suitable to an English homestead than some now in vogue.

The old-fashioned garden, whatever its failings in the eyes of the modern landscape-gardener (great is the poverty of his invention), represents one of the pleasures of England, one of the charms of that quiet beautiful life of bygone times that I, for one, would fain see revived. And judged even as pieces of handicraft, apart from their poetic interest, these gardens are worthy of careful study. They embody ideas of ancient worth; they evidence fine aims and heroic efforts; they exemplify traditions that are the net result of a long probation. Better still, they render into tangible shapes old moods of mind that English landscape has inspired; they testify to old devotion to the scenery of our native land, and illustrate old attempts to idealise its pleasant traits.

Because the old gardens are what they are—beautiful yesterday, beautiful to-day, and beautiful always—we do well to turn to them, not to copy their exact lines, nor to limit ourselves to the range of their ornament and effects, but to glean hints for our garden-enterprise to-day, to drink of their spirit, to gain impulsion from them. As often as not, the forgotten field proves the richest of pastures.

J. D. S.

The Croft, West Wickham, Kent,
        Oct. 8, 1890.

MEMOIR.

The Manuscript of this book was placed complete in the hands of his publishers by John Sedding. He did not live to see its production.

At the wish of his family and friends, I have, with help from others, set down some memories and impressions of my friend.

My acquaintance with John Sedding dates from the year 1875. He was then 37 years of age, and had been practising as an architect almost exclusively in the South-West of England. The foundations of this practice were laid by his equally talented brother, Edmund Sedding, who, like himself, had received his training in the office of Mr Street. Edmund died in 1868, and John took up the business, but his clients were so few, and the prospect of an increase in their number so little encouraging, that he left Bristol and came to London, and here I first met him. He had just taken a house in Charlotte Street, Bedford Square, and the house served him on starting both for home and office.

The first years in London proved no exception to the rule of first years, they were more or less a time of struggle and anxiety. John Sedding's happy, buoyant nature, his joy in his art, and invincible faith in his mission, did much to carry him through all difficulties. But both at this time, and all through his life, he owed much, very much, to the brave hopefulness and wise love of his wife. Rose Sedding, a daughter of Canon Tinling, of Gloucester, lives in the memory of those who knew her as an impersonation of singular spiritual beauty and sweetness. Gentle and refined, sensitive and sympathetic to an unusual degree, there was no lack in her of the sterner stuff of character—force, courage, and endurance. John Sedding leaned upon his wife; indeed, I cannot think of him without her, or guess how much of his success is due to what she was to him. Two days before his death he said to me, "I have to thank God for the happiest of homes, and the sweetest of wives."

Many will remember with gratitude the little home in Charlotte Street, as the scene of some of the pleasantest and most refreshing hours they have ever known. John Sedding had the gift of attracting young men, artists and others, to himself, and of entering speedily into the friendliest relations with them. He met them with such taking frankness, such unaffected warmth of welcome, that they surrendered to him at once, and were at once at ease with him and happy.

On Sundays, when the religious duties of the day were over, he was wont to gather a certain number of these young fellows to spend the evening at his house. No one of those who were privileged to be of the party can forget the charming hospitality of these evenings. The apparatus was so simple, the result so delightful; an entire absence of display, and yet no element of perfect entertainment wanting. On these occasions, when supper was over, Mrs Sedding usually played for us with great discernment and feeling the difficult music of Beethoven, Grieg, Chopin, and others, and sometimes she sang. More than one friendship among their guests grew out of these happy evenings.

In course of time the increase of his family and the concurrent increase of his practice obliged him to remove, first his office to Oxford Street, and later on his home to the larger, purer air of a country house in the little village of West Wickham, Kent. This house he continued to occupy until his death. Work of all kinds now began to flow in upon him, not rapidly, but by steady increase. His rich faculty of invention, his wide knowledge, his skill in the manipulation of natural forms, the fine quality of his taste, were becoming more and more known. He produced in large numbers designs for wall-papers, for decoration, and for embroidery. These designs were never repetitions of old examples, nor were they a réchauffé of his own previous work. Something of his soul he put into all that he undertook, hence his work was never commonplace, and scarcely needed signature to be known as his, so unmistakably did it bear his stamp, the "marque de fabrique," of his individuality.

I have known few men so well able as he to press flowers into all manner of decorative service, in metal, wood, stone or panel, and in needlework. He understood them, and could handle them with perfect ease and freedom, each flower in his design seeming to fall naturally into its appointed place. Without transgressing the natural limits of the material employed, he yet never failed to give to each its own essential characteristics, its gesture, and its style. Flowers were indeed passionately loved, and most reverently, patiently studied by him. He would spend many hours out of his summer holiday in making careful studies of a single plant, or spray of foliage, painting them, as Mr Ruskin had taught him, in siena and white, or in violet-carmine and white. Leaves and flowers were, in fact, almost his only school of decorative design.

This is not the place to attempt any formal exposition of John Sedding's views on Art and the aims of Art. They can be found distinctly stated and amply, often brilliantly, illustrated in his Lectures and Addresses, of which some have appeared in the architectural papers and some are still in manuscript.[1] But short of this formal statement, it may prove not uninteresting to note some characters of his work which impressed us.

Following no systematic order, we note first his profound sympathy with ancient work, and with ancient work of all periods that might be called periods of living Art. He never lost an opportunity of visiting and intently studying ancient buildings, sketching them, and measuring them with extraordinary care, minuteness, and patience. "On one occasion," writes Mr Lethaby, "when we were hurried he said, 'We cannot go, it is life to us.'" A long array of sketch-books, crowded with studies and memoranda, remains to bear witness to his industry. In spite of this extensive knowledge, and copious record of old work, he never literally reproduced it. The unacknowledged plagiarisms of Art were in his judgment as dishonest as plagiarisms in