Cornell University Dthaca, New York COLLEGE OF ARCHITECTURE LIBRARY Cornell University Library NP 1000.D34 its garde! wT ATT 50 APPROPRIATE PLANTING FOR. A GARDEN DOORWAY House of Mr. James C. Breese, af Southampton, Long Island. McKim, Meade and White, .rchitects a ‘ & RIB IR IRIN IRR RRR RRR IR IR IRR THE |(bIVABLGE bOUSE st : 2 Its Garden a by Ruth Dean By Landscape Architect ai : being Voir me a: of a\ the Livable House Ser/es \ edited by Ady mar fmbu AE 8 2/ é a\ * eB x By Ke MC 3/ a 2y/ gO cal By Mofttat Yard aad Company 120 West 32nd Street, New York MCMXVII See Uae Pal NvGe ids NS ae ok A Oe oe 07 Estate of Mr. Charles W. Hubbard. Olmsted) Brothers, Landscape Architects FLOWER BEDS BORDERING A CENTRAL STRETCH OF TURF. . ret) hie ee ee YOO Estate of Afr. Michael ebay at Roland Pie Baltimore, Jlaryland Sears and Wendell, Landscape Architects A GARDEN WITH AN OPEN CENTER... . 99 Grounds of Afr. Jonathan Godtrev, at Bridgeport, Connecticut Marian C. Coffin, Landscape Architect; F. Burrall Hoffman, Architect A CENTRAL GRASS PANEL OUTLINED BY BOX =. She sad hae ular Sone eos ecu Garden of AIr. Marshall Fry, at Southampton, Long Island. Aymar Embury IT, rchitect THE EDGE OF A POOL SHOULD NOT BE ENTIRELY SURROUNDED BY PLANTING .. . hee pelO® Garden of Afr. H. H. Ramer | at Sonik amas tony La Is na Walker and Gilbert, drchitects WATERSIDE PLANTS GROWING NEAR A FORMAL POOL . Be nad Gee ge asoe ay ree aenL OS Garden of M[rs. Harry Payne W Hiner, at Westbury, Long Island Delano and Aldrich, 4rchitects [xvii] lL st La Df & ™ ~ Q ™ ~ Ss = cs WATER LILY PADS WHICH LEAVE A PLEASING WATER SURFACE OPEN FOR REFLECTIONS . Shas ae ee. OS flouse of Afr. Thomas H. Kerr, at W tite Plains, New York. Albro and Lindeberg, .frchitects FALLS AT THE END OF THE SWIMMING | EO 1) I a a ra a eae G61) Estate of MIr. kK. D. Alexander, at Spring Station, AKentucky. Jens Jensen, Landscape Architect A TERRACE GARDEN WITH A POOL ALGyACIENes Lt Sl tbaE) @WeATE TS 3 Gy 2 Oe Ge ke ee TO? Grounds of AIr. H. H. Rogers, at Tuxedo, New York. Walker and Gillette, drchitects A “STUDIED HAP-HAZARD’’ GARDEN . 109 At Bedford Hills, Nez York. Pray, Hubbard and White, Landen Architects A NATURALISTIC SWIMMING POOL Aer 110 On the grounds of Afr. K. D. Alexander, at Spring Station, Ramueky Jens Jensen, Landscape Architect AN UNUSUALLY GOOD PIECE OF ROCK ANEG)UREIRS oe ues ee ee SE Estate of Afr. kK. D. Alexander, at Spring Station, Kentucky. Jens Jensen, Landscape Architect PLANS OF A: -COUUNTRY PILACE »& « s = * 8 « 113 dt Bedtord Hills, New York “THE SPRING’’ IN A ROCK GARDEN .. . . 114 At Newport, Rhode Island. Pray, Hubbard and White, Landscape Architects PLANTING CHARACTERISTIC OF THE VMIARSHY STREAMS NEAR CHICAGO | . 115 Estate of Mr. Harry Rubens, Glencoe, Illinois. Jens Jensen, Landscape Architect PLANTING WHICH IS CONVINCINGLY Does fie he Be ey, ee ee eet Bee eke ke Estate of C. S. Walton, Esq. at St. Davids, Pennsylvania. Sears and Wendell, Landscape Architects PA FOR Te OW 2.4 om: @ « 2 & = HS 2 2ets Estate of H. Rubens, Glencoe, [/liois AN ARCH AS A FRAME DOUBLES THE IN TER EST IN A GARDEN . . Soe = EB Grounds of AIr. H. H. Rogers, at Southampton, Long fsliiniah, Walker and Gillette, Jrchitects; Olmsted Brothers, Landscape Architects [xviii } T he SS as ae ae a Oey A GATEWAY WHICH MAKES AN ORDINARY = PATH INTERESTING . : 136 Forest Hills Gardens, Forest Hills, Long Tae Wilson Ey re, Architect A PLEASING GATE AT FOREST HILLS 137 Grosvenor Atterbury, drchitect A GATE OF ORIGINAL DESIGN : > 24638 House of Mr. Daniel E. Pomeroy, at Englewood, New Tekan Banat Embury II, drchitect A PLEASING WALL WITH STUCCO FINISH AND MOLDED BRICK CAP : emer s “Tluntland,” Estate of Alr. J. B. Thomas, at Widdlcnare Wonoman Peabody, Wilson and Brown, Architects SIMPLE ROSE ARCHES OF VERY GOOD DESIGN ae 142 A GATEWAY AND ARBOR AT HAMILTON FARM. p ae eee mate 142 A WALL PERGOLA WITH VALUABLE PLANTING SPACE AT ITS BASE ees Garden of Mr. Jonathan Godfrey, at Bridgeport, Connecticut. Marian C. Coffin, Landscape Architect; F. Burrall Hoffman, ./rchitect A FAUN . 144 J. C. Kraus, pee ees A DELIGHTFUL OLD GARDEN HOUSE ; 145 Designed by Samuel MacIntire in 1799 on the Osborn estate a Peal body, Massachusetts A USUAL FIGURE WHICH IS VERY PLEASING ean ped econ . 147 E. Lucchesi, Stoneworker A FINE REPRODUCTION OF A NEO- GROCQUE PHILOSOPHER : . 147 J.C. Kraus, Stoneworker A GOOD TERMINAL FIGURE FOR PATH. . 148 ANOTHER TERMINAL FIGURE FOR PATH . 148 A GARDEN HOUSE : 149 On the grounds of ALr. Charles W. Hane: Aciousiudale Musscchiseire Olmsted Brothers, Landscape Architects A FRUIT BASKET FOR A GARDEN GATE POST Pees Syd Arete ee 150 J. C. Kraus, Stencnoorker [xix] T kh @ li iuese@swuweete~«oeenm s PAGE DOORWAY IN THE GARDEN OF OIRS. ROBERT Cy, Hilbb ~ . » I5t at Easthampton, Long Island. Designed iy Mrs. ‘Robert €, “Hal A GLIMPSE THROUGH THE GATE INTO PIG RAI ee GG BAWR DIMEN Oe ee Ge eed ee ee okie ee ak Easthampton, Long Island. AIrs. Robert C. Hill, Landscape Architect AN UNUSUALLY GOOD WALL OF CONCRETE 153 Garden of AIrs. Robert C. Hill, af Easthampton, Long Island A BEAUTIFULLY DESIGNED DOORWAY . ... 154 In the garden of Mr. C. L. Ring, at Saginaw, Michigan. Charles A. Platt, drchitect A 3G@O OD: “GARDEN SEN RAIN CE. 2-4 se 4. 2 4055 On the grounds of M{r. Jonathan Godfrey, at Bridgeport, Connecticut F. Burrall Hoffman, architect; Marian C. Coffin, Landscape Architect STONE COIGNS AND CAP FORM A GOOD CONTRAST TO THE PLAIN SURFACE OF THE WALL . . . « 156 Grounds of AI[r. Bronson Winthrop, at Boose Eee Island, “Delano and Aldrich, 4rchitects A PERGOLA GATE OF INTERESTING MATERIALS AND DESIGN .. . nae eas IS Garden of C. 8. Walton, Esq., at St. Davids, Deuce, Sears and Wendell, Landscape Architects A WALL OF REFINED DESIGN 2. «2 «© = » +4 158 Garden of Mrs. ¥. 8. Clark, Pomfret, Connecticut. Charles A. Platt, Architect GATE POs] OF SIMPLE DIGNIFIED DESIGN Sd SO SSO) Estate of Afr. Willard Sere at w estbury, eae Esi@id A. F. Brinckerhoff, Landscape Architect A CLEVER TRELLIS TREATMENT OF A HIGH WALL . 5. 2 166 In the garden of AIr. Charles Biddle a apelin P replant Mellor and Meigs, drehitects AN UNUSU SOL Y GOOD BIT OF “RUSTIC WORK’ ee ees Garden of Mfrs. J. Citron E dies ir, at Ckeeneieh, Connecticut. Nlarian C. Coffin, Landscape Architect A FENCE OF erat PALINGS BETWEEN BRICK IERS.. Boren ke » 162 Garden of AIrs. * arry Payne Ww hirney, Westbury, L ong ha Delano and Aldrich, ./rchitects [xx] L DY he 2 i sis Oe aes ae ae ae ae ee THE WHITE PICKET FENCE OF A . DOOR-YARD GARDEN ... > 2. TOs House of Mrs. Harrison Sanford, at Litchfield, Comnantieis, Restored by Aymar Embury II, Architect SUCCESSFUL USE OF A FREE-STANDING WALL « + 164 In the grounds of Mr. Mardiner es Schitt, a Oyster Bas Pong Island James L. Greenleaf, Landscape Architect ARBOR IN THE CENTRE OF A CURVED TREES: 3. 4 ea hO5 Garden of Miss Fannie Miuliord, . at Hempstend. Lone. Is lana Ruth Dean, Landscape Architect AN OLD DUTCH GARDEN oe . 166 On the Paramus Road near Hohokus, New Tepeay GAZEBO OF THE ROYALL HOUSE 107 At Medford, Alassachusetts AN AMUSING WALL FOUNTAIN i oe Bets At Brookside,” Estate of Afr. William Hall Walker, Great Barrington, Massachusetts. Ferrucio Vitale, Landscape Architect A WALL FOUNTAIN COMBINED WITH A BOW, Ae eke ga ey fea ee BOA ey tee TOG Garden of Mr. H. H. Rogers, at Tuxedo, New York. Walker and Gillette, frchitects A GARDEN ENTRANCE FOR WHOSE CHARM AGE IS RESPONSIBLE . Ca ea ee TO House at So Federal Street, Salem, Afassac aii: Samuel MeIntyre, Architect, 1782 HAS IDO)! Vale eC) se aay) aoe a i ty Ry oe ee ty RS en cay een em In the Garden of Mfrs. Robert C. Hill, at Easthampton, Long Island A WROUGHT IRON LANTERN AND BRACKET : ee ee eee 172 At Forest Hills Gardens, Tse Ailis, ane Island. Grosvenor Atterbury, Designer TWO BENCHES OF INTERESTING DESIGN BACKED UP BY TRELLIS 173 Ralph Adams Cram, drchitect A REPRODUCTION OF AN OLD RENAIS- SANCE URN . 174 At Hamilton F Architect; [xxi] arm, Gladstone, New Jersey. J. C. Kraus, Stoneworker R uth Wen i Lingcedbe The Grounds asa Whole THE Teal WAS Be ke HOUSE [ts Garden CHAPTER ONE THE GROUNDS AS A WHOLE oe NGLISH people have a pleasant way of referring to e & K = the entire grounds about a house as “the garden,” in- pee cluding in the term not only the portions actually given over to flowers and vegetables, of which we are (zs accustomed to think as “garden,” but lawns and brooks and al- most any area which cannot be dignified by such a term as “park,” ‘wood,’ “meadow,” or “vineyard”; and by making the word plural and speaking of ‘“‘the gardens” they are able to include these as well. It is a very pleasing use of the word; if one has only a back yard containing a few shrubs and a flower border, one likes to think of it as something more than a back yard, and to dignify it by the title of garden is to lift it at once out of the com- pany of clothes poles and garbage receptacles and turn it into an attractive and inviting spot. The term “garden” for purposes of this book is going to adopt the attributes of its English cousins, and include everything be- tween the doorstep and the property line. [1] i he in 4 @ @ Db TF -e Ho 8 a & x The relation of the doorstep to the property line, however, is dependent upon the location of the house, the choice of which five important factors should influence. “These are—exposure to sun and breezes; second, drainage, natural and artificial; third, ac- cessibility from the street; fourth, the amount of grading neces- sitated; and fifth, a possible garden site. ‘hese factors have to be weighed with one another and sometimes the less important sacrificed for the more—but their consideration emphasizes one point greatly to be desired, that of planning the house with refer- ence to the type of land on which it is to be built, or putting it in reverse order, the choice of a piece of property which will suit the style of house one has decided to build. Formal symmetrical houses should not be built where they cling precariously to steep hillsides or sit uneasily on inadequate and specially created plateaux; an informal, picturesque style of archi- tecture can be fitted comfortably into the uneven surfaces of hill- sides; the classic house with its regular lines and balanced plan should find a site on a level or gently rolling sweep of ground. The important point is that house and land