Stately gardens were usually approached from a terrace running along the line of the house and commanding a view of the garden, to which broad flights of steps led. Thence extended the principal walks, called "forthrights," in straight lines at right angles to the terrace and intersected by other walks parallel with the terrace. The lay-out of the garden, therefore, corresponded with the ground-plan of the mansion. The squares formed naturally by the intersection of the "forthrights" and other walks were filled with curious beds of geometrical patterns that were known as "knots"; mazes, or labyrinths; orchards; or plain grass-plots. Sometimes all of the spaces or squares were devoted to "knots." These ornamental flower-beds were edged with box, thrift, or thyme and were surrounded with tiny walks made of gravel or colored sand, walks arranged around the beds so that the garden lovers might view the flowers at close range and pick them easily.
It will be remembered that in "Love's Labour's Lost" Shakespeare speaks of "the curious knotted garden." There are innumerable designs for these "knots" in the old Elizabethan garden-books, representing the simple squares, triangles, and rhomboids as well as the most intricate scrolls, and complicated interlacings of Renaissance design that resemble the motives on carved furniture, designs for textiles and ornamental leather-work (known as strap-work, or cuirs). Yet these many hundreds of designs were not sufficient, for the amateur as well as the professional gardener often invented his own garden "knots."
Where the inner paths intersected, a fountain or a statue or some other ornament was frequently placed. Sometimes, too, vases, or urns, of stone or lead, were arranged about the garden in formal style inspired by the taste of Italy. Sometimes, also, large Oriental or stone jars were placed in conspicuous spots, and these were not only intended for decoration but served as receptacles for water.
There were four principles that were observed in all stately Elizabethan gardens. The first was to lay out the garden in accordance with the architecture of the house in long terraces and paths of right lines, or "forthrights," to harmonize with the rectangular lines of the Tudor buildings, yet at the same time to break up the monotony of the straight lines with beds of intricate patterns, just as in the case of architecture bay-windows, clustered and twisted chimneys, intricate tracery, mullioned windows, and ornamental gables relieved the straight lines of the building.
The second principle was to plant the beds with mixed flowers and to let the colors intermingle and blend in such a way as to produce a mosaic of rich, indeterminate color, ever new and ever varying as the flowers of the different seasons succeeded each other.
The third principle was to produce a garden of flowers and shrubs for all seasons, even winter, that would tempt the owner to take pleasure and exercise there, where he might find recreation, literally re-creation of mind and body, and become freshened in spirit and renewed in health.
The fourth principle was to produce a garden that would give delight to the sense of smell as well as to the sense of vision—an idea no longer sought for by gardeners.
Hence it was just as important, and infinitely more subtle, to mingle the perfumes of flowers while growing so that the air would be deliciously scented by a combination of harmonizing odors as to mingle the perfumes of flowers plucked for a nosegay, or Tussie-mussie, as the Elizabethans sometimes quaintly called it.
Like all cultivated Elizabethans, Shakespeare appreciated the delicious fragrance of flowers blooming in the garden when the soft breeze is stirring their leaves and petals. There was but one thing to which this subtle perfume might be compared and that was ethereal and mysterious music. For example, the elegant Duke in "Twelfth Night," reclining on his divan and listening to music, commands:
That strain again! It had a dying fall.
O it came o'er my ear like the sweet south
That breathes upon a bank of violets
Stealing and giving odor.