Garden-Craft Old and New Part 9

But to return to the inauguration of the "landscape-garden." The hour produced its men in Kent, and "the immortal Brown," as Repton calls him.

Like many another "discovery," theirs was really due to an accident.

Just as it was the closely-corked bottle that popped that gave birth to champagne, so it was only when our heroes casually leaped the ha-ha that they had made that they realised that all England outside was one vast rustic garden, from whence it were a shame to exclude anything!

So began the rage for making all the surroundings of a house a.s.sume a supposed appearance of rude Nature. Levelling, ploughing, stubbing-up, was the order of the day. The British navvy was in great request--in fact the day that Kent and Brown discovered England was this worthy's natal day. Artificial gardens must be demolished as impostures, and wriggling walks and turf put where they had stood. Avenues must be cut down or disregarded; the groves, the alleys, the formal beds, the terraces, the bal.u.s.trades, the clipt hedges must be swept away as things intolerable. For the "landscape style" does not countenance a straight line, or terrace or architectural form, or symmetrical beds about the house; for to allow these would not be to photograph Nature. As carried into practice, the style demands that the house shall rise abruptly from the gra.s.s, and the general surface of the ground shall be characterised by smoothness and bareness (like Nature)! Hence in the grounds of this period, house and country

"Wrapt all o'er in everlasting green Make one dull, vapid, smooth and tranquil scene."

There is to my mind no more significant testimony to the attractiveness and loveableness of the _regular_ garden as opposed to the opened-out barbarism of the landscape-gardener's invention, than Horace Walpole's lament over the old gardens at Houghton,[29] which has the force of testimony wrung from unwilling lips:--

"When I had drank tea I strolled into the garden. They told me it was now called the '_pleasure-ground_.' What a dissonant idea of pleasure! Those groves, those _alleys_, where I have pa.s.sed so many charming moments, are now stripped up, or overgrown; many fond paths I could not unravel, though with a very exact clue in my memory. I met two gamekeepers and a thousand hares! In the days when all my soul was tuned to pleasure and vivacity, I hated Houghton and its solitude; _yet I loved this garden_; as now, with many regrets, I love Houghton;--Houghton, I know not what to call it: a monument of grandeur or ruin!"--(Walpole's Letters.)

[Footnote 29: Houghton was built by Sir R. Walpole, between 1722 and 1738. The garden was laid out in the stiff, formal manner by Eyre, "an imitator of Bridgman," and contained 23 acres. The park contains some fine old beeches. More than 1000 cedars were blown down here in February 1860.]

"What a dissonant idea of pleasure," this so-called "pleasure-ground of the landscape-gardener!" "Those groves, those alleys where I have pa.s.sed so many charming moments, stripped up! How I loved this garden!" Here is the biter bit, and it were to be more than human not to smile!

With all the proper appliances at hand it did not take long to transform the stiff garden into the barbaric. It did not take long to find out how _not_ to do what civilization had so long been learning how to do! The ancient "Geometric or Regular style" of garden--the garden of the aristocrat, with all its polished cla.s.sicism--was to make way for the so-called "Naturalesque or Landscape style," and the garden of the _bourgeois_. Hope rose high in the b.r.e.a.s.t.s of the new professoriate. "A boon! a boon!" quoth the critic. And there is deep joy in navvydom.

"Under the great leader, Brown," writes Repton ("Landscape Gardening,"

p. 327), "or rather those who patronised his discovery, we were taught that Nature was to be our only model." It was a grand moment. A Daniel had come to judgment! Nay, did not Brown "live to establish a fas.h.i.+on in gardening which might have been expected to endure as long as Nature should exist!"

The Landscape School of Gardeners, so-called, has been the theme of a great deal of literature, but with the exception of Walpole's and Addison's essays, and Pope's admirable chaff, very little has survived the interest it had at the moment of publication.

The other chief writers of this School, in its early phase, are George Mason, Whately,[30] Mason the poet, and Shenstone, our moon-struck friend quoted above, with his "a.s.signation seats with proper mottoes, urns to faithful lovers," &c. Dr Johnson did not think much of Shenstone's contributions to gardening:

"He began from this time to point his prospects, to diversify his surface, to entangle his walks, and to wind his waters, which he did with such judgement and such fancy as made his little domain the envy of the great and the admiration of the skilful--a place to be visited by travellers and _copied by designers_. Whether to plant a walk in undulating curves, and to place a bench at every turn where there is an object to catch the view, to make water run where it will be heard, and to stagnate where it will be seen; to leave intervals where the eye will be pleased, and to thicken the plantation where there is something to be hidden--demand any great powers of the mind, I will not enquire; perhaps a surly and sullen spectator may think such performances rather the sport than the business of human reason."--(Dr Johnson, "Lives of the Poets,"

Shenstone.)

