Sometimes on level ground the terrace walls cut off the view of the landscape from the house, and, on the other hand, the house from the landscape!

I hold that it is possible to get every charm of a garden and every use of a country-seat without sacrifice of the picturesque or beautiful; that there is no reason why, either in the working or design of gardens, there should be a single false line in them. By this I mean hard and ugly lines such as the earth never follows, as say, to mention a place known to many, the banks about the head of the lake in the Bois de Boulogne. These lines are seen in all bad landscape work, though with good workmen I find it is as easy to form true and artistic lines as false and ugly ones. Every landscape painter or observer of landscape will know what is meant here, though I fear it is far beyond the limits of the ideas of design held by the authors of the Formal Garden. Also, that every charm of the flower garden may be secured by avoiding wholly the knots and scrolls which make all the plants and flowers of a garden, all its joy and life, subordinate to the wretched conventional design in which they are "set out." The true way is the opposite. We should see the flowers and feel the beauty of plant forms, with only the simplest possible plans to ensure good working, to secure every scrap of turf wanted for play or lawn, and for every enjoyment of a garden.

"Uncultivated Nature"

Such views I have urged, and carry them out when I can, in the hope of bringing gardening into a line with art, from which it is now so often divorced. It is natural that these views should meet with some opposition, and the consideration of the Formal Garden gives the opportunity of examining their value.

No sane person has ever proposed to ignore the house. So far from ignoring the house in my own work, where there is a beautiful house it tells me what to do! Unhappily, the house is often so bad that nothing can prevent its evil effect on the garden. "Reproducing uncultivated Nature" is no part of good gardening, as the whole reason of a flower garden is that it is a home for cultivated Nature. It is the special charm of the garden that we may have beautiful natural objects in their living beauty in it, but we cannot do this without care and culture to begin with! Whether it be Atlas Cedar or Eastern Cypress, Lily-tree or American Mountain Laurel, all must be cared for at first, and we must know their ways of life and growth if we are to treat them so that they will both grow well and be rightly placed—an essential point. And the more precious and rare they are the better the place they should have in the flower garden proper or pleasure ground,—places always the object of a certain essential amount of care even under the simplest and wisest plans. If we wish to encourage "uncultivated Nature" it must surely be a little further afield! A wretched flowerless pinched bedding plant and a great yellow climbing Tea Rose are both cultivated things, but what a vast difference in their beauty! There are many kinds of "cultivated Nature," and every degree of ugliness among them.

Gilbert White's house at Selborne. Example of many gardens with lawn coming to windows and flowers on its margin

Would any one put this high wall in front of Gilbert White's house at Selborne, or of Golder's Hill at Hampstead, or many English houses where the erection of a high wall would cut off the landscape? Not a word about the vast variety of such situations, each of which would require to be treated in a way quite different from the rest! There are many places in every county that would be robbed of their best charms by separating the garden from the adjacent country by a "good high wall."

Nature an "absolutely free hand"! Imagine a great park or any part of an estate being left to Nature with an "absolutely free hand"! If it were, in a generation there would be very little to see but the edge of the wood. Callous to the beauty of English parks, he does not know that they are the object of much care, and he abuses all those who ever formed them, Brown, Repton, and the rest.

Example of formal gardening, with clipped trees and clipped shrubs in costly tubs

The True Landscape

Mr. Blomfield writes nonsense, and then attributes it to me—

I am never concerned with Claude, but seek the best expression I can secure of our beautiful English real landscapes, which are far finer than Claude's. At least I never saw any painted landscape like them—say that from the Chestnut Walk at Shrubland, looking over the lovely Suffolk country. That is the precious heritage we have to keep. And that is where simple and picturesque gardening will help us by making the garden a beautiful foreground for the true landscape, instead of cutting it off with a "high wall" or anything else that is ugly and needless.

I have fought for years against the lawn-destruction by the terrace-builders and bedding-out gardeners! But how are we to have our lawns in "broad expanse" if we build a high wall near the house to cut off even the possibility of a lawn? This has been done in too many cases to the ruin of all good effect and repose, often to shut out as good landscapes as ever