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-The Project Gutenberg eBook of The garden as a picture, by Beatrix
-Jones
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: The garden as a picture
-
-Author: Beatrix Jones
-
-Illustrator: Henry  McCarter
-
-Release Date: December 5, 2022 [eBook #69479]
-
-Language: English
-
-Produced by: Richard Tonsing and the Online Distributed Proofreading
-             Team at https://www.pgdp.net (This book was produced from
-             images made available by the HathiTrust Digital Library.)
-
-*** START OF THE PROJECT GUTENBERG EBOOK THE GARDEN AS A PICTURE ***
-
-
-[Illustration: Garden of the Villa of Castello.]
-
-
-
-
-                        THE GARDEN AS A PICTURE
-
-
-                            By Beatrix Jones
-
-                    ILLUSTRATIONS BY HENRY MCCARTER
-
-Garden literature of to-day, as we all know, does not confine itself
-merely to flowers, insects, and the weather, but is equally
-authoritative as to astronomy, cookery, philosophy, and even matrimony.
-Some quotations from old writings, however, come back over and over
-again, like the burden of a song, 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 essay. 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 school, 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 comparison. They have also taught the great essential of
-gardening, that in order to have good gardens we must really care for
-the plants in them and know them individually as well as collectively.
-This is an important part of the technique of the garden-maker; he must
-know intimately the form and texture as well as the color of all the
-plants he uses; for plants are to the gardener what his palette is to a
-painter. The two arts of painting and garden design are closely related,
-except that the landscape gardener paints with actual color, line, and
-perspective to make a composition, as the maker of stained glass does,
-while the painter has but a flat surface on which to create his
-illusion; he has, however, 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 view.
-
-The painter has another great advantage over the gardener, because, as
-he cannot possibly transfer to canvas the millions of colors and shadows
-which make up the most ordinary landscape, he must eliminate so many
-that his presentment becomes more or less conventional, just as a
-playwright must recognize the conventions of the stage, and these
-limitations are taken for granted by the public, whereas the landscape
-gardener has to put his equally artificial landscape out in real light,
-among real trees, to be barred by real and moving shadows. The garden
-designer has no noncommittal canvas at the back of his picture, but must
-be prepared, like the sculptor, for criticism from any standpoint, and
-it would seem as though most people were irresistibly drawn to look at a
-composition from its least attractive side, as if, in a parallel case,
-they should criticise only the backs of statues, all of which are not so
-beautiful as that of the Venus of Syracuse.
-
-The painter has yet another advantage hard to overestimate, in that his
-palette is really in great measure the creation of his personal artistic
-temperament, expressed with more or less variation in all that he does,
-while the landscape architect must take the elements given him by nature
-as the basis of his composition in each separate piece of work; this
-means that he cannot use the color, form, and texture suited to one
-place in another possibly only a few miles away. The painter also
-usually follows his own bent and seldom varies from marines to
-portraits, or from still life to landscape, and although some have run
-the whole gamut, the personality of the artist unconsciously translates
-his subjects into his own individual language.
-
-The landscape artist, on the other hand, must subordinate himself to the
-elements given him, the climate and the soil, the character of the
-vegetation, and last but usually not least, the wishes of his client.
-The painter and the sculptor may finish their work and it can at once be
-judged as a whole, 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 die, while for years the shady groves of the future will
-decorate the scene like feather dusters on broomsticks.
-
-[Illustration: Fountain in the Garden of Castello.]
-
-Although each year an increasing number of people interest themselves in
-out-of-door life and the habits of birds, trees, and wild flowers, they
-may realize only the striking contrast between a landscape where
-deciduous trees predominate and another where evergreens give the
-characteristic note. Everyone can see the difference between the
-austerity of the rock-bound coast of Maine, the quiet beauty of a
-Massachusetts intervale, and the sleepy luxuriance of the Pennsylvania
-pastoral country, but slight variations between these may often pass
-unnoticed; it is only in trying to copy the expression of a landscape,
-or rather to fit in with its character, that it is possible to realize
-how infinite and yet how minute these variations are. The quality of the
-light is perhaps the most important. 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 south. 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 artists. They used shadow as
-having the same value of accent as color. Their long and sunlit walks
-were relieved by patches of shade; their brilliant and sometimes glaring
-parterres, vibrating with light, were contrasted with the cool darkness
-of a little grove. This feeling for the balance between light and shade
-may not have been a faculty consciously exercised on their part, but it
-is unquestionably a feeling without which no artist can make a
-composition at all. We are apt to read into the people of a past time
-subtleties of which they probably knew nothing, on the principle of
-
-                   Critics who from Shakespeare drew
-                   More than Shakespeare ever knew.
