Garden-Craft Old and New Part 10

Compared with the frank raptures of such writings as these, the laboured treatises of the landscape-school are but petty hagglings over the mint and c.u.mmin of things. You go to the writings of the masters of the old formality, to come away invigorated as by a whiff of mountain air straight off Helicon; they shall give one fresh enthusiasm for Nature, fresh devotion to Art, fresh love for beautiful things. But from the other--

"The bloom is gone, and with the bloom go I"--

they deal with technicalities in the affected language of connoisseurs.h.i.+p; they reveal a disenchanted world, a world of exploded hopes given over to the navvies and the critics; and it is no wonder that writings so prompted should have no charm for posterity; charm they never had. They are dry as summer dust.

For the honour of English gardening, and before closing this chapter, I would like to recall that betweenity--the garden of the transition--done at the very beginning of the century of revolution, which unites something of the spirit of the old and of the new schools. Here is Sir Walter Scott's report of the Kelso garden as he _first_ knew it, and _after_ it had been mauled by the landscape-gardener. It was a garden of seven or eight acres adjacent to the house of an ancient maiden lady:

"It was full of long straight walks between hedges of yew and hornbeam, which rose tall and close on every side. There were thickets of flowering shrubs, a bower, and an arbour, to which access was obtained through a little maze of contorted walks, calling itself a labyrinth. In the centre of the bower was a splendid Plata.n.u.s or Oriental plane, a huge hill of leaves, one of the n.o.blest specimens of that regularly beautiful tree which we remember to have seen. In different parts of the garden were fine ornamental trees which had attained great size, and the orchard was filled with fruit-trees of the best description. There were seats and trellis-walks, and a banqueting-house. Even in our time this little scene, intended to present a formal exhibition of vegetable beauty, was going fast to decay. The parterres of flowers were no longer watched by the quiet and simple _friends_ under whose auspices they had been planted, and much of the ornament of the domain had been neglected or destroyed to increase its productive value. We visited it lately, after an absence of many years. Its air of retreat, the seclusion which its alleys afforded was gone; the huge Plata.n.u.s had died, like most of its kind, in the beginning of this century; the hedges were cut down, the trees stubbed up, and the whole character of the place so much destroyed that I was glad when I could leave it."--("Essay on Landscape Gardening,"

_Quarterly Review_, 1828.[33])

[Footnote 33: "The Praise of Gardens," pp. 185-6.]

Another garden, of later date than this at Kelso, and somewhat less artistic, is that described by Mr Henry A. Bright in "The English Flower Garden."[34]

"One of the most beautiful gardens I ever knew depended almost entirely on the arrangement of its lawns and shrubberies. It had certainly been most carefully and adroitly planned, and it had every advantage in the soft climate of the West of England. The various lawns were divided by thick shrubberies, so that you wandered on from one to the other, and always came on something new. In front of these shrubberies was a large margin of flower-border, gay with the most effective plants and annuals. At the corner of the lawn a standard _Magnolia grandiflora_ of great size held up its chaliced blossoms; at another a tulip-tree was laden with hundreds of yellow flowers. Here a magnificent _Salisburia_ mocked the foliage of the maiden-hair; and here an old cedar swept the gra.s.s with its large pendent branches. But the main breadth of each lawn was never destroyed, and past them you might see the reaches of a river, now in one aspect, now in another. Each view was different, and each was a fresh enjoyment and surprise.

"A few years ago and I revisited the place; the 'improver' had been at work, and had been good enough to _open up_ the view.

Shrubberies had disappeared, and lawns had been thrown together.

The pretty peeps among the trees were gone, the long vistas had become open s.p.a.ces, and you saw at a glance all that there was to be seen. Of course the herbaceous borders, which once contained numberless rare and interesting plants, had disappeared, and the lawn in front of the house was cut up into little beds of red pelargoniums, yellow calceolarias, and the rest."

[Footnote 34: _Ibid._, p. 296.]

