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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. - ------------------------------------------------------------------------- - - - - - 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_. - -*** END OF THE PROJECT GUTENBERG EBOOK THE GARDEN AS A PICTURE *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. 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