost defrauded if a     
garden book does not open with  the     
first sentence of ,bacon's stately      
essay4 ,these books have done much  good
 in making people realize that gardens  
are not pieces of ground kept  solely   
for the delight of gardeners of the old 
school1 who seem to have  spent their   
time in designing flower-beds of        
intricate pattern filled  with bedding  
plants so atrocious in color that a     

kaleidoscope is  ,quakerish in          
comparison4 ,they have also taught the  
great essential of  gardening1 that in  
order to have good gardens we must      
really care for  the plants in them and 
know them individually as well as       
collectively4  ,this is an important    
part of the technique of the            
garden-maker2 he must  know intimately  
the form and texture as well as the     
color of all the  plants he uses2 for   
plants are to the gardener what his     
palette is to a  painter4 ,the two arts 
of painting and garden design are       
closely related1  except that the       
landscape gardener paints with actual   
color1 line1 and  perspective to make a 
composition1 as the maker of stained    
glass does1  while the painter has but a
 flat surface on which to create his    
illusion2 he has1 however1 the          
incalculable advantage that no sane     
person would think of going behind a    
picture to see if it were equally       
interesting from that point of view4    

,the painter has another great advantage
 over the gardener1 because1 as  he     
cannot possibly transfer to canvas the  
millions of colors and shadows  which   
make up the most ordinary landscape1 he 
must eliminate so many  that his        
presentment becomes more or less        
conventional1 just as a  playwright must
 recognize the conventions of the stage1
 and these  limitations are taken for   
granted by the public1 whereas the      
landscape  gardener has to put his      
equally artificial landscape out in real
 light1  among real trees1 to be barred 
by real and moving shadows4 ,the garden 
designer has no noncommittal canvas at  
the back of his picture1 but must  be   
prepared1 like the sculptor1 for        
criticism from any standpoint1 and  it  
would seem as though most people were   
irresistibly drawn to look at a         
composition from its least attractive   
side1 as if1 in a parallel case1  they  
should criticise only the backs of      
statues1 all of which are not so        

beautiful as that of the ,venus of      
,syracuse4    ,the painter has yet      
another advantage hard to overestimate1 
in that his  palette is really in great 
measure the creation of his personal    
artistic  temperament1 expressed with   
more or less variation in all that he   
does1  while the landscape architect    
must take the elements given him by     
nature  as the basis of his composition 
in each separate piece of work2 this    
means that he cannot use the color1     
form1 and texture suited to one  place  
in another possibly only a few miles    
away4 ,the painter also  usually follows
 his own bent and seldom varies from    
marines to  portraits1 or from still    
life to landscape1 and although some    
have run  the whole gamut1 the          
personality of the artist unconsciously 
translates  his subjects into his own   
individual language4    ,the landscape  
artist1 on the other hand1 must         
subordinate himself to the  elements    
given him1 the climate and the soil1 the

 character of the  vegetation1 and last 
but usually not least1 the wishes of his
 client4  ,the painter and the sculptor 
may finish their work and it can at once
 be  judged as a whole1 while the person
 who works with plants has to make up   
his mind to see the particular shrub he 
wanted in a special spot  perversely    
die1 while for years the shady groves of
 the future will  decorate the scene    
like feather dusters on broomsticks4    
,illustration3 ,fountain in the ,garden 
of ,castello4    ,although each year an 
increasing number of people interest    
themselves in  out-of-door life and the 
habits of birds1 trees1 and wild        
flowers1 they  may realize only the     
striking contrast between a landscape   
where  deciduous trees predominate and  
another where evergreens give the       
characteristic note4 ,everyone can see  
the difference between the  austerity of
 the rock-bound coast of ,maine1 the    
quiet beauty of a  ,massachusetts       
intervale1 and the sleepy luxuriance of 

the ,pennsylvania  pastoral country1 but
 slight variations between these may    
often pass  unnoticed2 it is only in    
trying to copy the expression of a      
landscape1  or rather to fit in with its
 character1 that it is possible to      
realize  how infinite and yet how minute
 these variations are4 ,the quality of  
the  light is perhaps the most          
important4 ,there is a pellucid quality 
in the  northern atmosphere which does  
not demand shade as do the richer colors
  and warmer light farther to the south4
 ,the recognition of the importance  of 
the balance between light and shade was 
one of the chief elements in  the       
composition of the great ,italian garden
 artists4 ,they used shadow as  having  
the same value of accent as color4      
,their long and sunlit walks  were      
relieved by patches of shade2 their     
brilliant and sometimes glaring         
parterres1 vibrating with light1 were   
contrasted with the cool darkness  of a 
little grove4 ,this feeling for the     