In this example we miss the condensed beauty and sweet austerities of the older garden at Kelso: nevertheless, it represents a phase of workmans.h.i.+p which, for its real insight into the secrets of garden-beauty, we may well be proud of, and deplore its destruction at the hands of the landscape-gardener.

All arts are necessarily subject to progression of type. "Man cannot escape from his time," says Mr Morley, and with changed times come changed influences. But, then, to _progress_ is not to _change_: "to progress is to live," and one phase of healthy progression will tread the heels of that which precedes it. The restless changeful methods of modern gardening are, however, not to be ascribed to the healthy development of one consistent movement, but to chaos--to the revolution that ensued upon the overthrow of tradition--to the indeterminateness of men who have no guiding principles, who take so many wild leaps in the dark, in the course of which, rival champions jostle one another and only the fittest survives.

In treating of Modern English Gardening, it is difficult to make our way along the tortuous path of change, development it is not, that set in with the banishment of Art in a garden. Critical writers have done their best to unravel things, to find the relation of each fractured phase, and to give each phase a descriptive name, but there are still many unexplained points, many contradictions that are unsolved, to which I have already alluded.

Loudon's Introduction to Repton's "Landscape Gardening" gives perhaps the most intelligible account of the whole matter. The art of laying out grounds has been displayed in two very distinct styles: the first of which is called the "Ancient Roman, Geometric, Regular, or Architectural Style; and the second the Modern, _English_,[35] Irregular, Natural, or Landscape Style."

[Footnote 35: This is a little unpatriotic of Loudon to imply that the _English_ had no garden-style till the 18th century, but one can stand a great deal from Loudon.]

We have, he says, the Italian, the French, and the Dutch Schools of the Geometric Style. The Modern, or Landscape Style, when it first displayed itself in English country residences, was distinctly marked by the absence of everything that had the appearance of a terrace, or of architectural forms, or lines, immediately about the house. The house, in short, rose abruptly from the lawn, and the general surface of the ground was characterised by smoothness and bareness. This const.i.tuted the first School of the Landscape Style, introduced by Kent and Brown.

This manner was followed by the romantic or Picturesque Style, which inaugurates a School which aimed at producing architectural tricks and devices, allied with scenery of picturesque character and sham rusticity. The conglomeration at Stowe, albeit that it is attributed to Kent, shows what man can do in the way of heroically wrong garden-craft.

To know truly how to lay out a garden "_After a more Grand and Rural Manner than has been done before_," you cannot do better than get Batty Langley's "New Principles of Gardening," and among other things you have rules whereby you may concoct natural extravagances, how you shall prime prospects, make landscapes that are pictures of nothing and very like; how to copy hills, valleys, dales, purling streams, rocks, ruins, grottoes, precipices, amphitheatres, &c.

The writings of Gilpin and Price were effective in undermining Kent's School; they helped to check the rage for destroying avenues and terraces, and insisted upon the propriety of uniting a country-house with the surrounding scenery by architectural appendages. The leakage from the ranks of Kent's School was not all towards the Picturesque School, but to what Loudon terms Repton's School, which may be considered as combining all that was excellent in what had gone before.

Following upon these phases is one that is oddly called the "_Gardenesque_" Style, the leading feature of which is that it ill.u.s.trates the beauty of trees, and other plants _individually_; in short, it is the _specimen_ style. According to the practice of all previous phases of modern gardening, trees, shrubs, and flowers were indiscriminately mixed and crowded together, in shrubberies or other plantations. According to the Gardenesque School, all the trees and shrubs are arranged to suit their kinds and dimensions, and to display them to advantage. The ablest exponents of the school are Loudon in the recent past, and Messrs Marnock and Robinson in the present, and their method is based upon Loudon.