-
-The difference of the quality of light is no doubt what unconsciously
-affects the outdoor art of different countries, and the demand of the
-eye for contrasts may be what makes the English gardens so full of dark
-yews, which even on dull days make the bright flowers near them seem as
-if the sun were actually shining, whereas in Italy the dark laurels and
-bays are more apt to be used as a contrast to actual light and not
-color. It should also be remembered that the art of gardening at its
-best is as strongly national as that of painting or sculpture; in the
-England of old days gardens which were honestly supposed to be Italian
-were in reality British, just as the so-called “English gardens” of the
-eighteenth century were either French or Italian when they were made in
-one or the other country. 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 keep; for
-instance, a model seen in Rome is now often repeated in an alien
-American garden, merely because it looked well in the place for which it
-was intended. We cover more ground in a short holiday than our
-forefathers did in one of their solemn “tours,” and can bring home any
-number of accurate records of what we have seen. Before photography was
-invented, if a traveller wanted to be sure of remembering a terrace or a
-summer-house he had to sketch it more or less accurately; now we snap a
-camera which reproduces every detail with a minuteness usually
-impossible in a drawing. When the old tourist returned and went to work
-again there was an exotic flavor in his design, but he had necessarily
-forgotten many minor points of decoration, as in mouldings and
-ornaments, so he replaced them by those with which he was familiar, and
-his neighbors took it as a matter of course. Now we are terribly
-cultivated and scrupulously accurate; we know just how everything all
-over the world looks, whether we have actually seen it or not, and if it
-is a work of art we think we know just “how it was done.”
-
-It is well to remember that many of the garden decorations imported from
-one country to another, as from Italy to England, look much better now
-than when they were first expatriated. Time and neglect will do wonders
-for inappropriate garden architecture; in our climate, for instance,
-chilly marble goddesses will soon lose their noses and fingers in spite
-of their hibernation in wooden sentry-boxes, 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 men.
-
-A collection of flowers, no matter how beautiful they may be, does not
-make a garden, any more than the colors on a painter’s palette make in
-themselves a picture. A real garden is just as artificial as a painting,
-and yet it has not the advantage of artificial surroundings. The
-landscape architect must put his composition down in the open air with
-the sky and the trees and the grass as a background, and must juggle
-with nature in order that his composition may not look out of place,
-keeping always in his mind the balance between masses of color and
-offsetting masses of green. It is perhaps for this reason that we
-unconsciously feel that a garden is best shut in, at any rate, in part,
-from the surrounding lines of the landscape. This enclosure does not
-necessarily mean a wall, nor does it mean that a garden should have no
-outlook, but only that there should be some definite limit.
-
-If one may use a musical expression, 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 size, where the
-parts are much more subdivided and the sound consequently more
-complicated. In the same way the vibrations of color from a garden,
-being more closely brought together, are much more exciting than in an
-ordinary landscape. This makes it necessary that the garden should be
-treated in a bolder manner; flowers must be used as color and
-interrupted by high lights and dark shadows to throw out contrasts.
-
-If it is possible to give over any considerable part of a place to one
-special effect by massing rhododendrons, spring-flowering bulbs, or one
-particular flower, the result is incalculably greater than if the same
-number of plants are dotted about promiscuously, but it must be borne in
-mind that in order to get an effect like this planting must be done on a
-big scale; the artist must try to keep step with the great stride of
-Nature and copy as far as may be her breadth and simplicity. This can
-only be attempted where there is plenty of room. Ten barberry bushes in
-a front yard may be very good because they are simple, but they cannot
-even suggest the broad effect of which we have been speaking.
-
-[Illustration: Shasta daisies in a border.]
-
-A garden, large or small, must be treated in the impressionist manner.
-Old paintings and colored prints are interesting from their quaintness,
-but they do not make one feel the real effect of a garden any more than
-if they were in black and white. They treat it as a part of the
-landscape and therefore subdue its coloring that it may not jar with the
-rest, whereas in reality a garden vibrates with color as the air rising
-over some reflecting surface on a summer day vibrates with heat.
-
-[Illustration: Moorish fragment at Villa Reed.]