be considered together. But whatever the kind of house, and whether or not it suit its particular piece of property, it is only sensible to place it so that the main living rooms catch the greatest amount of sunlight and summer breezes, and avoid dour shade and winter winds. The latter consideration works out almost automatically, because sum- mer winds are usually south winds, and those of winter, north; so that the house which benefits by summer breezes thereby turns its back to the north. Moreover, the question of sunlight does not [2] a e 1 OPEN ON A G ROOMS liv LN FLOWER GARDEN G, W. WHOSE A HOUSE Curtis, af Southampton, Long Island House of Mr. LS de eo, pee Oe Hoe te SS << conflict with this consideration because, generally speaking, the south and east offer the greatest amount of desirable light. It fol- lows that a house on the south or west side of a street would have to face toward the rear or side of its lot in order to capture a maximum of light and air; but this is not the heretic suggestion it Would have been considered in the days when back doors were unfeignedly back doors and, as such, neglected to the point of ugliness. Nowadays a service court, walled or hedged round about, has its own charm, and is very often on the street side of the house in order to leave the living rooms free to face a fine view or a flower garden. Which moves the fifth point,—the pos- sible garden site, up to second place, and I am not sure but that it deserves an earlier consideration than my efforts to treat it im- partially first accorded it. Generally speaking, a southern or southwestern exposure is best for the ower garden—and, if the house has been wisely planned and placed, one or more of the main rooms will give on such an exposure, so as to make the garden enjovable immediately from the house. No garden should be built where it will come in the way of a distant view, but should lie rather where it may be walled round by the house and some natural boundary, such as a wood or a hill; seen in connection with any great distance the garden grows in- significant; it must be treated as an outdoor room, with outdoor walls to give it scale and importance, and that close, intimate feeling which is part of a garden’s charm. House and garden ought to be considered simultaneously, and such a position on the [4] 71 e JIOqLy (pr odvospuv'T ( uo Q io ‘) ueleyy “qe7yoep ‘URWOH [eling “Yoo yo yoouuery Yiodaspiug jy ‘Aaijpo ueryeuol upy fo AUVAN nod-xOd Ls aa0Od ¥ HLIM NHdAUV S ao: punosyy oD WW ] [5 Ll & i 2 & @ fb Lf H o @ & @ property chosen as will accommodate not only the building itself but the garden as well, in order that the two may be treated as a unit and the garden continue the lines of the house. Preferably it should continue them away from the road or en- trance side of the house in order to catch something of the remote feeling which belongs to woods and fields, and will not co-exist with automobiles and delivery wagons. These necessities should be provided for in such a way as to leave one side of the house free for garden, and as much of the grounds as possible unbroken by road; which means that forethought must be brought to bear when the house is being planned and such details settled as the position of the furnace, so that the finished house will not be discovered with a coal window accessible only through the flower garden, or a garage occupying the best possible outlook from the living-room windows. Nine times out of ten on a place too small to provide room for tucking the garage and outbuildings away out of sight from the house, these buildings will group advantageously near the kitchen wing, even form a part of the same structure by the use of such connecting features as grape arbors or trellis or the much-misused pergola. An arrangement by which the service portions of a place are kept together automatically guarantees one or more sides of the house open for lawn or garden, or both, and makes for convenience as well. But with the wisdom of this plan admitted, it is often no easy thing to so place the group on the ground as to make it accessible from the street with any beauty or dignity of approach, not to mention ease and convenience. [6] 7] SPIIJLY IAP” ‘surydoyy, puv wreypry ‘syesnyovssppy ‘autpyoolg ‘puepleyy “EY wey “yy Tia Mm SV day GQNY AOVaUVO HLIM ASQOOH SLOAN 7 a7 eS a &® AIAN AS BAL AaO: Sas Sa Pe So aver? -eew NEE SUE $8e Se ¥ fo © SHO FT 3 HO be ae Ie ak [7] Tl & « le te oe & Db ft Ho 6 @ © <2 Sifted down to first principles, there are but three forms which an entrance drive may take. First, the drive which ends \ . “~| FORMAL AND NATU- ™| ai RVG LST LC Ve RST ONS X OF THE TURN- AROUND in a turn-around; second, the horseshoe or U-shaped drive; and third, the drive which terminates in a yard or court. The first admits of more variation and amplification than the others, and is probably most often used. Formal and naturalistic versions of this kind of drive are shown side by side on this page. [8] nN ‘ SJIAPIY IAP? YIpTy pue ourpaq ‘pursy buoT Yassokg ‘dorywuray “TA yy fo spunowy Aloo doe GN OE ye On Se setae tebe bi pel ] [9 hadi, ALP DWTS EL 3 LOWER =~ GARAGE ir \ wes (| pot |) = COVRT DRYING YARD feeb Hes \ On0n09aD FCDE COVDT JIT-MABTINS LANL A COMBINATION OF TURN-AROUND AND COURT Estate of J. Perey Keating, Esq., St. Martins, Pennsylvania. Lay and Wheelwright, Landscape Architects [10] I t S G a r d é 1 The formal plan needs a great deal of space in order to make it effective, for the dignity of any vista depends largely upon its length, and such a scheme as this should not be attempted in connection with any but a formal house, with almost unlimited space in front of it. ‘The freer sort of turn-around is more adapt- able and can be managed in less room, for it is possible to so plant such a drive as to disguise its limits. But it is not possible to reduce these limits to a circle of less than sixty feet outside diam- eter, unless the entire turn-around be given over to gravel; eighty feet is a more comfortable minimum. Mr. Keating’s place at St. Martins illustrates a clever scheme for a drive on a small place. It is a combination of turn-around and court,—and occupies what under ordinary circumstances would be the entire front yard. The space inside the wall is 95x65 feet, and the drive is 15 feet wide. A straight service drive leads to the garage at the rear of the property, and it is worth noting in connection with this plan that the garage is off centre with the drive, so that from the street one may not look straight down the drive into the yawning doors of the garage. Curving the drive a little, so as to plant out the direct line of vision, accomplishes the same result, but requires more space than is available between property line and house, on this plan. The plan and photograph of Mrs. Alexander’s place at Ber- nardsville, illustrates much the same sort of entrance arrangement on a larger scale. A turn which takes the form of an ellipse, or some variant of an ellipse, is more agreeable than the simple, obvious circle. The [11] SHOVSE’ FORNEY ENVIS EEC. oe /_ DEHANO:E ‘ALDRICH* —— ce SCALE Wir Nea pe COURT Y AR D-TU RN Grounds of Mrs. Alexander, Bernardsville, New Jersey. Delano and Aldrich, Architects 1 r SpIaptysp” ‘YILIPTY pur our] Pe Ge , ¥ ER, AATUA AONVULNA ec “Cosa are © = a TO LN Iba ‘ Nit HA LV Add LAO ada TTy M IASplvulog ‘lapuexsyy “s4yy fo esnopy] t & @ 8s ewe @ b&b Lb ze id > 4 Be latter, because of its regularity of outline, is difficult to plant in- terestingly, and is apt to be left, except for a tree or bush in the centre, totally unplanted, with the whole turn barrenly visible. But like the failure of the book, whose end is readable from the beginning, to invite us beyond the first chapter, and the picture whose beauties are all apparent in a flash to hold our attention, the turn-around which is to be seen in its entirety lacks the charm which goes along with mystery; the well-designed road, on the other hand, does not reveal at once all that lies ahead, but con- trives by a combination of form and grading and planting to lead up to the house in an inviting way. Even when the road is squeezed into the smallest possible compass, and there is no longer room left in which to imagine anything but how to get the auto- mobile around in the least damaging way, a few shrubs and a tree or two are desirable, just for the sake of ornament. They may not create an illusion as to what lies ahead, but they take away an otherwise barren look and increase the apparent size of the turn by concealing somewhat its limitations. The “horseshoe” or U-shaped drive is a useful subterfuge which offers an infallible way out of the difficulty of a drive in a shallow yard. It delivers one neatly at the front door and presents no disconcerting sharp turns or awkward necessities for backing, such as the cramped turn-around is apt to abound in. Its very obvious- ness is probably the chief argument to be used against it; this, and the fact that it necessitates two entrances. Like the circular turn, it is more often than not uninterestingly regular in outline, with its end too apparent from the beginning, though this latter objec- [14] 11 Nasdaf ary ‘QJVAYVION JV ‘asnoy SulIeFA MoIpuy 37/7, ASNOH WUVA HOLNG GIO NV JO GUVA LAYNOO AHL = an 5 ier 2 He rae erty we, oe ~ Be Fa sees - ° T d& Lae a@a bhi ie H @ & Ss @ tion can be met by skillful planting and grading. If the road surface be sunk slightly below the surrounding lawn, or, to put it another way, if the lawn be crowned toward the centre, the ex- tent of the road will be minimized, and one side made almost, if not quite, invisible from the other. This, with planting in one or both of the curves, will reduce the effect of a drive which leads into a place only to lead out again. The third sort of road, that which ends in a yard or court, goes about solving the drive difficulty in a different way from either of the other two. Instead of trying to minimize the extent of road necessary by a stretch of green in the centre, it sets aside a certain space for turning, surfaces it all over like the drive, and then walls it in, or fences it off, or plants it out. Ona big place such a drive oftenest takes the form of a forecourt, and pre- supposes a more or less formal arrangement of buildings. Ona small place a forecourt