To know how to lay out a garden after the most approved modern fas.h.i.+on we have but to turn to the deservedly popular pages of "The English Flower Garden." This book contains not only model designs and commended examples from various existing gardens, but text contributed by some seventy professional and amateur gardeners. Even the gardener who has other ideals and larger ambitions than are here expected, heartily welcomes a book so well stored with modern garden-lore up to date, with suggestions for new aspects of vegetation, new renderings of plant life, and must earnestly desire to see any system of gardening made perfect after its kind--

... "I wish the sun should s.h.i.+ne On all men's fruits and flowers, as well as mine."

Gardening is, above all things, a progressive Art which has never had so fine a time to display its possibilities as now, if we were only wise enough to freely employ old experiences and modern opportunities. People are, however, so readily content with their stereotyped models, with barren imitations, with their petty list of specimens, when instead of half-a-dozen kinds of plants, their garden has room for hundreds of different plants of fine form--hardy or half-hardy, annual and bulbous--which would equally well suit the British garden and add to its wealth of beauty by varied colourings in spring, summer, and autumn. At present "the choke-muddle shrubbery, in which the poor flowering shrubs dwindle and kill each other, generally supports a few ill-grown and ill-chosen plants, but it is mainly distinguished for wide patches of bare earth in summer, over which, in better hands, pretty green things might crowd." The specimen plant has no chance of displaying itself under such conditions.

Into so nice a subject as the practice of Landscape-gardening of the present day it is not my intention to enter in detail, and for two good reasons. In the first place, the doctrines of a sect are best known by the writings of its representatives; and in this case, happily, both writings and representatives are plentiful. Secondly, I do not see that there is much to chronicle. Landscape-gardening is, in a sense, still in its fumbling stage; it has not increased its resources, or done anything heroic, even on wrong lines; it has not advanced towards any permanent, definable system of ornamentation since it began its gyrations in the last century. Its rival champions still beat the air. Even Repton was better off than the men of to-day, for he had, at least, his Protestant formulary of Ten Objections to swear by, which "mark those errors or absurdities in modern gardening and architecture to which I have never willingly subscribed" (p. 127, "Theory and Practice of Landscape Gardening," 1803, quoted in full above).

But the present race of landscape-gardeners are, it strikes me, as much at sea as ever. True they threw up traditional methods as unworthy, but they had not learnt their own Art according to Nature before they began to practise it; and they are still in the throes of education. Their intentions are admirable beyond telling, but their work exhibits in the grossest forms the very vices they condemn in the contrary school; for the expression of their ideas is self-conscious, strained, and pointless. To know at a glance their position towards Art in a garden, how crippled their resources, how powerless to design, let me give an extract from Mr Robinson. He is speaking of an old-fas.h.i.+oned garden, "One of those cla.s.sical gardens, the planners of which prided themselves upon being able to give Nature lessons of good behaviour, to teach her geometry and the fine Art of irreproachable lines; but Nature abhors lines;[36] she is for geometers a reluctant pupil, and if she submits to their tyranny she does it with bad grace, and with the firm resolve to take eventually her revenge. Man cannot conquer the wildness of her disposition, and so soon as he is no longer at hand to impose his will, so soon as he relaxes his care, she destroys his work" (p. viii., "English Flower Garden"). This is indeed to concede everything to Nature, to deny altogether the mission of Art in a garden.

[Footnote 36: For which reason, I suppose, Mr Robinson, in his model "Non-geometrical Gardens" (p. 5), humbly skirts his ground with a path which as nearly represents a tortured horse-shoe as Nature would permit; and his trees he puts in a happy-go-lucky way, and allows them to nearly obliterate his path at their own sweet will! No wonder he does not fear Nature's revenge, where is so little Art to destroy!]

And even the School that is rather kinder to Art, more lenient to tradition, represented by Mr Milner--even he, in his admirable book upon the "Art and Practice of Landscape Gardening" (1890), is the champion of Nature, not of Art, in a garden. "Nature still seems to work in fetters," he says, and he would "form bases for a better practice of the Art" (p. 4). Again, Nature is the great exemplar that I follow" (p. 8).