[Footnote 30: Thomas Whately's "Observations on Modern Gardening," was published in 1770, fifteen years before Walpole's "Essay on Modern Gardening." Gilpin's book "On Picturesque Beauty," though published in part in 1782, belongs really to the second phase of the Landscape School. Shenstone's "Unconnected Thoughts on the Garden" was published in 1764, and is written pretty much from the standpoint of Kent. "An Essay on Design in Gardening," by G. Mason, was published in 1795.]

Whately's "Observations on Modern Gardening," published in 1770, are well written and distinctly valuable as bearing upon the historical side of the subject. It says little for his idea of the value of Art in a garden, or of the function of a garden as a refining influence in life, to find Whately recommending "a plain field or a sheep-walk" as part of a garden's embellishments--"as an agreeable relief, and even wilder scenes."

But what astounds one more is, that a writer of Whately's calibre can describe Kent's gardens at Stowe, considered to be his masterpiece, as a sample of the non-formality of the landscape-gardener's Art, while he takes elaborate pains to show that it is full of would-be artistic subterfuges in Nature, full of architectural shams throughout. These gardens were begun by Bridgman, "Begun," Whately says, "when regularity was in fas.h.i.+on; and the original boundary is still preserved on account of its magnificence, for round the whole circuit, of between three and four miles, is carried a very broad gravel-walk, planted with rows of trees, and open either to the park or the country; a deep sunk-fence attends it all the way, and comprehends a s.p.a.ce of near 400 acres. But in the interior s.p.a.ces of the garden few traces of regularity appear; where it yet remains in the plantations it is generally disguised; every symptom almost of formality is obliterated from the ground; and an octagon basin at the bottom is now converted into an irregular piece of water, which receives on one hand two beautiful streams, and falls on the other down a cascade into a lake."

And then follows a list of sham architectural features that are combined with sham views and prospects to match. "The whole s.p.a.ce is divided into a number of scenes, each distinguished with taste and fancy; and the changes are so frequent, so sudden and complete, the transitions so artfully conducted, that the ideas are never continued or repeated to satiety." In the front of the house two elegant Doric pavilions. On the brow of some rising grounds a Corinthian arch. On a little knoll an open Ionic rotunda--an Egyptian pyramid stands on its brow; the Queen's Pillar in a recess on the descent, the King's Pillar elsewhere; all the three buildings mentioned are "peculiarly adapted to a garden scene."

In front of a wood three pavilions joined by arcades, all of the Ionic order, "characteristically proper for a garden, and so purely ornamental." Then a Temple of Bacchus, the Elysian fields, British remains; misshaped elms and ragged firs are frequent in a scene of solitude and gloom, which the trunks of dead trees a.s.sist. Then a large Gothic building, with slated roofs, "in a n.o.ble confusion"; then the Elysian fields, seen from the other side, a Palladian bridge, Doric porticoes, &c, the whole thing finished off with the Temple of Concord and Victory, probably meant as a not-undeserved compliment to the successfully chaotic skill of the landscape-gardener, who is nothing if not irregular, natural, non-formal, non-fantastical, non-artificial, and non-geometrical.

Two other points about Whately puzzle me. How comes he to strain at the gnat of formality in the old-fas.h.i.+oned garden, yet readily swallow the camel at Stowe? How can he harmonise his appreciation of the elaborately contrived and painfully a.s.sorted shams at Stowe, with his recommendation, of a sheep-walk in your garden "as an agreeable relief, and even wilder scenes"?

Whether the beauty of the general disposition of the ground at Stowe is to be attributed to Kent or to Bridgman, who began the work, as Whately says, "when regularity was in fas.h.i.+on," I cannot say. It is right to observe, however, that the prevailing characteristic of Kent's and Brown's landscapes was their smooth and bald surface. "Why this art has been called 'landscape-gardening,'" says the plain-spoken Repton, "perhaps he who gave it the t.i.tle may explain. I can see no reason, unless it be the efficacy which it has shown in destroying landscapes, in which, indeed, it seems infallible." (Repton, p. 355.) "Our virtuosi," said Sir William Chambers, "have scarcely left an acre of shade, or three trees growing in a line from the Land's End to the Tweed."