balance between light and shade  may not
 have been a faculty consciously        
exercised on their part1 but it  is     
unquestionably a feeling without which  
no artist can make a  composition at    
all4 ,we are apt to read into the people
 of a past time  subtleties of which    
they probably knew nothing1 on the      
principle of                            
,critics who from ,shakespeare drew     
,more than ,shakespeare ever knew4      
,the difference of the quality of light 
is no doubt what unconsciously  affects 
the outdoor art of different countries1 
and the demand of the  eye for contrasts
 may be what makes the ,english gardens 
so full of dark  yews1 which even on    
dull days make the bright flowers near  
them seem as  if the sun were actually  
shining1 whereas in ,italy the dark     
laurels and  bays are more apt to be    
used as a contrast to actual light and  
not  color4 ,it should also be          
remembered that the art of gardening at 
its  best is as strongly national as    

that of painting or sculpture2 in the   
,england of old days gardens which were 
honestly supposed to be ,italian  were  
in reality ,british1 just as the        
so-called 8,english gardens0 of the     
eighteenth century were either ,french  
or ,italian when they were made in  one 
or the other country4 ,one reason for   
this was that artists were not          
distracted by the multitude of          
photographs and rapid mental impressions
  of travel which with us make          
individuality so difficult to keep2 for 
instance1 a model seen in ,rome is now  
often repeated in an alien  ,american   
garden1 merely because it looked well in
 the place for which it  was intended4  
,we cover more ground in a short holiday
 than our  forefathers did in one of    
their solemn 8tours10 and can bring home
 any  number of accurate records of what
 we have seen4 ,before photography was  
invented1 if a traveller wanted to be   
sure of remembering a terrace or a      
summer-house he had to sketch it more or

 less accurately2 now we snap a  camera 
which reproduces every detail with a    
minuteness usually  impossible in a     
drawing4 ,when the old tourist returned 
and went to work  again there was an    
exotic flavor in his design1 but he had 
necessarily  forgotten many minor points
 of decoration1 as in mouldings and     
ornaments1 so he replaced them by those 
with which he was familiar1 and  his    
neighbors took it as a matter of course4
 ,now we are terribly  cultivated and   
scrupulously accurate2 we know just how 
everything all  over the world looks1   
whether we have actually seen it or not1
 and if it  is a work of art we think we
 know just 8how it was done40    ,it is 
well to remember that many of the garden
 decorations imported from  one country 
to another1 as from ,italy to ,england1 
look much better now  than when they    
were first expatriated4 ,time and       
neglect will do wonders  for            
inappropriate garden architecture2 in   
our climate1 for instance1  chilly      

marble goddesses will soon lose their   
noses and fingers in spite  of their    
hibernation in wooden sentry-boxes1 and 
fountains will go to  pieces if the     
gardener delays putting on them the     
little thatched capes  which look oddly 
like the mackintoshes of the ,japanese  
jinrikisha men4    ,a collection of     
flowers1 no matter how beautiful they   
may be1 does not  make a garden1 any    
more than the colors on a painter's     
palette make in  themselves a picture4  
,a real garden is just as artificial as 
a painting1  and yet it has not the     
advantage of artificial surroundings4   
,the  landscape architect must put his  
composition down in the open air with   
the sky and the trees and the grass as a
 background1 and must juggle  with      
nature in order that his composition may
 not look out of place1  keeping always 
in his mind the balance between masses  
of color and  offsetting masses of      
green4 ,it is perhaps for this reason   
that we  unconsciously feel that a      

garden is best shut in1 at any rate1 in 
part1  from the surrounding lines of the
 landscape4 ,this enclosure does not    
necessarily mean a wall1 nor does it    
mean that a garden should have no       
outlook1 but only that there should be  
some definite limit4    ,if one may use 
a musical expression1 there is the same 
difference in  quality of color between 
a landscape and a garden that there is  
between  an old orchestra and a modern  
one of nearly double its size1 where the
  parts are much more subdivided and the
 sound consequently more  complicated4  
,in the same way the vibrations of color
 from a garden1  being more closely     
brought together1 are much more exciting
 than in an  ordinary landscape4 ,this  
makes it necessary that the garden      
should be  treated in a bolder manner2  
flowers must be used as color and       
interrupted by high lights and dark     
shadows to throw out contrasts4    ,if  
it is possible to give over any         
considerable part of a place to one     

