Very attractive, too, are the little bridges made of bundles of faggots laid on a wooden framework, covered with beaten earth, the edges formed of turf, bound with split bamboo, to prevent the soil from crumbling away. There is an infinite variety of these little fantastic bridges, and the cleverness displayed in the placing of them was a never-failing source of admiration to me. The common idea of a bridge being a means of crossing water in the shortest and most direct manner is by no means the Japanese conception of a bridge. Their fondness for water, and their love of lingering while crossing it, in order to feed and gaze at the goldfish, or merely to enjoy the scene, has no doubt been responsible for the position of many of their bridges: one slab will connect the shore with a little rocky islet, and then, instead of continuing in the most direct route to the opposite shore, as often as not the next slab will branch away in an entirely different direction, probably with the object of revealing a different view of the garden, or merely in order to prolong the pleasure of crossing the lake or stream.
In most gardens, unless they are very diminutive in size, there is at least one Arbour or Resting Shed. It may consist merely of a thick rustic post supporting a thatched roof in the shape of a huge umbrella, with a few movable seats, or its proportions may assume those of a miniature house carefully finished in every detail. When they are of such an elaborate form they partake more of the nature of the Tea-ceremony room, with raised matted floors, plastered walls, and shoji on at least two sides of the room. The open structures in various shapes, with rustic thatched roofs, some fixed seats with a low railing or balustrade to lean against, are of more common form; and if the Resting House is by the side of the lake, a projecting verandah railed round is very popular, affording a comfortable resting-place from which to gaze at the scene.
Decorative garden wells are picturesque objects, with their diminutive roofs to protect the cord and pulley from the rain. As often as not they are purely for ornament, but even in this case the cord, pulley, and bracket should all look as antique as possible. A few stepping-stones should lead to it, and a stone lantern should be at hand with a suitable group of trees or shrubs.
Finally we come to garden fences and gateways, which again are bewildering in their infinite variety and style. The Imperial gardens, and even less imposing domains, are not enclosed by fences, but by solid walls of clay and mud, plastered over, carrying a roof of ornamental tiles. Even fences made of natural wood all carry a projecting roof to afford protection from the rain, which adds very much to their picturesque effect. The humblest garden must have two entrances, which therefore necessitates two gateways—the principal entrance, by which the guests enter, and the back entrance, called The Sweeping Opening from its practical use as a means of egress for the rubbish of the garden. This gate will be made of wood or bamboo, quite simple in style; but the Entrance Gate is a far more important feature of the domain, and must be in character with the garden it leads to. The actual garden doors are of
TIGER LILIES
natural wood, their panels decorated with either carving or lattice-work, and set in a wooden frame which may vary considerably in style. Roofed gateways are very common, and the practice of hanging a wooden tablet between the lintels, with an inscription either describing the style of the garden or merely conveying a pretty sentiment in keeping with its character, is often seen. The fashion of planting a pine-tree of twisted and crooked shape just inside the gateway so that its leaning branches may be seen above the fence, is not only for artistic effect, but, the pine being an emblem of good luck, it is supposed to bring long life and happiness to the owner of the garden.
Mr. Conder tells us that over a hundred drawings exist of ornamental Screen Fences, called by the Japanese Sleeve Fences. They may be used to screen off some portion of the garden, but are mainly ornamental, and are usually placed near the water-basin and a stone lantern. Without illustrations it is hopeless to attempt to describe their fanciful shapes, each again with a poetical name. The materials used in their construction consist chiefly of bamboo tubes of various sizes, rushes and reeds tied with dyed fibre, or even the tendrils of creepers or wistaria. In some of the simpler forms the patterns are only made by the placing of the bamboo joints; but others are much more elaborate, and have panels of lattice-work formed of tied rushes or reeds, or openings of different shapes like windows. Mr. Conder gives a detailed description of an immense number of these fantastic screens, and one at least I must quote as an example.