It did not take the wiser spirits long to realise that Nature left alone was more natural. And this same Repton, who began by praising "the great leader Brown," has to confess again and again that, so far as results go, he is mistaken. The ground, he laments, must be everlastingly moved and altered. "One of the greatest difficulties I have experienced in practice proceeds from that fondness for levelling so prevalent in all Brown's workmen; every hillock is by them lowered, and every hollow filled, to produce a level surface." (Repton, p. 342.) Or again (p.

347): "There is something so fascinating in the appearance of water, that Mr Brown thought it carried its own excuse, however unnatural the situation; and therefore, in many places, under his direction, I have found water, on the tops of the hills, which I have been obliged to remove into lower ground _because the deception was not sufficiently complete to satisfy the mind as well as the eye_." Indeed, in this matter of levelling, Brown's system does not, on the face of it, differ from Le Notre's, where the natural contour of the landscape was not of much account; or rather, it was thought the better if it had no natural contour at all, but presented a flat plain or plateau with no excrescences to interfere with the designer's schemes.

So much, then, for the pastoral simplicity of Nature edited by the "landscape-gardener." And let us note that under the auspices of the new _regime_, not only is Nature to be changed, but changed more than was ever dreamt of before; the transformation shall at once be more determined in its character and more deceptive than had previously been attempted. We were to have an artistically natural world, not a naturally artistic one; the face of the landscape was to be purged of its modern look and made to look primaeval. And in this doing, or undoing, of things, the only art that was to be admitted was the art of consummate deceit, which shall "satisfy the mind as well as the eye."

Yet call the man pope or presbyter, and beneath his clothes he is the same man! There is not a pin to choose as regards artificiality in the _aims_ of the two schools, only in the _results_. The naked or _undressed_ garden has studied irregularity, while the _dressed_ garden has studied regularity and style. The first has, perhaps, an excessive regard for expression, the other has an emphatic scorn for expression.

One garden has its plotted levels, its avenues, its vistas, its sweeping lawns, its terraces, its bal.u.s.trades, colonnades, geometrical beds, gilded temples, and sometimes its fountains that won't play, and its fine vases full of nothing! The other begins with fetching back the chaos of a former world, and has for its category of effects, sham primaevalisms, exaggerated wildness, tortured levellings, cascades, rocks, dead trunks of trees, ruined castles, lakes on the top of hills, and sheep-runs hard by your windows. One school cannot keep the snip of the scissors off tree and shrub, the other mimics Nature's fortuitous wildness in proof of his disdain for the white lies of Art.

And all goes to show, does it not? that inasmuch as the art of gardening implies craft, and as man's imitation of Nature is bound to be unlike Nature, it were wise to be frankly inventive in gardening on Art lines.

Success may attend one's efforts in the direction of Art, but in the direction of Nature, never.

The smooth, bare, and almost bald appearance which characterises Brown and Kent's school fails to satisfy for long, and there springs up another school which deals largely in picturesque elements, and rough intricate effects. The principles of the "Picturesque School," as it was called, are to be found in the writings of the Rev. William Gilpin and Sir Uvedale Price. Their books are full of careful observations upon the general composition of landscape-scenery, and what was then called "Landscape Architecture," as though every English building of older days that was worth a glance had not been "Landscape Architecture" fit for its site! Gilpin's writings contain an admirable discourse upon "Forest Scenery," well ill.u.s.trated. This work is in eight volumes, in part published in 1782, and it consists mainly in an account of the author's tours in every part of Great Britain, with a running commentary on the beauties of the scenery, and a description of the important country seats he pa.s.sed on the way. Price helped by his writings to stay the rage for destroying avenues and terraces, and we note that he is fully alive to the necessity of uniting a country-house with the surrounding scenery by architectural adjuncts.

The taste for picturesque gardening was doubtless helped by the growing taste for landscape painting, exhibited in the works of the school of Wilson and Gainsborough, and in the pastoral writings of Thomson, Crabbe, Cowper, and Gray. It would farther be accelerated, as we suggested at the outset of this chapter, by the large importation of foreign plants and shrubs now going on.