They have not got beyond Brown, so far as theory is concerned. "Under the great leader Brown," writes Repton, with unconscious irony, "or rather those who patronised his discovery, we were taught that Nature was to be our only model"--and Brown had his full chance of manipulating the universe, for "he lived to establish a fas.h.i.+on in gardening, which might have been expected to endure as long as Nature should exist"; and yet Repton's work mostly consisted in repairing Brown's errors and in covering the nakedness of his hungry prospects. So it would seem that Art has her revenges as well as Nature! "The way of transgressors is hard!"

The Landscape-gardener, I said, gets no nearer to maturity of purpose as time runs on. He creeps and shuffles after Nature as at the first--much as the benighted traveller after the will-o'-the-wisp. He may not lay hands on her, because you cannot conquer her wildness, nor impose your will upon her, or teach her good behaviour. He may not apply the "dead formalism of Art" to her, for "Nature abhors lines." Hence his mimicry can never rise above Nature. Indeed, if it remains faithful to the negative opinions of its pract.i.tioners, landscape-gardening will never construct any system of device. It has no creed, if you except that sole article of its faith, "I believe in the non-geometrical garden." A monumental style is an impossibility while it eschews all features that make for state and magnificence and symmetry; a little park scenery, much gra.s.s, curved shrubberies, the "laboured littleness" of emphasised specimen plants--the hardy ones dotted about in various parts--wriggling paths, flower-borders, or beds of shapes that imply that they are the offspring of bad dreams, and its tale of effects is told. But as for "fine gardening," that was given up long ago as a bad job! The spirit of Walpole's objections to the heroic enterprise of the old-fas.h.i.+oned garden still holds the "landscape-gardener" in check. "I should hardly advise any of those attempts," says Walpole; "_they are adventures of too hard achievement for any common hands_."

It is not so much at what he finds in the landscape gardener's creations that the architect demurs, but at what he misses. It is not so much at what the landscape-gardener recommends that the architect objects, as at what moving in his own little orbit he wilfully shuts out, basing his opposition to tradition upon such an _ex parte_ view of the matter as this--"There are really two styles, one strait-laced, mechanical, with much wall and stone, or it may be gravel, with much also of such geometry as the designer of wall-papers excels in--often poorer than that, with an immoderate supply of spouting water, and with trees in tubs as an accompaniment, and, perhaps, griffins and endless plaster-work, and sculpture of the poorer sort." Why "poorer"? "The other, with _right desire_, though _often awkwardly_ (!) accepting Nature as a guide, and endeavouring to ill.u.s.trate in our gardens, _so far as convenience and knowledge will permit_, her many treasures of the world of flowers" ("English Flower Garden"). How sweetly doth bunk.u.m commend itself!

It is not that the architect is small-minded enough to cavil at the landscape-gardener's right to display his taste by his own methods, but that he strikes for the same right for himself. It is not that he would rob the landscape-gardener of the pleasure of expressing his own views as persuasively as he can, but that he resents that air of superiority which the other puts on as he bans the comely types and garnered sweetness of old England's garden, that he accents the proscription of the ways of interpreting Nature that have won the sanction of lovers of Art and Nature of all generations of our forefathers, and this from a School whose prerogative dates no farther back than the discovery of the well-meaning, clumsy, now dethroned kitchen-gardener, known a short century since as "the immortal Brown." There is no reviewer so keen as Time!

CHAPTER VI.

THE TECHNICS OF GARDENING.[37]

"Nothing is more the Child of Art than a Garden."

SIR WALTER SCOTT.

[Footnote 37: These notes make no pretence either at originality or completeness. They represent gleanings from various sources, combined with personal observations on garden-craft from the architect's point of view.--J. D. S.]

"For every Garden," says Sir William Temple, "four things are to be provided--Flowers, Fruit, Shade, and Water, and whoever lays out a garden without these, must not pretend it in any perfection. Nature should not be forced; great sums may be thrown away without Effect or Honour, if there want sense in proportion to this." Briefly, the old master's charge is this: "Have common-sense; follow Nature."