is seldom used, for the reason that it means sacrificing too much space in front of the house. But there is no reason why such a scheme could not be made very delightful, given a type of house adaptable to this treatment; a house which would take kindly to walls and fences and a paved English court. I am free to admit that I have never seen such a plan carried out in connection with the small house, but it is, I think, very well worth trying. The plan on page 17 illustrates the scheme, and embodies all sorts of ideas which do not appear on the sur- face, tall sunflowers and larkspur against a whitewashed wall, and a weathered bench under a twisted old tree, as well as the flag- stones (which might be brick) laid in a pattern. A picture of one [16] hor A L ce \ ( Sse loazben-| |E ease tar “DEYING “YAED- Garagr |. ! : ? PG a Se VICE : YACD. LAWwsa yo GOMIGH' WALL sy Pe Nea os 40 93 fe PLAN OF A FORECOURT ON A SMALL PLACE One way of solving the drive problem [17] i Fe de gt te ae OT Al o uw 5 e@ of those story--ook English courtyards will serve to illustrate the spirit of the thing. Regarded from a strictly utilitarian point of view, the court- yard may be removed to the side or back of the house, and there used as a combination service and garage yard and turn-around. A car can back and turn in a space about forty feet square, which may be planted out so as to be practically invisible from the house. This arrangement, with a drive which runs alongside the house, probably cuts the grounds up the least, and entails the smallest amount of drive construction. It means, however, that no car has an exit without proceeding to the yard and turning, or else adopting the somewhat inconvenient expedient of backing out. If the drive happens to be narrow, the grass borders and the owner's temper suffer correspondingly. A ten-foot road, widened to twelve or fourteen feet on the turns, is enough for one car to proceed comfortably. If the road be a long one this width is apt to look narrow, and should be broadened to twelve feet for appearance’s sake. A twelve-foot road, however, is not wide enough for two cars to pass, and if this necessity 1s going to arise, the drive should be increased to fifteen feet. The commonest material, and probably the most satisfactory, for drive construction on private grounds is crushed stone. Where stone is very plentiful locally, the foundation may be made of coarse stone with the finer layers on top, but in regions where stone must be shipped in, cinders may be used as a base. A crushed stone foundation sometimes obviates the necessity of subsurface [18] 11 Ja IY IAP” ‘T] Ainquq reudy ‘puvjsy buoy ‘uoydueynog jy ‘AI ppeysiepy “py fo asnop] HEVd*LOOd GHAAaGUYOA-KXKOW ONISVaA' Id ¥ a =z eS a om eS ase : i Piseaee SESS oo Ses = ea - + rw co SS ie So "Ey ene ae no ., a s , ms z = ——s Toes ———| ™ - —— ‘SEB =| -__—— == === HE = = — : - a Bae | iy : os = : - NER es me ‘= Pore Spf ae k mb i — jee — SR i = [19] AN ANGLE ENTRANCE WITH A FLAG- STONE FOOT-PATH House of Mr, L. T. Beale, at St. Davids, Pennsylvania. Mellor and Meigs, drchitects [20] Sa > h ao oe ae z 11 STRICTLY FORMAL BRICK WALKS Garden of Mr. Charles W. Leavitt, Landscape Architect [21] T he iy eo ca eo] fl @ 46 = e drains, but in places where there is liable to be standing water any foundation will need drains of one sort or another. A tile drain laid under one gutter will usually take care of the sub-drainage and may be utilized in carrying off the surface water by means of tiles run to it from the catch basins. All drains should be laid at least three feet six inches below grade in the region of New York, in order to go down below the frost line. In cases where the sub-soil is a very hard clay which retains the water, two drains, one under each gutter may be necessary. The most important point in road construction is to have the sub- soil well drained, because thorough drainage is essential to a good foundation. A sub-soil which holds water will make the entire road soft and spongy, and no amount of top dressing will be of per- manent value. For a careful and thorough treatise on road-mak- ing, see Mr. Ira Osborn Baker’s ‘“‘Roads and Pavements.” Gutters may be made of any one of a number of materials equally satisfactory. Brick, stone, asphalt block, concrete, are all structurally adaptable. But they all have the same unpleasant quality of defining the road, and making it stand out from the lawn. Sod gutters should be used whenever possible, or better still gutters should be dispensed with altogether in places where they are not atsolutely necessary to carry off the surface drainage. In the consideration of approaches to the house, one is apt to ignore completely the place of the footpath, which, in these days of plentiful automobiles, has happily become not entirely extinct. The idea of convenience in rainy weather, which makes all of us who have once suffered a drenching of our best clothes unwilling [22] COMFORTABLE LOOKING FLAG WALKS “Brookside,” Estate of Mr. William Hall Walker Ferrucio Vitale, Landscape Architect [23] tT h 2 Le tee Bor ae be Se H o use to walk to the doorstep, is one which might well be sacrificed for the improved appearance of the grounds. A house which is nearer the road than seventy-five feet should content itself with a side drive and a walk. Four feet six inches is a minimum width for such a walk, be- cause a narrower path does not permit two people to walk abreast; nothing so cramps a place, and detracts from that spacious air of ease and dignity, which is one of its most desirable attributes, as narrow walks. Materials for paths present a much wider range than those for drives, and it is sometimes hard to choose among the attractive array of bricks and tiles of various sorts, flags, stone, and slate, as well as the old standbyes, crushed stone and gravel. I am pur- posely omitting cement walks from this catalogue because of their extreme ugliness. They are irretrievably harsh and glaring in appearance, and so far as I have been able to discover have no quality to recommend them except their great convenience. This under some circumstances, I am loath to admit, is sufficient. Brick, tile, and gravel are best adapted to formal use, broken flags with the grass growing between are essentially informal in spirit, although the degree of formality of almost any of these materials is affected by the border treatment of the walk. For instance, no path with flowers growing close to its border and bending over the edge can be formal, strictly speaking. A turf border between the flowers and the walk contributes to its for- mality, and a trimmed hedge or coping along the edge prac- tically insures it. [24] 1 pue sivag pup] { {p IN MIVM SSVUOD ATAUNALAdA V ( SPIAPIYIAF” AGVISPUVT “TAPUdIAA asowyeEg ‘yieg purjoy ‘suryual jae Se TERE JERS U PSTYAL “yy {0 avs [25] wed Ps. A LONG FLIGHT OF SHALLOW STEPS Estate of Mr. Samuel Heilner, at Cows, New York. Ferrucio Vitale, Landscape Architect [26] Ke 3 mie ys | A DRIVE WHICH TAKES ADVANTAGE OF A GOOD NATURAL SETTING Residence of Mr. J. Brooks Nichols, at Detroit, Michigan. Chittenden and Kotting, Architects [27] T hf e i. 4 @ @e i z H o use It seems hardly necessary to write admonitions against the need- lessly serpentine walk. The path which winds its way across thirty unobstructed feet of front lawn is an error we like to think of as Victorian, for almost every one has come to realize that a path, in order to curve pleasingly, must have some excuse, either natural or artificial, for curving. The average dooryard path performs its duty best and is therefore most attractive in running a straightforward course from gate to door. ‘The inevitable ex- ceptions to this rule bring their own solutions. The two points which remain unconsidered in a choice of the house site—drainage and grading—are more or less interdepend- ent. When the question of good drainage arises the prospective house builder naturally looks about for a hill on which to place his house. And in this connection a popular fallacy has grown up about the location of the house which is as firmly adhered to, as is the idea that stripes make fat people look thin. If a piece of property offers a choice of sites, one of which is a hilltop, the owner invariably chooses the highest point, telling himself that high ground is healthful and that low ground is the haunt of mosquitoes, dampness, and disease; and that, moreover, the view from his hilltop is unexcelled and affords a complete panorama of the countryside. What he overlooks in such a choice is that his view probably includes all of his neighbor's houses and barns, whereas if he were just under the brow of the hill he would escape these, along with the racking winter winds of the hilltop, and at the same time have the feeling of greater space and breadth which comes with privacy. Almost always his own place will [28] 1 r poapiyoupy advospuvT ‘ajeywaA oloniiay ‘syoajtyosp ‘ssunsepy pure atolied ‘SHasnyovssv Ay “UOYBUTLIIVY IH ‘OAC AA [TPH Wey AA “py fo avis HLdIM GOOD AO AOVUUNAL V Cc apisyoorg,, T h e le 3a. oe tb ok H o use offer no end of delightful little views of its own, which are far more entertaining and various than the impersonal and tiring (if seen constantly) panorama of the whole countryside. This view would be much more effective reserved as an occasional treat to be seen from a garden house reached by climbing a winding path up the hill, than it would be if constantly spread out before one. From the point of view of economy, a hilltop usually means more road construction and steeper grades than a hillside, and, if one happens to be concerned about this item, more landscape work. By the time the house has crowned the hilltop it is apt to have surmounted all of the trees, and sticks up bare and com- manding above their tops. Down a little lower among the foliage of the trees, with the hillside as a background, it would fit much more agreeably into its surroundings and form an infinitely more pleasing picture than outlined starkly against the sky. Drainage would seem on the face of it to be taken care of by nature for the house on the hill; as a matter of fact it has prob- lems of its own, especially if the hill be steep, quite as difficult as the house on bottom land with a marsh to be drained. Rain torrents, which rush down