CHAPTER THE NINTH
I differ from many people who knew more about garden-making than I know or than I ever shall know, in believing that it is unnecessary for the House Garden—I will adopt this name for it—to be paved between the beds. I have seen this paving done in many cases, and to my mind it adds without any need whatsoever a certain artificiality to the appearance of this feature of the garden. By all means let the paths be paved with stone or brick; I have had all mine treated in this way, and thereby made them more natural in appearance, suggesting, as they do, the dry watercourse of a stream: every time I walk on thorn I remember the summer aspect of that beautiful watercourse at Funchal in the island of Madeira, which becomes a thoroughfare for several months of the year; but I am sure that the stone edgings of the beds and of the fountain basin look much better surrounded by grass. All that one requires to do in order to bring the House Garden in touch with the house is to bring something of the material of the house on to the lawn, and to force the house to reciprocate with a mantle of ampélopsis patterned with clematis.
All that I did was to remove the turf within the boundary of my stone edging and add the necessary soil. A week was sufficient for all, including the fountain basin and the making of the requisite attachment to the main water pipe which supplies the garden from end to end.
And here let me advise any possible makers of garden fountains on no account to neglect the introduction of a second outlet and tap for the purpose of emptying the pipe during a frost. The cost will be very little extra, and the operation will prevent so hideous a catastrophe as the bursting of a pipe passing through or below the concrete basin. My plumber knew his business, and I have felt grateful to him for making such a provision against disaster, when I have found six inches of ice in the basin after a week's frost.
At first I was somewhat timid over the planting of the stone-edged beds. I had heard of carpet bedding, and I had heard it condemned without restraint. I had also seen several examples of it in public gardens at seaside places and elsewhere, which impressed me only by the ingenuity of their garishness. Some one, too, had put the veto upon any possible tendency on my part to such a weakness by uttering the most condemnatory words in the vocabulary of art—Early Victorian! To be on the safe side I planted the beds with herbaceous flowers, only reserving two for fuchsias, of which I have always been extremely fond.
I soon came to find out that a herbaceous scheme in that place was a mistake. For two months we had to look at flowers growing, for a month we had to look at things rampant, and for a month we had to watch things withering. At no time was there an equal show of colour in all the beds. The blaze of beauty I had hoped for never appeared: here and there we had a flash of it, but it soon flickered out, much to our disappointment. If the period of the ramp had synchronised for all the beds it would not have been so bad; but when one subject was rampant the others were couchant, and no one was pleased.
The next year we tried some more dwarf varieties and such annuals as verbenas, zinnias, scabious, godetias, and clarkias, but although every one came on all right, yet they did not come on simultaneously, and I felt defrauded of my chromatic effects. A considerable number of people thought the beds quite a success; but we could not see with their eyes, and our feeling was one of disappointment.
Happily, at this time I bought for a few shillings a few boxes of the ordinary echeveria secunda glauca, and, curiously enough, the same day I came upon a public place where several beds of the same type as mine, set in an enclosed space of emerald grass, were planted with echeveria and other succulents, in patterns, with a large variety of brilliantly-coloured foliage and a few dwarf calceolarias and irisines. In a moment I thought I saw that this was exactly what I needed—whether it was carpet bedding or early Victorian or inartistic, this was what I wanted, and I knew that I should not be happy until I got it. Every bed looked like a stanza of Keats, or a box of enamels from the Faubourg de Magnine in Limoges, where Nicholas Laudin worked.