special effect by massing rhododendrons1
 spring-flowering bulbs1 or one         
particular flower1 the result is        
incalculably greater than if the same   
number of plants are dotted about       
promiscuously1 but it must be borne in  
mind that in order to get an effect like
 this planting must be done on a  big   
scale2 the artist must try to keep step 
with the great stride of  ,nature and   
copy as far as may be her breadth and   
simplicity4 ,this can  only be attempted
 where there is plenty of room4 ,ten    
barberry bushes in  a front yard may be 
very good because they are simple1 but  
they cannot  even suggest the broad     
effect of which we have been speaking4  
,illustration3 ,shasta daisies in a     
border4    ,a garden1 large or small1   
must be treated in the impressionist    
manner4  ,old paintings and colored     
prints are interesting from their       
quaintness1  but they do not make one   
feel the real effect of a garden any    
more than  if they were in black and    

white4 ,they treat it as a part of the  
landscape and therefore subdue its      
coloring that it may not jar with the   
rest1 whereas in reality a garden       
vibrates with color as the air rising   
over some reflecting surface on a summer
 day vibrates with heat4                
,illustration3 ,moorish fragment at     
,villa ,reed4    ,the gardener must also
 consider the length of time in each    
year in which  his work will be looked  
at4 ,in the north it is difficult to    
keep one  from being more or less       
unattractive during six months at least2
  therefore1 if a country house is to be
 lived in for the larger part of  the   
year it is better not to put the garden 
too close to the house1 as  in that case
 the owners will have for several months
 a dreary view of  garden walks with    
puddles in them and flower-beds covered 
with manure1  or at best with evergreen 
boughs and leaves4 ,if1 however1 they   
only stay  in the country for two or    
three months it is comparatively easy to

  arrange a mass of color like a ,turkey
 carpet1 in which flowers are laid  in  
in broad washes4 ,this brilliant effect 
can be held for a couple of  months1 and
 during that time there need be no holes
 where flowers have  died which have    
served their usefulness and left not    
even a tuft of  green leaves to cover   
the brown earth4 ,if the garden has to  
be  presentable from early spring to    
late autumn it will be impossible1      
unless it covers a considerable piece of
 ground1 to do more than keep a         
continuous succession of bloom in small 
patches rather than in great  masses4   
,breaks in the surface of the ground are
 also needed1 like  terraces1 arbors to 
interrupt long walks by shadow1 benches 
and  balustrades4 ,here is where the old
 ,italian gardens are so successful2    
their fountains and their statues1 their
 benches and their vases1 are  used as  
emphasis to give height or light or     
variation to a part of the  composition 
which might otherwise be uninteresting4 

,in the great ,italian  garden of       
,castello the whole interest of the     
parterre is focussed at the  centre by  
the splendid high bronze fountain of    
,hercules and ,antus by  ,john of       
,bologna and ,tribolo4 ,it is difficult 
to put a rule into words  which will    
serve as a guide in even one            
hypothetical place1 perhaps for  the    
same reason that no two people would    
paint exactly the same picture  from the
 same subject1 or tell the same story in
 the same words4    ,illustration3 ,the 
pond garden at ,hampton ,court palace4  
,in nature colors are set rather as an  
incident than as the principal  feature 
of a landscape2 the spring flowers in   
the ,alps1 even if they are  not        
surrounded by trees and much grass1 are 
covered by the simple  expanse of the   
sky2 the colors in an ,american autumn1 
the change of leaf  in the trees1 the   
golden-rod and asters1 are all playing  
in a certain  tone of color4 ,the whole 
symphony of nature changes at that time 

to an  entirely different key from that 
of summer2 the tawny1 the brown1 the    
red and yellow and purple have          
completely changed the aspect of things 
from what it was in ,july1 when there   
was nothing but slight gradations  in a 
scheme with green as its key-note4      
,where colors do not change1 as  among  
the evergreens1 the effect of the autumn
 coloring is much more  than doubled1 as
 they are the only objects in the       
landscape which have  remained as they  
were4 ,this unchanging quality of the   
evergreens is1 of  course1 the basis for
 the well-known ,french saying that     
8,evergreens are  the joy of winter and 
the mourning of summer40 ,it cannot be  
too often  repeated that a garden is an 
absolutely artificial thing1 not only as
 to  the congregation of flowers but    
principally as to color1 and for this   
reason must be treated as such4 ,one can
 seldom1 if ever1 command a  setting as 
wide as nature's in which to place our  
work1 and therefore we  must tune up our