Following upon these lines, the gardener's first duty in laying out the grounds to a house is, to study the site, and not only that part of it upon which the house immediately stands, but the whole site, its aspect, character, soil, contour, sectional lines, trees, &c. Common-sense, Economy, Nature, Art, alike dictate this. There is an individual character to every plot of land, as to every human face in a crowd; and that man is not wise who, to suit preferences for any given style of garden, or with a view to copying a design from another place, will ignore the characteristics of the site at his disposal.

Equally unwise will he be to follow that school of gardening that makes chaos before it sets about to make order. Features that are based upon, or that grow out of the natural formation of the ground, will not only look better than the created features, but be more to the credit of the gardener, if successful, and will save expense.

The ground throughout should be so handled that every natural good point, every tree, mound, declivity, stream, or quarry, or other chance feature, shall be turned to good account, and its consequence heightened, avoiding the error of giving the thing mock importance, by planting, digging, lowering declivities, raising prominences, planting dark-foliaged trees to intensify the receding parts, forming terraces on the slope, or adding other architectural features as may be advisable to connect the garden with the house which is its _raison d'etre_, and the building with the landscape.

What folly to throw down undulations in order to produce a commonplace level, or to throw up hills, or make rocks, lakes, and waterfalls should the site happen to be level! What folly to make a standing piece of water imitate the curves of a winding river that has no existence, to throw a bridge over it near its termination, so as to close the vista and suggest the continuation of the water beyond! Nay, what need of artificial lakes at all if there be a running stream hard by?[38]

[Footnote 38: "All rational improvement of grounds is necessarily founded on a due attention to the CHARACTER and SITUATION of the place to be improved; the _former_ teaches what is advisable, the _latter_ what is possible to be done. The _situation_ of a place always depends on Nature, which can only be a.s.sisted, but cannot be entirely changed, or greatly controlled by ART; but the _character_ of a place is wholly dependent on ART; thus the house, the buildings, the gardens, the roads, the bridges, and every circ.u.mstance which marks the habitation of man must be artificial; and although in the works of art we may imitate the forms and graces of Nature, yet, to make them truly natural, always leads to absurdity" (Repton, p. 341).]

It is of the utmost importance that Art and Nature should be linked together, alike in the near neighbourhood of the house, and in its far prospect, so that the scene as it meets the eye, whether at a distance or near, should present a picture of a simple whole, in which each item should take its part without disturbing the individual expression of the ground.

To attain this result, it is essential that the ground immediately about the house should be devoted to symmetrical planning, and to distinctly ornamental treatment; and the symmetry should break away by easy stages from the dressed to the undressed parts, and so on to the open country, beginning with wilder effects upon the country-boundaries of the place, and more careful and intricate effects as the house is approached. Upon the attainment of this appearance of graduated formality much depends.

One knows houses that are well enough in their way, that yet figure as absolute blots upon G.o.d's landscape, and that make a man writhe as at false notes in music, and all because due regard has not been paid to this particular. By exercise of forethought in this matter, the house and garden would have been linked to the site, and the site to the landscape; as it is, you wish the house at Jericho![39]

[Footnote 39: Not so thinks the author of "The English Flower Garden":--"Imagine the effect of a well-built and fine old house, seen from the extremity of a wide lawn, with plenty of trees and shrubs on its outer parts, and nothing to impede the view of the house or its windows but a refres.h.i.+ng carpet of gra.s.s. If owners of parks were to consider this point fully, and, as they travel about, watch the effect of such lawns as remain to us, and compare them with what has been done by certain landscape-gardeners, there would shortly be, at many a country-seat, a rapid carting away of the terrace and all its adjuncts."

Marry, this is sweeping! But Repton has some equally strong words condemning the very plan our Author recommends: "In the execution of my profession I have often experienced great difficulty and opposition in attempting to correct the false and mistaken taste for placing a large house in a naked gra.s.s field, without any apparent line of separation between the ground exposed to cattle and the ground annexed to the house, which I consider as peculiarly under the management of art.