the road carrying its surface along, must be provided for by frequent catch basins and adequate drains. Lawns are apt to be difficult to get and maintain, complicated often by the necessity of steep terraces or their costly alternative, retaining walls. The problem of too little water with which one is confronted on the hilltop is less easily and more expensively solved than that of too much, which dampens one’s enthusiasm for a bottom land site. Agricultural tile drains are simpler, much [30] 1 4 4 a fH XH ee i eg Qe me = Aw Or oO So moO OR yn Cc A a we ee ea) ee [41] T h « ie @ @ b&b T AH @ us @ stone would be poorly suited to a formal garden of the size and character of “Weld.” The garden is tied to the house and made a part of it, or alienated from it as much by the materials used in construction work as by any other one factor, and those of the house should at least be recalled in some way in the garden. The retaining wall of the terrace at the Knickerbocker Country Club is a continuation of the foundation wall of the house con- structed of native sandstone, whitewashed; and the marble treads and brick risers of the steps are similar to those of the porch. In- cidently, this offers an example of a happy combination of several materials. In a country like the blue stone regions of Pennsylvania or the granite hills of New England, stone suggests itself as the natural material for walls, although even where it is so plentiful it is un- happily not always the cheapest material. A stretch of Long Is-, land coast land, on the other hand, with sand or gravel ready to hand makes concrete almost imperative. Unfortunately, the sur- face of a concrete wall is difficult to treat interestingly, for it has a natural flatness of tone that is almost impossible to enliven. Leaving the surface unfinished with the marks of the molds upon it, plus a generous planting of vines and bushes, constitute the best treatment for this kind of wall. A very pleasing surface may be got by the application of a coat of stucco, but this brings the cost up very nearly, if not entirely, to that of brick. Stucco over hol- low tile, where the construction of the house is similar, is a good choice of materials. But any stucco or concrete wall needs to be combined with some other material such as brick or tile to make [42] Al Spoapiyo4py agdvaspuvT ‘s1ayoig paAsMQ “SHasnyovssvpy ‘Binqyoy JY ‘JayooID yeapy “py fo avis .[JouN ALL, GQGHLNVId TTHM TIVM AUG GOOD V [43] T h e ky a @ Be ae a H «ow s 2 it interesting, and good examples of such combinations are given in the chapter on garden architecture. Stone walls laid up dry have the advantage of taking on an air of age more rapidly than other kinds, and there is no doubt about the fact that age, as far as gardens are concerned, is desirable. The crevices between stones offer hospitality to moss and rock plants, which soften the appearance of the wall and make it as much more interesting than a plain surface as is a printed page than a blank sheet. Sometimes old stone walls, which in former days marked cornfields from pasture land on the farms of our grandfathers, have been successfully moved with their mosses and lichens to contribute the dignity of age to a new garden; but the classic example of the man who purchased at a handsome price an old moss-covered barn, had each stone wrapped separately and con- veyed to the distant spot where he proposed to build his house, only to lose these painfully acquired mosses because they did not like their new home in the sun, offers a warning to those who would beat Nature at her own game. The steps which retaining walls necessitate are not always the pleasing features of the garden it is possible to make them, prin- cipally because they are apt to be too small. Sizes which look well in the house are not roomy enough outdoors, for the scale of garden work should be much larger than that of house work. A room eighteen by twenty-eight feet is considered a fairly large room, but a garden eighteen by twenty-eight feet would scarcely divide into two flower borders with a path between. Similarly [44] A GOOD FLIGHT OF STEPS. IN A RETAINING WALL Forest Hills, Long Island. Grosvenor Atterbury, Architect [45] LE fe oe i& ¢ at ae ie or 2 ew @ & @ twelve to thirteen inches is wide enough for the treads of steps indoors, and seven inches not too high for risers; outside the treads should be broadened and the heights of risers lessened if an agreeable effect is to be obtained. A tread fifteen inches wide used in conjunction with a six-inch-high riser is a very comfort- able allowance; a higher riser is apt to result in a steep looking flight of steps. Treads wider than fifteen inches should, of course, be used with risers less than six inches, following a general rule that the product of the height of the riser and the width of tread in inches should be about ninety; the smaller prod- uct of seventy-two is adopted for indoor work. Breadth is also very essential to the comfortable appearance of steps. This should vary with the extent of the wall in which the steps occur and the difference in levels, or the length of the flight. No rule can be given by which such breadth may be de- termined, because it is a matter which feeling for good design alone can dictate: but it is safe to say that no steps should be made too narrow for two people to walk abreast (which would establish a minimum width of four feet), nor so large as to over- power the garden to which they lead. The wing walls, necessitated by steps which project to any extent beyond a wall, are often the means of spoiling the appear- ance of the steps. Generally speaking these walls should be kept as inconspicuous as possible, for it 1s easy to make them clumsy and heavy. Good architectural treatment of course may turn them into truly decorative features, but in any case the angle or and it pocket formed by a projecting flight of steps is awkward [46] I t s G a r d é n is best to play safe and sink the steps partially, if not wholly, in- side the wall. Especially is this true of a long flight—because the appearance of length is greatly increased when the entire flight is plainly visible. [47] General Planting CHAPTER TWO GENERAL PLANTING ~ a £ NDER the head of “General Planting” come all those * U 2: miscellaneous kinds of planting which cannot be in- Meek cluded in that of the garden proper. Foundation planting, border planting, the planting along drives and walks, screen planting, specimen planting, and miscellaneous flower planting—all of these are worth discussing separately, because very often one of these kinds, or a combination of two of them, constitutes all the gardening which is done about a place. Foundation planting, or the planting about the base of build- ings, should have for its purpose not—as the nursery catalogue would lead one to believe—masking the foundations, but making the house look as if it belonged in its surroundings. There is nothing about an honest foundation wall that needs concealing, and it is unnecessary and undesirable that the house should grow out of a solid bank of shrubbery in order to hide something which, as likely as not, the architect has been at some pains to make in- teresting. A judicious amount of planting here and there about a house—at the corners or in angles, with something tall to carry the green line up where there are no windows, and lower growing [s1] T h e be wa & {2 H o us e things where there are—will take the raw new look away from a house and tie it down adequately to the lawn’s green carpet. The first requirement for the right sort of foundation planting, and, for the matter of that, the last too, is appropriateness. All the other requirements, namely strength, permanence, and proper scale, are included in this one term. Probably the most common of the inappropriate sorts of foundation planting is that which appears to consist of one each of all the different kinds of evergreens contained in the nursery- man’s catalogue. Every suburb and real-estate development abounds in houses whose foundations are surrounded with a lot of little yellow and green and blue balls, cones, and pyramids, which present a bristling, unnatural look and contribute nothing of repose or dignity to the house. What could be less appro- priate, less calculated to make the house look as if it belonged to its particular bit of country, than this collection of “specimen” evergreens? “Specimens” is the term which most truly describes them, and as such they should be placed in arboretums. An ex- clusively evergreen planting is always bad because the trees are too decided and definite in form; they need the more graceful, branching, deciduous things to tie them together. The chief quality on which evergreens rely for their popularity —the quality which endears them to most people—is their ever- greenness. And, indeed, their color in the winter landscape is very desirable, but other colors than green contribute cheer to winter’s dullness—and shrubs with colored berries and branches may be combined with the evergreens into a much more pleasing [52] JIAPIYIAP” ‘Ty Ainquiq iewky ‘“puvjsy HuoT ‘YdIN JID pW ‘saeg “N as10ay sayy fo osnop] SONIGQNNOUUNNS SLI OLNI AS DO HHL aL Oo TNOnS ONELLENV Td NOLLY OND Od Tea nN r [53] t + 2 i ¢ @ a@e i ez H © «# » 2 and natural-looking planting than one of evergreens alone. This is true of rhododendrons as well as of conifers, for a house which rises up out of a heavy somber bank of broad-leaved evergreens fits as poorly into the landscape as one whose base is concealed by ranks of little conifers. Some of the berried shrubs which add to the agreeable appear- ance of a foundation planting, as much by their graceful habit of branching as by their colored fruits, are the barberries—Thun- bergii and vulgaris; high bush cranberry (viburnum opulus), which provides from its bright clusters food for the birds all winter long; other members of the viburnum family: dentatum or arrow-wood, plicatum, tomentosum, and Carlesii, which has a wonderfully fragrant flower; the honeysuckles, Indian currant, and snowberry; ilex Sieboldii (a little known but very brilliant berried shrub) ; and the red stemmed dogwoods. Of these, ber- beris vulgaris, all the viburnums, the honeysuckles, and dogwoods grow to be big shrubs and ought therefore to be planted