What is known as the Picturesque School soon had for its main exponent Repton. He was a genius in his way--a born gardener,[31] able and thoughtful in his treatments, and distinguished among his fellows by a broad and comprehensive grasp of the whole character and surroundings of a site, in reference to the general section of the land, the style of the house to which his garden was allied, and the objects for which it was to be used. The sterling quality of his writings did much to clear the air of the vapourings of the critics who had gone before him, and his practice, founded as it was upon sound principles, redeemed the absurdities of the earlier phase of his school and preserved others from further development of the silly rusticities upon which their mind seemed bent. Although some of his ideas may now be thought pedantic and antiquated, the books which contain them will not die. Pa.s.sages like the following mark the man and his aims: "I do not profess to follow Le Notre or Brown, but, selecting beauties from the style of each, to adopt so much of the grandeur of the former as may accord with a palace, and so much of the grace of the latter as may call forth the charms of natural landscape. Each has its proper situation; and good taste will make fas.h.i.+on subservient to good sense" (p. 234). "In the rage for picturesque beauty, let us remember that the landscape holds an inferior rank to the historical picture; one represents nature, the other relates to man in a state of society" (p. 236).

[Footnote 31: Loudon calls this School "Repton's," the "_Gardenesque_"

School, its characteristic feature being "the display of the beauty of trees and other plants _individually_."]

Repton sums up the whole of his teaching in the preface to his "Theory and Practice of Landscape Gardening" under the form of objections to prevailing errors, and they are so admirable that I cannot serve the purposes of my book better than to insert them here.

Objection No. 1. "There is no error more prevalent in modern gardening, or more frequently carried to excess, than taking away hedges to unite many small fields into one extensive and naked lawn before plantations are made to give it the appearance of a park; and where ground is subdivided by sunk fences, imaginary freedom is dearly purchased at the expense of actual confinement."

No. 2. "The baldness and nakedness round the house is part of the same mistaken system, of concealing fences to gain extent. A palace, or even an elegant villa, in a gra.s.s field, appears to me incongruous; _yet I have seldom had sufficient influence to correct this common error_."

No. 3. "An approach which does not evidently lead to the house, or which does not take the shortest course, cannot be right. (This rule must be taken with certain limitations.) The shortest road across a lawn to a house will seldom be found graceful, and often vulgar. A road bordered by trees in the form of an avenue may be straight without being vulgar; and grandeur, not grace or elegance, is the expression expected to be produced."

No. 4. "A poor man's cottage, divided into what is called a _pair of lodges_, is a mistaken expedient to mark importance in the entrance to a park."

No. 5. "The entrance-gate should not be visible from the mansion, unless it opens into a courtyard."

No. 6. "The plantation surrounding a place called a _Belt_ I have never advised; nor have I ever willingly marked a drive, or walk, completely round the verge of a park, except in small villas, where a dry path round a person's own field is always more interesting than any other walk."

No 7. "Small plantations of trees, surrounded by a fence, are the best expedients to form groups, because trees planted singly seldom grow well; neglect of thinning and removing the fence has produced that ugly deformity called a _Clump_."

No. 8. "Water on a eminence, or on the side of a hill, is among the most common errors of Mr Brown's followers; in numerous instances I have been allowed to remove such pieces of water from the hills to the valleys, but in many my advice has not prevailed."

No. 9. "Deception may be allowable in imitating the works of Nature.

Thus artificial rivers, lakes, and rock scenery can only be great by deception, and the mind acquiesces in the fraud after it is detected, but in works of Art every trick ought to be avoided. Sham churches, sham ruins, sham bridges, and everything which appears what it is not, disgusts when the trick is discovered."

No. 10. "In buildings of every kind the _character_ should be strictly observed. No incongruous mixture can be justified. To add Grecian to Gothic, or Gothic to Grecian, is equally absurd; and a sharp pointed arch to a garden gate or a dairy window, however frequently it occurs, is not less offensive than Grecian architecture, in which the standard rules of relative proportion are neglected or violated."

The perfection of landscape-gardening consists in the fullest attention to these principles, _Utility_, _Proportion_, and _Unity_, or harmony of parts to the whole. (Repton, "Landscape Gardening," pp. 128-9.)

The best advice one can give to a young gardener is--_know your Repton_.

The writings of the new school of gardening, of which Repton is a notable personage in its later phase, are not, however, on a par with the writings of the old traditional school, either as pleasant garden literature, or in regard to broad human interest or artistic quality.