 settings to the key of the whole       
artificial  composition4 ,writing in    
rhymed verse has been compared to       
dancing in  fetters1 and to apply that  
simile to gardening1 it may be said that
 it  is like composing in ,french       
alexandrines with their measured rhythm 
and  subtle csura4 ,we must keep time   
with ,nature1 and follow her forms of   
expression in different places while we 
carry out our own ideas or  adaptations4
 ,perhaps the so-called natural garden  
is the most difficult  to fit in with   
its surroundings1 because there is no   
set line to act as  a backbone to the   
composition1 and the whole effect must  
be obtained  from masses of color1      
contrasting heights1 and varieties of   
texture  without any straight line as an
 axis1 without any architectural        
accessory for emphasis1 without anything
 but an inchoate mass of trees  or      
shrubs of a nondescript shape in which  
to put something that will  look like a 
thought-out composition and not a       

collection of flowers  grown            
alphabetically on the principle of a    
nursery-man's catalogue4  ,these gardens
 are very hard to design1 far more so   
than the formal  garden1 and almost     
impossible to reproduce1 as pictures of 
them are apt  to look like views of a   
perennial border1 and all the play of   
light and  color1 which is the making of
 the actual place1 is translated only by
 a  little more or less depth in the    
values of black and white4 ,the planning
  of an informal garden must be more or 
less like the arrangement of a          
painter's palette2 and as an artist     
would not think of putting a rosy  pink 
and a violent yellow side by side1 so   
the gardener must go through  careful   
processes of choice and elimination4    
,each garden has one or more  points    
from which it may be seen to more       
advantage than from others1 and  in a   
formal one these are comparatively easy 
to manage1 but in the  natural garden   
the grouping of color must be considered

 from every  reasonable point of view1  
in order that there may be no jarring   
combinations4    ,illustration3         
,approach to a natural garden4          
,perhaps it is a cowardly subterfuge1   
but it is one which is at least  safe1  
to keep the bright yellows and the pinks
 absolutely separate in  any place where
 masses of color are used4 ,if you are  
going to make your  garden in one of the
 very hot gamuts of color1 you can use  
the deep  oranges1 the yellows and      
browns1 the scarlets1 and that wonderful
  unifier1 blue1 as seen in the         
larkspurs1 but you cannot use a certain 
quality of papery white in some thick   
petaled flowers1 like the white  phloxes
 and the ,shasta daisies1 which seem to 
spring out of any group of  other       
flowers in which they are placed1       
leaving the rest of their  companions   
looking muddled and woolly beside the   
intensity of their  perfectly           
untranslucent white4    ,in quiet       
colors1 some of the misty whites1 like  

gypsophila or  antirrhinum1 the faint   
blues1 such as veronica spicata1 the    
pale yellows  of some of the evening    
primroses1 with the dull violets of     
aconitum  autumnale and the lilacs of   
hesperus matronalis1 make a subdued     
harmony  less exciting than the red of  
lychnis chalcedonica and the yellow of  
helianthus strumosus1 but are more      
appealing and quite as effective in     
their own way4 ,the blaze of the high   
colors may be compared to the  brasses  
of an orchestra while the quieter shades
 are like the strings4    ,no splendid  
and complete garden1 however1 can afford
 to shut itself out  from the high      
colors1 any more than a composer writing
 an opera would  omit all the horns and 
trombones4 ,in some places where special
 effects  are sought the gardener may   
leave out the fanfare of the yellows and
  scarlets2 perhaps his garden will be  
looked at often from the house or       
terrace on hot summer nights1 and then  
he may wish to get the peculiar         

floating effect of certain white flowers
 which seem to quiver in the air  rather
 than to grow on stems4 ,then1 too1 at  
dusk the scheme changes  again as the   
yellow of the daylight fades and with it
 takes the subtler  colors1 leaving only
 the whites and some of the yellows to  
prevail4 ,the  elimination of detail at 
night and the thick quality of the light
 change  the effect and the apparent    
distance of colors entirely1 and give a 
curiously submerged appearance to the   
garden4    ,illustration3 ,an informal  
garden4    ,one of the most important   
things that the impressionist school has
 been  trying to teach us is that shadow
 is a color and must be used as one1    
and the reason why the eye seeks relief 
from a flat surface is not only  that it
 instinctively resents monotony1 but    
that it feels the need of  shadow4 ,a   
flat country like ,holland may be made  
beautiful and  interesting by the cloud 
shadows which pass over it constantly   
from the  ample vault of its sky1 but it