where they will not interfere with windows. Another shrub with an impossible name but with the unusual possession of turquoise col- ored berries is Symplocos Crataegoides. Its berries ripen at the same time as those of the Tartarian honeysuckle, and the two shrubs make a brilliant combination. Mfost of these shrubs have attractive flowers as well as berries, and thus provide at the same time for the summer and winter appearance of the base planting. A few shrubs interesting chiefly for their summer dress do not come amiss in any group near the house, and some of them look especially well with the dark foliage of evergreens: lilacs, white [54] 1 JoaylyIspy agdvospuvT sizag “AA SeWOYT, “¥4O{ Many ‘aypayoy Man wv “besa ‘prem ‘gq “Y fo uapavy STV IMA LY A 2O NOTLY Sia AOD 2 NILS a aN ONY a % re So ( T fh ib 24 @e@ Db 1 x H oO &@ $8 e and purple; deutzia, Pride of Rochester, pink weigelia, and spirea Van Houttei are all good stand-bys which improve by their pres- ence any planting of evergreens. Another danger to be avoided in connection with evergreens near the house is the use of forest trees. In most cases, either eagerness for a quick effect or ignorance of the real character of the trees is responsible for their presence close to the house. But whatever the cause, it is not an uncommon sight to see the win- dows of houses five vears or so old being overgrown by hemlocks, white pines, spruces, and firs. ‘These are all big timber trees, and for this reason are extremely inappropriate planted against a house wall. They belong out where they have room to stretch and grow into the dignified trees Nature meant them to be. Some of the smaller, less-spreading trees, such as cedars, arbor vite, and retinosporas, may be used against the house if they are planted where they will not come in the way of windows. At either side of an arch on the W. E. Seeley house at Bridgeport, cedars are well placed where they emphasize the entrance and will not grow out of bounds. Quite at the opposite end of the scale from forest trees are flowers as a foundation planting, and for a correspondingly oppo- site reason they are inappropriate. I refer, as in the case of evergreens, to flowers used alone. Some of the stronger growing sorts, planted in connection with shrubs or vines, as Miss Coffin has used lilies and peonies along the piazza of the Edgar house, are both pleasing and appropriate; but the border of pinks and pansies or cannas and scarlet sage which very often forms the [56] e Spoaytyspr advospuvy] ‘siayjyoig paswyjQ “puvjsy PuoT 'stip{ iworoy ‘suapreg) sqpipy 39104 DAL NY ad AO. SNS LO HLIM QaNIANOD LSaa SUV SNOYGNAGOGCOH geen a T bs 2 @ & i 2 iH eo wa & 2 sole decoration around the base of a big house is too obvious a violation of the requirements of good foundation planting not to be censured. Flowers alone lack strength and that feeling of permanence which good base planting should have, and, moreover, they are out of scale with the size of the house. They need shrubs or vines as a background to make them count as a mass rather than as individuals, and to leave something growing in their stead when they die down at the end of the season. By the term border planting—the second of the miscellaneous sorts under the head of general planting—I mean combinations of shrubs, or shrubs and trees, such as one finds planted along a fence, substituted for a fence at the edge of a piece of property, around a garden, or at the end of the lawn. These borders divide themselves into two classes: naturalistic or woodland borders, and gardenesque or suburban. They are two very different tvpes, and a sharp line should be drawn between them, because, in practice, distinguishing the two makes all the difference between a commonplace garden and one with a really individual quality; or, in bigger landscape work, the contrast between a scheme grandly conceived and one which is petty in spirit. The first sort of planting is made up of native trees and shrubs —those which grow naturally along meadow hedgerows or in woodland borders; this kind of border should be used away from the house and the cultivated garden, in places where a transition is to be effected between the wild and the cultivated, or where the [58] . CEDARS USED PROPERLY NEAR HOUSE WALL House of Mr. W. E. Seeley, Bridgeport, Connecticut Murphy and Dana, Architects [59] oe le oe te ame ae Ee A @ @ Ss spirit of native things is to be introduced or preserved. This bigger, freer sort of planting should be founded on the particular kind of landscape in which it occurs, and should follow Nature as closely as possible. A lowland border would not be composed of the same trees and shrubs as would an upland border, nor would either of these plantings be the same in Illinois and Mfassa- chusetts. Any naturalistic planting should express the character of the land where the border is being planted, so as to bring out the individuality of different parts of the country. Discard the bad characteristics of your especial piece of property, pick out its good features, and emphasize them, if you wish your garden different from your neighbor’s, with a quality of its own. If you have a stream on your place plant the borders near it with those shrubs and trees which grow in the neighborhood of water: alder, red-stemmed dogwood, the lacy, yellow-flowered spice bush, willows, birches (black and white), elderberry with its white panicles of fragrant flowers (which turn into berries that make the most delicious pie in the world), arrow-wood which also has white flowers—deceiving white flowers, for they tempt one into smelling them and then offer a vile reward; button bush, with its shining leaves and white balls—and an indefinite list of other friendly things, which like low places better than high. And then if your border goes up hill, plant in it the shrubs which do not mind burning in the sun of a long hot July after- noon—sumach, wild roses, hawthorn, crabapple, sassafras, bay- berry, red bud, and witch hazel. But above all things, in planting [60] bee ™ & Q a ~ Q Xr = ‘ae a AN (CP Poot TO rE IF NO FLOWERS ABOUT THE HOUSE FOUNDATION Gorden of Mrs. J. Clifton Edgar, at Greenwich, Connecticut Marian C. Coffin, Landscape Architect [61] mt Gat Ge 9) CO Tt & ge ln ¢ @& @ h £2 Hows 2 such a border as this, keep out the petty gardenesque feeling—one welgelia will ruin the character of a whole group of field plants; save the nursery shrubs for the flower garden and the planting near the house. The converse of this warning is not true—any number of na- tive shrubs and trees can be introduced into a border of lilacs and spireas and altheas, without hurting it in the least; but one shrub of this tamed company is enough to dispel the illusion of an entire naturalistic planting. The same strict rule is observable in connection with evergreens; cedars, white pines, Douglas spruce, and other native evergreens take their places very prop- erly in woodland plantings, but retinosporas, cryptomerias, golden arbor vite, smack of the nursery—and destroy utterly the free spirit of the woods and fields. Some landscape architects never get away from the suburban type of planting. Their materia medica, so to speak, consists of the contents of the nursery catalogues, and they treat a big park just as they would a little garden plot, using over and over again barberry, snowberry, forsythia, mock orange, and spireas, with perhaps a few native shrubs mixed in, out of deference to a dim idea that parks should be planted a little differently from small places. But the big conception that country is only to be intro- duced into city by means of fidelity to country planting, or that the spirit of existing country, its own particular charm, is to be preserved only by adherence to the example it sets, quite escapes them. «| PORCH: “HOW SLE POECH- > ' = = q nw = 3 pod te Mt = an) CS a Mr) Gee 3 4 ee eee wD (= Fa PLAGS TOWE PAH - AING J .sneves Z eee 5 ao OSs Plan of the Garden of Mr. Aymar Embury II, Architect, Englewood, New Jersey and makes for repose and spaciousness; an all-over pattern, on the other hand, is apt to be less pleasing for reasons which are hard to analyze. Perhaps because it tends to be complicated and rest- less, perhaps because it easily becomes cramped in feeling—in any case it is well to make paths wide and beds spacious at the ex- pense of numbers in such a garden, for nothing so reduces the apparent size of a garden as paths that are too narrow. Three examples of the central stretch of turf type of_garden, each one differently handled, are Mr. Marshall Fry’s, Mr. Michael Jenkins’, and Mr. Jonathan Godfrey’s gardens. Each one of these, I venture to say, would seem smaller and less repose- ful if the same spaces were covered all over with flower beds and [90] y SspaajtyIapy advaspuvT YysIMpaay AA pue Avy ynoy2auuor) ‘pyayaspry yy ‘IaI0Ig “FA “YW “yy fo uapavy GHaNNO0UY° NS TTAM NAGUVO V [or] i oe iy F°-@ @ bb 1 ze Ho a & <2 paths. At the same time the very crowdedness of things in the picture of Mr. Aymar Embury’s garden is not without its charm. The paths of either type of garden, however, must have a pur- pose, must lead somewhere—around the garden and in and out— for a path with a blind end, a path along which one walks only to turn about and retrace one’s steps, always contains disappoint- ment. Next in importance, after the location and design of the garden. comes the arrangement of flowers. I am sorry to say that al- most every one is prone to look upon the flowers as of paramount importance. It is true that sheets of bloom will conceal a great many defects in design; but the flowers are passing, and may be changed at any time, whereas a garden once laid out is often im- possible to alter. Color and season are the two factors in flower arrangement which must be considered simultaneously. If one has planned to have no red in the garden at the same time pink flowers are in bloom, it is disconcerting to have the scarlet of oriental poppies flaunt itself in the face of a rose pink peony. Red is, in any event, the greatest trouble maker in the garden, and when one has made up one’s mind to have the warmth of this color everything else must be planned around it; moreover, no two reds are alike, anda red garden must consist almost wholly of one flower or at least of the one which happens to