They are hard and critical, and never lose the savour of the heated air of controversy in which they were penned. Indeed, I can think of no more sure and certain cure for a bad attack of garden-mania--nothing that will sooner wipe the bloom off your enjoyment of natural beauty--than a course of reading from the Cla.s.sics of Landscape-garden literature! "I only sound the clarion," said the urbane master-gardener of an earlier day, "but I enter not into the battle." But these are at one another's throats! Who enters here must leave his dreams of fine gardening behind, for he will find himself in a chilly, disenchanted world, with nothing more romantic to feed his imagination upon than "Remarks on the genius of the late Mr. Brown," Critical enquiries, Observations on taste, Difference between landscape gardening and painting, Price upon Repton, Repton upon Price, Repton upon Knight, further answers to Messrs Price and Knight, &c. But all this is desperately dull reading, hurtful to one's imagination, fatal to garden-fervour.[32] And naturally so, for a.n.a.lysis of the processes of garden-craft carried too far begets loss of faith in all. a.n.a.lysis is a kill-joy, destructive of dreams of beauty.

"We murder to dissect." That was a true word of the cynic of that day, who summed up current controversy upon gardening in the opinion that "the works of Nature were well executed, but in a bad taste." The quidnuncs' books about gardening are about as much calculated to give one delight, as the music the child gets out of the strings of an instrument that it broke for the pride of dissection. Even Addison, with the daintiest sense and prettiest pen of them all, shows how thoroughly gardening had lost

... "its happy, country tone, Lost it too soon, and learnt a stormy note Of men contention-tost,"--

as he thrums out his laboured coffee-house conceit. "I think there are as many kinds of gardening as poetry; your makers of parterres and flower-gardens are epigrammatists and sonneteers in this art; contrivers of bowers and grottoes, treillages, and cascades, are Romance writers.

Wise and Loudon are our heroic poets." Nor is his elaborate argument meant to prove the gross inferiority of Art in a garden to unadorned Nature more inspiring. Nay, what is one to make of even the logic of such argument as this? "If the products of Nature rise in value according as they more or less resemble those of Art, we may be sure that artificial works receive a greater advantage from their resemblance of such as are natural." (_Spectator._) But who _does_ apply the Art-standard to Nature, or value her products as they resemble those of Art? And has not Sir Walter well said: "Nothing is more the child of Art than a garden"? And Loudon: "All art, to be acknowledged, as art must be avowed."

[Footnote 32: A candid friend thus writes to Repton: "You may have perceived that I am rather _too much_ inclined to the Price and Knight _party_, and yet I own to you that I have been often so much disgusted by the affected and technical language of connoisseurs.h.i.+p, that I have been sick of pictures for a month, and almost of Nature, when the same jargon was applied to her." (Repton, p. 232.)]

One prefers to this cold Pindaric garden-homage the unaffected, direct delight in the sweets of a garden of an earlier day; to realise with old Mountaine how your garden shall produce "a jucunditie of minde;" to think with Bishop Hall, as he gazes at his tulips, "These Flowers are the true Clients of the Sunne;" to be brought to old Lawson's state of simple ravishment, "What more delightsome than an infinite varietie of sweet-smelling flowers? decking with sundry colours the green mantle of the Earth, colouring not onely the earth, but decking the ayre, and sweetning every breath and spirit;" to taste the joys of living as, taking Robert Burton's hand, you "walk amongst orchards, gardens, bowers, mounts and arbours, artificial wildernesses, green thickets, groves, lawns, rivulets, fountains, and such like pleasant places, between wood and water, in a fair meadow, by a river side, to disport in some pleasant plain or park, must needs be a delectable recreation;" to be inoculated with old Gerarde of the garden-mania as he bursts forth, "Go forward in the name of G.o.d: graffe, set, plant, nourishe up trees in every corner of your grounde;" to trace with Temple the lines and features that go to make the witchery of the garden at Moor Park, "in all kinds the most beautiful and perfect, at least in the Figure and Disposition, that I have ever seen," and which you may follow if you are not "above the Regards of Common Expence;" to hearken to Bacon expatiate upon the Art which is indeed "the purest of all humane pleasure, the greatest refreshment to the Spirits of man;" to feel in what he says the value of an ideal, the magic of a style backed by pa.s.sion--to have garden precepts wrapped in pretty metaphors (such as that "because the Breath of Flowers is far Sweeter in the Air--_where it comes and goes like the warbling of Musick_--than in the Hand, therefore nothing is more fit for that Delight than to know what be the Flowers and Plants that do best perfume the Air;")--to be taught how to order a garden to suit all the months of the year, and have things of beauty enumerated according to their seasons--to feel rapture at the sweet-breathing presence of Art in a garden--to learn from one who knows how to garden in a grand manner, and yet be finally a.s.sured that beauty does not require a great stage, that the things thrown in "for state and magnificence" are but nothing to the true pleasure of a garden--this is garden-literature worth reading!