 is not easy to imagine anything more   
dreary than a wide expanse of level     
earth with no shadows at all4 ,this     
quality of shadow1 which must be        
recognized as color1 makes it one of    
the most important factors in outdoor   
composition4 ,who has not noticed  the  
beauty of outline of the shadows of a   
group of trees thrown on a  lawn by the 
later afternoon sun1 the round-topped   
ones making gracious  curves1 and the   
pointed ones seeming stretched out to   
hurry on the dusk8    ,illustration3 ,a 
water garden4    ,people must not       
hesitate to make gardens because they   
fancy the  difficulties are too great2  
it is only by having them1 living in    
them1  and never ceasing to notice the  
changes that are constantly passing over
  them1 the effects that are good and   
those that are bad1 the shadows that    
come in the wrong places and the        
superfluity of high lights1 that they   
will learn to see2 and not only must    
they see but they must think4 ,they     

must notice the different lights and    
shadows and see how they change the     
effect2 they must remember the plants   
whose scent begins at dusk and  those   
whose fragrance stops with the light4   
,they must distinguish the  flowers that
 are beautiful by night from those that 
are beautiful only  by day2 they must   
learn to know the sounds of the leaves  
on different  sorts of trees2 the       
rippling and pattering of the poplar1   
the rustling  of the oak-leaves in      
winter1 and the swishing of the         
evergreens4 ,and by  noticing they will 
also learn that plants are only one of  
the tools1  although to be sure one of  
the most important1 with which a garden 
is  made4 ,then1 too1 they will learn to
 see that the garden1 to be  successful1
 must be in scale with its surroundings 
as well as  appropriate to them1 and    
also that it must be kept up1 as a      
garden1 if  left to itself1 will quickly
 make alterations in the original       
scheme2  certain plants will become     

rampant1 others will die out1 and thus  
the  delicate balance will be destroyed4
 ,the owner of a garden is like the     
leader of an orchestra2 he must know    
which of his instruments to  encourage  
and which to restrain4 ,after all this  
notice and study and  care many of us   
may feel that the more we learn about   
gardening the more  there is left to    
know1 but at any rate1 we shall have    
gained a sort of  working hypothesis on 
which to build the foundations of a good
 design4                                
,,this ,,is ,,another ,,day             
,by ,don ,marquis                ,i am  
mine own priest1 and ,i shrive myself   
,of all my wasted yesterdays4 ,though   
sin            ,and sloth and           
foolishness1 and all ill weeds          
,of error1 evil1 and neglect grow rank  
,and ugly there1 ,i dare forgive myself 
,that error1 sin1 and sloth and         
foolishness4            ,god knows that 
yesterday ,i played the fool2           
,god knows that yesterday ,i played the 

knave2            ,but shall ,i         
therefore cloud this new dawn o'er      
,with fog of futile sighs and vain      
regrets8              ,this is another  
day6 ,and flushed ,hope walks           
,adown the sunward slopes with golden   
shoon4            ,this is another day2 
and its young strength            ,is   
laid upon the quivering hills until1    
,like ,egypt's ,memnon1 they grow quick 
with song4            ,this is another  
day1 and the bold world                 
,leaps up and grasps its light1 and     
laughs1 as leapt            ,prometheus 
up and wrenched the fire from ,zeus4    
,this is another day--are its eyes      
blurred            ,with maudlin grief  
for any wasted past8            ,a      
thousand thousand failures shall not    
daunt6            ,let dust clasp dust2 
death1 death--,i am alive6              
,and out of all the dust and death of   
mine            ,old selves ,i dare to  
lift a singing heart            ,and    
living faith2 my spirit dares drink deep

            ,of the red mirth mantling  
in the cup of morn4                     
----------------------------------------
--------------------------------        
,,transcriber',s ,,notes       #a4      
,silently corrected obvious             
typographical errors and variations in  
spelling4   #b4 ,retained archaic1      
non-standard1 and uncertain spellings as
 printed4   #c4 ,enclosed italics font  
in underscores4