be in bloom at the moment. Con- sternation is in store for the jumbler of reds—one has only to think of the cardinal of lobelia, and the good honest turkey red of scarlet sage ablaze at once to realize this. [92] ~ . a ss 2 wy ee Ie /0' TAN He Loy 00d, Phorn, Dine born, Dioer Lospoercy, Aighousn Cranberry BORLA : Sy tid SPS pe) pr vs PT OR TAI RE a cacao? ROI, EE sp tee OM gts oe na ~~ 41) ~ » ————-_ Caders <= Plan for the Pool Estate of H. Rubens, Glencoe, I//inois [118] I t 5 G a r d é nN rock gardens, or woodland gardens of other sorts. In order to be convincingly naturalistic to charm us into thinking we have stepped out of the world into a lovely bit of Nature's gardening, we must follow her suggestions and use the materials she pro- vides. [119] Times and Seasons CHAPTER FOUR TIMES AND SEASONS Se HERE are as many theories about proper times for a ‘T Z planting as there are nurserymen and gardeners. Al- S+-—G most every one has his own pet ideas about the best season for moving this tree or that, based, of course, upon individual experience, but almost every one agrees on the two main seasons of spring and fall as the periods of greatest ac- tivity in transplanting. The purpose in moving plants at these two times is to catch them while they are in a more or less dormant state—in the spring before the sap has started up from the roots, and in the fall after the plant has ceased to grow for the season. It follows that it is desirable to move in the fall all those things which start into life very early in the spring, and at the latter season the more sluggish things which are slower in responding to “the urge of spring.” In the first class are such shrubs as honeysuckle, lilac, and spirea, together with dogwood and for- sythia, whose flower buds for the next spring are all set in the autumn. ‘These plants begin to grow very early in the spring, and if they have established themselves in the fall they will be ready to grow uninterruptedly when spring sunshine sends the sap up from their roots. Fall planting of deciduous shrubs and trees may be started as [123] T he Le as Sb he H 8 & s 2 soon as the leaves have fallen and continued until freezing weather makes the ground unworkable. The sooner the plants are moved after they have lost their leaves, however, the better, because root growth does not cease with leaf growth and the plants should have as much opportunity to get established before the ground hardens as possible. Some shrubs or trees are moved with greater difficulty than others, and it is wisest to defer planting these until spring; birches and lombardy poplars are among this company—the latter fre- quently kill back if they are moved in the fall, to one-half of their height or more. Mfagnolias moved late in the fall are apt to be unsuccessful, as are also most of the oaks, which at best are none too easy to move. But aside from a few exceptions such as these, the great body of deciduous shrubs and trees can be moved as well in the fall as in the spring, and the rush of the spring garden work greatly lessened thereby. The autumn season for transplanting evergreens begins sooner than that for deciduous trees, because the former cease leaf growth for the season earlier. From the last of August onward ever- greens may be safely moved, and although my personal prefer- ence is to finish the evergreen planting as early in the fall as pos- sible, I have planted both conifers and broad-leaved evergreens in December without loss. Care in preserving the roots, packing the earth firmly about them, and a protecting mulch of leaves or straw will go far toward insuring the life of these plants. Winter planting for trees both deciduous and evergreen is also practiced successfully. The trees are prepared for this sort of [124] I f S G a r d é n moving by means of a root pruning machine which cuts around underneath the tree. The ball thus cut is allowed to freeze solid, when the entire mass is moved to its new home, packed into place, and guyed with ropes. Roses may be planted during the autumn season as well as in spring, but they should be well protected. Hilling the earth up eight or ten inches about the plants will shed water, which in winter is the damaging element to roses—and an additional pro- tection of leaves or straw over the hills will keep the plants from alternately freezing and thawing. There is always the danger that roses and perennials will be eaten off by mice and other vermin which burrow beneath the pro- tective layers of straw and leaves; against these pests outdoors, traps and cats and “Paris green” are of little avail. Most of the hardy perennials are best planted in the fall—be- cause they start to grow very early in the spring, and interrupting this growth by the process of transplanting means practically a season’s set back to the plants. The work should be begun in August, however, and ended if possible by the first of November. Lilies and Dutch bulbs, in which latter term are included tulips, narcissi, hyacinths, crocus, squills, chionodoxa, etc., like- wise need to be planted in the fall, for outdoor work. Spring planting of trees and shrubs may be done as soon as suf- ficient frost is gone to leave the ground workable; it is very de- sirable although not absolutely necessary to accomplish it before the leaves come out, because if the planting is done after the leaves arrive they wither and drop, and while the bush or tree is form- [125] Tl fk @ | Oe ee ee, ee H o use ing new ones it presents a discouragingly dead appearance. In fact it is just at this stage of things that most new gardeners lose heart—when they see the thrifty looking bushes and trees they bought from the nurseryman, or had moved from some flourish- ing hedgerow, looking lke so many dead sticks. Probably no other art exacts so much in the way of patience and faith from its followers for the first few difficult years, as gardening. Moving stock, especially stock which has attained any size at all, involves a shock to the plant from which it requires time and demands in- telligent care to recover, and everything which can be done to help it establish itself is worth doing. Just sticking it in the ground and leaving it to its own devices will sometimes work all right, where the ground is exceptionally good, and moisture is plentiful, and the plant has a good root system with which to start. But it is very seldom that any plant is started under such a set of circumstances, and to “insure good results” it must be watered, and mulched, and sprayed where insect pests are trou- blesome, and this done not once, but recurrently throughout the first year or two, after transplanting, or until it has had time to adapt itself to new conditions. These conditions are made more difficult by untimely planting, which entails a proportionate amount of extra care if the plants are to live. Moved after the leaves are out when the hot suns of June have come and the reviving rains of spring have gone, they can hardly be expected to bloom and flourish. The best they can do is to struggle along against the odds of their first year and hope for a second spring to give them a new lease on life. [126] I t S G a r d é n Nurserymen, within the past few years, have lengthened some- what the spring planting season for a limited number of plants, by preparing pot-grown stock, which can withstand late moving better than field grown stock; vines, small shrubs, roses, peren- nials, and a few evergreens are included in this list. They are valuable chiefly as “fillers-in,” to be used where unsightly holes must be concealed; although their root systems are more or less prepared for transplanting, they are subject to the same difficulty in establishing themselves against adverse atmospheric conditions, such as hot suns and little rain, as field grown plants. Perennials planted in the spring will be later in flowering, other conditions being equal, than those which get their start the fall before; and some early flowering ones such as peonies, trilliums, and mertensia will not flower at all for a year if they are moved in the spring. Seeds of annuals and bedding plants are sown in spring in the open ground, or, if one wishes to get them into bloom earlier, they may be started in the house during February and transplanted into the open as soon as danger from frost is past. Gladiolas, cannas, and dahlias should be planted outdoors about the end of May, when the earth has “warmed up” a bit, and frosts are over. Bulbs, which are to be replaced after their flowering season by annuals or bedding plants, must be allowed to ripen, that is, left until the leaves die down, before they are removed. Such bulbs, of course, may be saved and replanted the following fall. Times and seasons for pruning vary with different plants and [127] tT #& 2 le ae ee ae OE ED ae 3 with the results one wishes to produce. All deciduous shrubs and trees should be pruned at transplanting, because the root system is reduced in the process of moving, and the evaporating surface of leaves and branches should be cut down correspondingly. The extent of this pruning depends upon the amount of damage done to the root system, but it is advisable to cut back deciduous shrubs at least half, upon transplanting, and trees to about one-fourth of the last year’s growth. Evergreens, which are usually moved with a ball of earth and which have in consequence better pre- served root systems, require to be pruned sparingly, or not at all. Cedars and retinosporas may have the greater part of the last season’s growth removed, most broad-leaved evergreens will flour- ish without pruning, and if one wishes to induce the pines to a bushier habit of growth, the central one of the terminal buds may be pinched out. ‘This means that instead of growing greatly in length, the branches will develop their side buds and become thicker. Beyond this pruning at transplanting time, shrubs and trees should be allowed to develop normally with no restraint from the pruning shears except an occasional thinning out of dead wood. The custom of annual pruning of flowering shrubs when every bush is gone over and chopped back to a uniform height or round- ness is a very pernicious one. It is of no benefit at all to the plant, it destroys the natural and beautiful form of the shrub, and reduces it to an