-
-The gardener must also consider the length of time in each year in which
-his work will be looked at. In the north it is difficult to keep one
-from being more or less unattractive during six months at least;
-therefore, 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 house, 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 manure,
-or at best with evergreen boughs and leaves. If, however, they only stay
-in the country for two or three months it is comparatively easy to
-arrange a mass of color like a Turkey carpet, in which flowers are laid
-in in broad washes. This brilliant effect can be held for a couple of
-months, 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 earth. If the garden has to be
-presentable from early spring to late autumn it will be impossible,
-unless it covers a considerable piece of ground, to do more than keep a
-continuous succession of bloom in small patches rather than in great
-masses. Breaks in the surface of the ground are also needed, like
-terraces, arbors to interrupt long walks by shadow, benches and
-balustrades. Here is where the old Italian gardens are so successful;
-their fountains and their statues, their benches and their vases, are
-used as emphasis to give height or light or variation to a part of the
-composition which might otherwise be uninteresting. 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 Antæus by
-John of Bologna and Tribolo. It is difficult to put a rule into words
-which will serve as a guide in even one hypothetical place, perhaps for
-the same reason that no two people would paint exactly the same picture
-from the same subject, or tell the same story in the same words.
-
-[Illustration: The pond garden at Hampton Court palace.]
-
-In nature colors are set rather as an incident than as the principal
-feature of a landscape; the spring flowers in the Alps, even if they are
-not surrounded by trees and much grass, are covered by the simple
-expanse of the sky; the colors in an American autumn, the change of leaf
-in the trees, the golden-rod and asters, are all playing in a certain
-tone of color. The whole symphony of nature changes at that time to an
-entirely different key from that of summer; the tawny, the brown, the
-red and yellow and purple have completely changed the aspect of things
-from what it was in July, when there was nothing but slight gradations
-in a scheme with green as its key-note. Where colors do not change, as
-among the evergreens, the effect of the autumn coloring is much more
-than doubled, as they are the only objects in the landscape which have
-remained as they were. This unchanging quality of the evergreens is, of
-course, the basis for the well-known French saying that “Evergreens are
-the joy of winter and the mourning of summer.” It cannot be too often
-repeated that a garden is an absolutely artificial thing, not only as to
-the congregation of flowers but principally as to color, and for this
-reason must be treated as such. One can seldom, if ever, command a
-setting as wide as nature’s in which to place our work, and therefore we
-must tune up our settings to the key of the whole artificial
-composition. Writing in rhymed verse has been compared to dancing in
-fetters, and to apply that simile to gardening, it may be said that it
-is like composing in French alexandrines with their measured rhythm and
-subtle cæsura. We must keep time with Nature, and follow her forms of
-expression in different places while we carry out our own ideas or
-adaptations. Perhaps the so-called natural garden is the most difficult
-to fit in with its surroundings, because there is no set line to act as
-a backbone to the composition, and the whole effect must be obtained
-from masses of color, contrasting heights, and varieties of texture
-without any straight line as an axis, without any architectural
-accessory for emphasis, 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 catalogue.
-These gardens are very hard to design, far more so than the formal
-garden, and almost impossible to reproduce, as pictures of them are apt
-to look like views of a perennial border, and all the play of light and
-color, which is the making of the actual place, is translated only by a
-little more or less depth in the values of black and white. The planning
-of an informal garden must be more or less like the arrangement of a
-painter’s palette; and as an artist would not think of putting a rosy
-pink and a violent yellow side by side, so the gardener must go through
-careful processes of choice and elimination. Each garden has one or more
-points from which it may be seen to more advantage than from others, and
-in a formal one these are comparatively easy to manage, but in the
-natural garden the grouping of color must be considered from every
-reasonable point of view, in order that there may be no jarring
-combinations.
-
-[Illustration: Approach to a natural garden.]
-
-Perhaps it is a cowardly subterfuge, but it is one which is at least
-safe, to keep the bright yellows and the pinks absolutely separate in
-any place where masses of color are used. If you are going to make your
-garden in one of the very hot gamuts of color, you can use the deep
-oranges, the yellows and browns, the scarlets, and that wonderful
-unifier, blue, as seen in the larkspurs, but you cannot use a certain
-quality of papery white in some thick petaled flowers, like the white
-phloxes and the Shasta daisies, which seem to spring out of any group of
-other flowers in which they are placed, leaving the rest of their
-companions looking muddled and woolly beside the intensity of their
-perfectly untranslucent white.
-
-In quiet colors, some of the misty whites, like gypsophila or
-antirrhinum, the faint blues, such as veronica spicata, the pale yellows
-of some of the evening primroses, with the dull violets of aconitum
-autumnale and the lilacs of hesperus matronalis, make a subdued harmony
-less exciting than the red of lychnis chalcedonica and the yellow of
-helianthus strumosus, but are more appealing and quite as effective in
-their own way. The blaze of the high colors may be compared to the
-brasses of an orchestra while the quieter shades are like the strings.
-
-No splendid and complete garden, however, can afford to shut itself out
-from the high colors, any more than a composer writing an opera would
-omit all the horns and trombones. In some places where special effects
-are sought the gardener may leave out the fanfare of the yellows and
-scarlets; perhaps his garden will be looked at often from the house or
-terrace on hot summer nights, 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 stems. Then, too, at dusk the scheme changes
-again as the yellow of the daylight fades and with it takes the subtler
-colors, leaving only the whites and some of the yellows to prevail. The
-elimination of detail at night and the thick quality of the light change
-the effect and the apparent distance of colors entirely, and give a
-curiously submerged appearance to the garden.
-
-[Illustration: An informal garden.]
-
-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 one,
-and the reason why the eye seeks relief from a flat surface is not only
-that it instinctively resents monotony, but that it feels the need of
-shadow. 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 sky, but it is not easy to imagine anything more
-dreary than a wide expanse of level earth with no shadows at all. This
-quality of shadow, which must be recognized as color, makes it one of
-the most important factors in outdoor composition. Who has not noticed
-the beauty of outline of the shadows of a group of trees thrown on a
-lawn by the later afternoon sun, the round-topped ones making gracious
-curves, and the pointed ones seeming stretched out to hurry on the dusk?
-
-[Illustration: A water garden.]
-
-People must not hesitate to make gardens because they fancy the
-difficulties are too great; it is only by having them, living in them,
-and never ceasing to notice the changes that are constantly passing over
-them, the effects that are good and those that are bad, the shadows that
-come in the wrong places and the superfluity of high lights, that they
-will learn to see; and not only must they see but they must think. They
-must notice the different lights and shadows and see how they change the
-effect; they must remember the plants whose scent begins at dusk and
-those whose fragrance stops with the light. They must distinguish the
-flowers that are beautiful by night from those that are beautiful only
-by day; they must learn to know the sounds of the leaves on different
-sorts of trees; the rippling and pattering of the poplar, the rustling
-of the oak-leaves in winter, and the swishing of the evergreens. And by
-noticing they will also learn that plants are only one of the tools,
-although to be sure one of the most important, with which a garden is
-made. Then, too, they will learn to see that the garden, to be
-successful, must be in scale with its surroundings as well as
-appropriate to them, and also that it must be kept up, as a garden, if
-left to itself, will quickly make alterations in the original scheme;
-certain plants will become rampant, others will die out, and thus the
-delicate balance will be destroyed. The owner of a garden is like the
-leader of an orchestra; he must know which of his instruments to
-encourage and which to restrain. 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 know, but at any rate, we shall have gained a sort of
-working hypothesis on which to build the foundations of a good design.
-
-
-
-
-                          THIS IS ANOTHER DAY
-
-                             By Don Marquis
-
-
-          I am mine own priest, and I shrive myself
-          Of all my wasted yesterdays. Though sin
-          And sloth and foolishness, and all ill weeds
-          Of error, evil, and neglect grow rank
-          And ugly there, I dare forgive myself
-          That error, sin, and sloth and foolishness.
-          God knows that yesterday I played the fool;
-          God knows that yesterday I played the knave;
-          But shall I therefore cloud this new dawn o’er
-          With fog of futile sighs and vain regrets?
-
-          This is another day! And flushed Hope walks
-          Adown the sunward slopes with golden shoon.
-          This is another day; and its young strength
-          Is laid upon the quivering hills until,
-          Like Egypt’s Memnon, they grow quick with song.
-          This is another day, and the bold world
-          Leaps up and grasps its light, and laughs, as leapt
-          Prometheus up and wrenched the fire from Zeus.
-          This is another day—are its eyes blurred
-          With maudlin grief for any wasted past?
-          A thousand thousand failures shall not daunt!
-          Let dust clasp dust; death, death—I am alive!
-          And out of all the dust and death of mine
-          Old selves I dare to lift a singing heart
-          And living faith; my spirit dares drink deep
-          Of the red mirth mantling in the cup of morn.
-
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-
-
-
-
-                          TRANSCRIBER’S NOTES
-
-
- 1. Silently corrected obvious typographical errors and variations in
-      spelling.
- 2. Retained archaic, non-standard, and uncertain spellings as printed.
- 3. Enclosed italics font in _underscores_.
-
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