ugly, heavy mass. When the shrubs once have a good start they should be left to their own devices, except for the removal of broken branches or old worn out ones. Pruning of [128] I t ¥ G a r d e n this sort should be done, for early flowering shrubs such as lilac, mock orange, bridal wreath, and golden bell, just after the fower- ing season is over. These shrubs flower on wood which was de- veloped the season before, and if they are cut back in the winter or early spring, it follows that the flowering branches may be lost; whereas if they are cut in the early summer, the shrub has time to develop new wood and new flower buds before fall. Late flowering shrubs, on the other hand, such as rose of sharon, hydrangea, and some of the spireas, may be pruned in the spring, because their flowers are produced on wood of the same season's growth. Roses, although they are early flowering, should be pruned in the spring, as soon as the frost is out of the ground. With Hybrid Perpetuals, all the old wood, that is the wood which flowered last year, should be cut out and from three to six of the strongest shoots produced last year left. ‘These should be cut back to within eight or twelve inches of the ground. Hybrid Teas, on the other hand, should be pruned somewhat less severely; with these the dead and weak shoots should be cut out, and the strongest shoots shortened from four to six inches. The tall shoots of Ram- bler or Climbing roses may be cut back and the dead branches cut out. If the plants are thin and straggly they may be greatly bene- fited by shearing back to either three or four inches of the base. Almost all roses are grafted, and very frequently the bush sends up “suckers” from below the graft, which absorb all the nourish- ment of the plant. These shoots should be removed as soon as they appear, and they may be identified by the fact that they have, [129] T kh @ Ee Se 2 as D> Oh H o use as a rule, from seven to nine leaflets, whereas the budded stock has usually but five. Hedges and plants trained to a formal shape need to be cut several times during the season rather than just once in spring. A spring pruning stimulates them into sending up a lot of little shoots which leave the plant with a more or less ragged appearance for the summer, and these shoots need to be cut back two or three times during the season, depending upon the rapidity of growth. The pruning of fruit trees is a science about which it is dan- gerous to generalize. Each tree, bush, and vine needs careful, individual treatment, because the fruit is not borne the same way on all of them, and for a thorough and reliable treatise on the sub- ject of pruning fruit trees there is no better authority than Mr. Liberty Hyde Bailey’s “Pruning Book.” The matter is here taken up in all its branches, and in a sufficiently popular way to be understandable by the layman who knows nothing about botany. [130] Garden Architecture CHAPTER FIVE GARDEN ARCHITECTURE one architectural features of the garden—its arbors, $e ‘TT *> gateways, fountains, and walls—are not only important te op -Fee sources of interest in themselves, but the means of com- pleting the garden, of rounding it out, and giving it a finished appearance. A path which leads one through a gate is ever so much pleasanter a way to take than one which has no such inviting barrier, and a vista which is terminated is more delight- ful than one which dwindles off with no object of interest to hold the eye at its end. Even the flowers for which a garden chiefly exists take on a charm and elusiveness they do not possess of them- selves, when they are glimpsed through the posts of the plainest grape arbor or seen through the frame of an arch. It is a certain pictorial quality which good architecture contributes to the gar- den and which flowers and shrubs alone lack, as well as an inter- esting human note introduced by it, that make it an important consideration in planning a garden. Such intangible benefits are not easily explained to the man or woman who has no interest in architecture itself, but the many photographs in this chapter will express in more concrete form, I hope, the value of good architectural detail in the garden. [133] u O A abil e U h ‘ SJIOJIYIAE “‘puvjsy puoy ‘uo}d we YAS jv MHI puw so9yye M NHdaduVO V NI ‘ 7 advospuvT ‘siayioi1g paswy[Q “sj9eJtyoap slasoy “HoH “WwW fo spunosy LSAUALNI AHL SHTANOd AWVUA V SV HOUWV NV [134] i t S G a r d e n The photographs of two gates at Forest Hills illustrate how pleasing an ordinary dooryard walk may be made, by some form of gateway to mark its departure from the road, and the gates themselves are harmonious details in the general scheme of English cottage architecture. The very original gateway to the Pomeroy place opens into a lane of lilacs that has almost the effect of pleaching. With an entrance made as attractive as this for introduction, the newcomer is prepared to be pleased with the entire place. Both sides of Mrs. Hill’s garden doorway at Easthampton are equally charming.’ The whole wall, in fact, has a delightfully spontaneous quality in its design—an unstudied simplicity which professional work is apt to lose to technique. The use of rough surfaced concrete for the wall is very good and surprisingly inter- esting, for as a rule concrete without brick or tile or some other contrasting material to relieve its deadness is very unattractive. The breaks in line, together with the rough surface, the thatched house and the pergola, combine to give the wall variety and inter- est. Incidentally there is a kind of fundamental fitness about this wall—it is apparently, as well as actually, a part of the low sand hills of the coast-land round about ‘the Hamptons.” A happy combination of materials, as well as charm of design, is illustrated in the wall and gateway of ‘““Huntland,” where brick posts and a molded brick cap furnish a contrast to the stucco sur- face. A similar office is performed by the stone coigns and cap of the gateway at the Winthrop place. 1 See the group of illustrations at the end of this chapter. [135] T & @ bt ee a ob Te H o us @é Pee roa i ft el 4 GATEWAY WHICH MAKES AN ORDI- NARY PATEOINTERES TING Forest Hills Gardens, Forest Hills, Long Island Wilson Eyre, Architect [136] Grosvenor Atterbury, Architect [137] a U |; T SIGN wood Ek Is D NA J Be Oe Tat LO EE ce. a C A House ew N y ct > rchite at Engle Al iad no a a - a a a“ 2 Se .-o) nA a Cg Ba fe ae msg = — v5 i a a, & cee OM ) he, Q | [138 4 } s G a r d € n The use of a combination of materials, except in the case of stone which very often contains enough variety in itself to give an interesting surface, usually results in a better looking wall than one built of a single material. Especially is this true of brick, the use of which can easily be overdone. Too much brick gives the garden a sombre and oppressive appearance which is simple to enliven by a contrast in materials. Cement, slate, marble, flag- stone—all these are valuable in this respect, and any one of them used in conjunction with brick makes it twice as interesting. Sometimes a wood trellis applied to a wall is the means of in- creasing its interest. “This is the case with the high wall at Anda- lusia, Pennsylvania, where the architects have devised a very clever and delightful treatment of the garden side of a building so high that it would have been painfully stupid without some surface treatment. A quite different use of wood with masonry is that of the cedar poles and stone piers on the Edgar place at Greenwich; and still a third sort, a cross between wall and fence, is that in Mrs. Harry Payne Whitney’s garden, where chestnut pailings between brick piers mark the boundary. Some such compromise between wall and fence is almost the only way in which a wood fence can be made to perform the offices of a high wall, because for structural reasons as well as for those of good appearance fences do not lend themselves well to high treatment. For lower boundaries wood fences are both useful and attrac- tive, and the two sorts in common use in this country may almost [139] T hh e 4 w as fi e H o use be called indigenous because of their early prevalence. One is the white picket fence found around every New England door- vard garden, and the other is the rail fence, which is equally com- mon in country districts. ‘The first kind still holds all its charm for the village type of house, and through some of the Southern States it finds a more extended use where it surrounds the house garden completely, and divides it from the farm land on which cattle are allowed to graze. There is no more practical and interesting way of marking off farm acres to-day than by means of the old rail fence. These fences, together with the rough stone walls of early farms, should be regarded as traditions given us by our pioneer forefathers, worth continuing. On the prairies of the Middle West, hedges of buckthorn and osage orange naturally supplant to a great ex- tent the customary boundaries of stony New England—the use of all these natural materials is much to be commended, and the unpicturesque and no more practical fencing of concrete posts with wire between discouraged. Fences of wrought iron, and more especially gates of iron, may be very beautiful and interesting. They are likely to be formal in character, however, and their use in country work is limited by this factor as well as by that of their expense. Gateways, such as one frequently sees at the entrance to a place, which are free standing, and not part of any wall, should be tied into the landscape by heavy planting. They have very often a lost, unconnected air which is only to be overcome by weighting down, so to speak, their extremities with strong planting. This is [140] 11 SJIajlyIapy ‘UMOIG XY AY fo opps | (puvpun yy, uos[IAA ‘Apoqerag ‘viuihsl_f ‘dingatpplyy jy ‘sewoyy, “gq ‘[ dV¥VO WOlAY GHQAIOW GNYV HSIN Ta OO O71.be Abi AY MLL ya OST sv AO dd) [141] SIMPLE ROSE ARCHES OF VERY A GATEWAY AND ARBOR AT GOOD DESIGN HAMILTON FARM Garden of Miss Emily Slade at Windsor, Estate of James Cox Brady, Gladstone, Vermont. Charles A. Platt, drchitect New Jersey. Ruth Dean, Architect true of any free-standing wall or fence. If it does not grow out of a building or end against one, its terminations must be con- cealed by planting. Such a piece of wall is well taken care of on the Schiff place, where evergreens and sturdy shrubs make it part of its surroundings The same criticism of loose ends is to be made of a great many arbors and pergolas. An arbor should begin at some expected and natural place and end in the same way: should lead from one spot to another, and not be just set down in the midst of things. An interesting arbor is that on the grounds of Mr. Jonathan God- frey where the arbor is in effect part of a wall. The beams run [142] A WALL PERGOLA WilLTH VALUABLE PEAN TING SPACE AT LS Bass Garden of Mr. Jonathan Godfrey, at Bridgeport, Connecticut Marian C. Coffin, Landscape Architect; F. Burrall Hoffman, .drchitect [143] T kh e bs we wa GS Lf A @ ww & € from a row of columns to piers which are extensions of the wall, and which leave pleasing window-like openings in the upper part of the wall. One of the unexpected sources of success in this per- gola is the planting space at the foot of the wall; with no room left in which to plant a friendly vine the arbor would be without half its charm. Another good combination of wall and pergola is the pergola gate in the rose garden on the Walton estate at St. Davids. Ma- terials, as well as good design, are responsible for much of its interest; the round columns of stone roughly plastered have a pleasant, careless charm which is increased by the use of broken flag walks. Of all the means whereby walls may be made interesting, prob- ably the most effective is the wall fountain. There is some- thing very enticing about the smallest drip of water with green shiny leaves around it, and the simplest device in the way of a dolphin’s head that spurts its little stream into a shell, catches and holds our interest above any other fea- ture in the garden. A plain wall fountain com- bined with a pool is that on the A FAUN J.C. Kraus, Stoneworker Rogers’ place at Tuxedo. The [144] Designed by Samuel MacIntyre in 7799 on the Osborn Estate at Peabody, Massachusetts [145] de @ ds 2 Oo aw & Tt 2 H o tu $s e pool lies at the foot of a high terrace wall, and is fed through a mask by a stream. Here again a strictly architectural feature of the garden owes much of its interest, its intimate personal quality to the planting about it. A more elaborate wall fountain is that at “Brookside,” of which Mr. Rondoni is the sculptor. It is de- lightful in conception and the figures of the two fauns and the mask are very amusing indeed. Garden houses, like walls, should conform to the style of archi- tecture of the main house, for the garden and whatever pertains to it ought to be part of an homogeneous whole; one should be able to pass easily from house to garden and from garden to house, feeling that each belongs to the other; and one of the surest ways of accomplishing this spirit of coherence is uniformity of design and correlation of material in all the architectural features of the garden. Garden architecture, to be sure, need not be so dignified as that of the house; it admits of more freedom and play- fulness in its treatment than does the more important architecture of the house, but the same general style should be adhered to throughout. The practice of this principle automatically rules out the Japa- nese garden transplanted to our Western surroundings; like most exotics, its fault is that it fails to fit in our civilization and tradi- tions of art, and it must always occupy the position of a curiosity. An Eastern garden is full of symbolism which is lost to the un- trained Western mind, and it is no more feasible to graft this art on our traditions of garden design than it is to introduce Japanese manners, costumes, and religion. [ 146] I t f G a ry d é n The anomaly of an Italian garden in conjunction with a so- called colonial house—or a garden distinctively French in char- acter, with a house of easy informal English design—is less flagrant, though equally to be avoided. The best features of al- most any style offer enough good things from which to choose, so that one need not be driven to the resources of another style for variety. Of garden furniture there is very little of stock design which is good. Stone workers have done a great deal better for us than A USUAL FIGURE WHICH IS A FINE REPRODUCTION OF VERY PLEASING A NEO-GRCECQUE PHILOSOPHER E. Lucchesi, Stoneccorker J. C. Kraus, Stoneworker r St iy @ a & ft ¢ TS s6c We es wood craftsmen; and the cast stone benches and tables which may be obtained offer good adapta- tions of classic designs. But there is little wood garden furniture, except that done to special de- sign, which is even passable. Good garden figures are almost as scarce as good wooden furniture; but occasionally one finds something that it not the stereotyped “boy with fish,” or Hebe, or Diana. Cast iron reindeer gave us a great set-back in our appreci- ation of garden ornaments; for many people, still under the influence of the very proper reaction against this sort of garden “adornment,” refuse to have any “statuary” A GOOD TERMI. at all about their grounds. NAL FIGURE rn aoe) ; FOR PATH This is unfortunate, because there is no doubt about the fact that a few figures carefully chosen con- tribute a lot of interest and life to the garden. It is pleasant to come on a faun laughing out of the leaves at one, or the wise old smile of a philosopher, or the pagan grin of a grotesque. And amusing in much the same way are the ANOTHER TER- lead figures used so often in English gardens; = MINAL FIGURE FOR PATH [148] x 1 r paswyO “SJJasn y? DSSD JT ‘ Spoaptyoapy advospuvT ‘s1ayyo1g qqnH “MM Ss9[4e ASNOH NAdGCUV oyepuinqny ‘pie oO V YO AT {oO , punosh oy} ud [149] Lt Se we Th 4. ae Ee AH o@ @ 5 2 shepherds and shepherdesses, amorini and grotesques. Lead is a very agreeable ma- terial for garden figures, and it is regret- table that no one is manufacturing them in this country to-day. A few dealers import lead work from England, and now and then an old figure strays into the country, but for A FRUIT BASKET FOR A GARDEN GATE POST the most part the use of this material for J. C. Kraus, Stoneworker garden work is very limited. Good sun-dials of the “made in America” kind are also few and far between. For the most part our stock sun-dials consist of Doric columns of very doubtful proportions, or of a single heavy baluster supporting a plaque on which the dial face rests. Very. little ingenuity and good taste seems to have been exercised in their designs, and—lI admit it reluctantly—we have almost no dials to compare in interest with hundreds to be found in England. I am not going to excuse the scarcity of good design in garden furniture and accessories on the basis of the youth of this country, or its hustling interest in business, or its lack of a leisure class. These are the customary and time-worn excuses for almost every artistic defect we possess. We have the best architects in the world to-day, and we have able manufacturers and good designers of furniture for interiors. Among the three we ought to produce garden furniture which ts as good in design as that of any other country, and which will be a real factor in making the gardens livable. [150] 71 a ‘uojduieysey IF" NI AVMUOOd “‘puvysy buoy 9 AHL HH (OO Mogoy sy tg poubisogd “SUN JO NAGUV GATE INTO GREY THE GARDENS” CLIMPSE THROUGH A itect Robert C. Hill, Landscape Arch Mrs. Easthampton, Long Island. i] e ad puvysy Guoy ‘uoydweyiyseyq 27 ‘IHD Maqoy sayy fo wepsvsy YTLAUMONOO HAO TTVA GdCoodo ATIVASONDA NV - sa Boy u “YW seqreyD AVMYUOOd GANDISAG ATTOAAILOAVAG V JIAJIY IAF” ‘yeild ‘upPIy IIT ‘ABUIBES 1P ‘Surry “TO «pr fe uapsvh ayy UT [154] 11 “UMO7y “2 URE Ay ‘Aaljpoy uvyeuo[ FNITMIIUUOT) 7 advospuvT ‘uRLUYOFT j[eiing “4 ayy UC JIA[LYIAE yy {Oo spunosb JIAPIYIAPL™ Jiodasplig 1p HOINVULNA NAGCUVO Good V wy wn SJIIPLYIAP’ ‘youppy pure ourjaq ~“puvsy PuoTy ‘assckg 17 ‘dosyiulAA Uosuorg “Py {9 spuno.ssy TIVM AHL AO AOVAUNS NIVId AHL OL VULNOO dood V WAUO aoe LS ae & aa 4 dV¥O GNV SNOIOOD ANOWLS 7 ‘TJapud AA puR s1eICg SIV Tada LY WA D1 UDA] ONI SJIa}IY IAP” advIspuvT (suuag ‘splarq is yp “bs NOISAHAdC GNV Lotta NI AO ALY oD vV"lLOD a SS Seta ee = eS See ‘ UOIILAL “SCD fo uapavyy Ad V [157] a A WALL OF REFINED DESIGN Garden of Mrs. E. 8. Clark, Pomfret, Connecticut Charles A. Platt, .frchitect [158] SALSA ES ! ae Oe Pe POS Toe Sa) LE DN iy Le DESIGN Estate of Mr. Willard Straight, at Westbury, Long Island A. F. Brinckerhoff, Landscape Architect [159] ae. a) E re 3 =e oti a ee E ¥ emacs AS me sorta eoceceg Generar on E r = aa A CLEVER TRELLIS TREATMENT OF A HIGH WALL In the garden of Mr. Charles Biddle, af Andalusia, Pennsylvania. Mellor and Meigs, Architects [160] AN UNUSUALLY GOOD BIT RUSTIC WORK” Garden of Mrs. J. Clifton Edgar, at Greenwich, Connecticut Marian C. Coffin, Landscape Architect [161] aes. OF P ; fat. aun ” ia in eee ‘ A FENCE OF CHESTNUT PALINGS BETWEEN BRICK PIERS Garden of Mrs. Harry Payne Whitney, Westbury, Long Island. Delano and Aldrich, drchitects [162] ee & ay i al re THE WHITE PICKET FENCE OF A DOOR-YARD GARDEN House of Mrs. Harrison Sanford, at Litchfield, Connecticut Restored by Mr. Aymar Embury II, drchitect [163] u Y h TIVM ONIGNVLS-Ha4uUd V AO ASN TONASSAOONS [164] 7] JIAJIY IAP advospuvT ‘uraqd auUuyv Aad LNA LO yiny Puvysy puoT ‘peajsdua YY JV ‘plof[N]Y atuuey ser yy {oO UI PAVE) a ets Ne) ah SIITTIAUYUL GHAAXNO V [165] h NAaGUVvD HOLNdG a@10 NV [166] GAZEBO OF THE ROYALL HOUSE dt Medford, Massachusetts [167] AN AMUSING WALL FOUNTAIN At “Brookside,” Estate of Mr. William Hall Walker, Great Barrington, Massachusetts. Ferrucio Vitale, Landscape Architect [168] A WALL FOUNTAIN COMBINED WEEH. & POOL Garden of Mr. H. H. Rogers, at Tuxedo, New York Walker and Gillette, drchitects [1¢9] a re ee * L we Copyright, 1013, by Frank Cousins A GARDEN ENTRANCE FOR WHOSE CHARM AGE IS RESPONSIBLE House at So Federal Street, Salem, Massachusetts Samuel McIntyre, Architect, 1782 [170] 11 puvjsy buoT ‘uoydwueyisey JY TIE O Maqoy ssaypy fo HAOd V uapavh ayy UT [i7r] — Je A WROUGHT IRON LANTERN AND BRACKET At Forest Hills Gardens, Forest Hills, Long Island Grosvenor Atterbury, Designer [172] TWO BENCHES OF INTERESTING DESIGN BACKED UP BY ERE TASS Ralph Adams Cram, .frchitect [173] PRODUCTION OF AN OLD RENAISSANCE URN At Hamilton Farm, Gladstone, New Jersey. Ruth Dean, Landscape Architect; J. C. Kraus, Stoneworker [174] 3 woe i A E