It is said that garden craft, like most other forms of art, came from the East; that the cultivation of gardens commenced in Egypt, Persia, and Assyria, travelling westward through Greece and Rome; and in some of the early English gardens which horticulturists are so fond of copying to-day there are traces of Eastern influence still remaining.
Although the garden is the place where we expect to find flowers, foliage, and perhaps fruit and vegetables, it has always been associated with home life, and some of the charms of domestic comradeship owe their greatness to the garden and pleasance.
It has always been the aim of the professional and the amateur gardener to furnish the lawn and flower-beds with appropriate settings, some of which have become very quaint in the eyes of twentieth-century horticulturists.
The Egyptians had their trellised bowers, and their tiny pools of clear water. The Greeks, however, were fortunate in having undulated and even hilly ground to cultivate, and their gardens were much more picturesque than the level ground of Egypt, although the Orientals built terraces, and by artificial means enhanced the beauty of their gardens. The adornment of gardens with statuary comes to us from Greece, and many modern reproductions of ancient Greek statues are regarded as the curios of the modern garden. Delightful, indeed, are some of the statuettes in stone and lead representing Aphrodite and the Graces. The Roman gardens were magnificent in their miniature temples, replicas of which are found in the old Georgian summer-houses, such as may be seen at Kew, and in many private grounds, dating from that period. The Romans were lovers of roses, and had many charming rose bowers, curiously and cunningly formed.
The dawn of gardening on some approved plan, and then ornamenting the portions not covered with greenery, began in monastic days. The oldest of the occupations of civilized man, it was long held in high repute, and many worthy men have posed as amateurs. Indeed, there have been Royal gardeners, among the most familiar being Edward I and Queen Elizabeth. From Tudor times onward the once waste land in the immediate vicinity of castles and palaces was cultivated, and the gardens of the nobility along the Strand in London were full of beautiful stonework and statuettes. A writer in the sixteenth century, describing an English garden of his day, wrote: "Every garden of account hath its fish pond, its maze, and its sundials."
Many fine old fountains or miniature fishponds remain, and sundials are among the curios associated with the outdoor life of the home. The garden houses of the eighteenth century included a bowling green or court, viewed from the terrace; and towards the end of that period many leaden figures were cast, the favourite being replicas of Roman statuary dedicated to such deities as Bacchus, Venus, Neptune, and Minerva. These lead statues have been collected by dealers during the last few years. Some of them are really very beautifully formed, although in many instances the wear and tear of a couple of centuries has covered them over with scratches and indentations. A few years ago lead statues received little consideration from their owners, and the children made them targets for stone-throwing. They are thought more of now, and at several recent sales lead statuettes and vases have sold for considerable sums.
Sometimes ancient lead cisterns are seen outside old houses; many of these and even rain-water spout heads, beautifully moulded and cast, are among the household curios for which there is some call among collectors.
The Mounting of Curios.
A miscellaneous assortment of curios displayed without any regard to their proper setting has just the same effect as a badly framed picture, or a painting with an inappropriate frame. Sundry curios may be made to look charming when properly shown in a glass-topped table or a suitable case, their value as home ornaments being materially increased. Indeed, there are many beautiful objects which look nothing unless properly framed. The Wedgwood cameo gems so varied and so very minutely tooled require proper display; according to their colours so should they be arranged on a velvet or cloth background with an ample margin to separate them. A group of miniatures looks nothing unless in suitable setting or mount. Much of the beauty of old china is lost because it is simply laid out without a colour scheme. A cup and saucer look very much better when shown on a stand, so that the saucer can be seen and every detail of the cup examined, the richness of the colouring inside or out, as the case may be, being thrown up by the ebonized stand on which it is placed. Carved ivories should certainly be shown with a dark setting. In a similar way Oriental plaques and even smaller plates with light backgrounds are set off to the best advantage when shown in dark ebony frames. The Orientals know the value of framework perhaps more than any other people, and among the curios they have sent over to this country are appropriately carved frames and stands. The almost priceless ginger jars when placed upon carved-wood stands, for which the Chinese are so famous, are beautiful indeed, the contrast of the black and blue against the black base being very striking. Indeed, much of the carved furniture of the Orientals has been specially designed as a framework for mother-o'-pearl and gem ornaments. The rare jade carvings in black ebony screens, and the marvellous carving of the larger screens are but appropriate settings to the painted and needlework pictures so rich in colours and gold. In Fig. [57] we illustrate a very remarkable piece in which the artist has expended his wonderful skill in providing a suitable stand or frame for a very beautiful early porcelain plate. Every detail of the carving is worthy of close inspection. This beautiful piece was included in a collection of jade, cloisonné enamels, and carved furniture gathered together in Java some years ago by a well-known collector of Chinese and Oriental curios. Now and then such pieces are to be seen in the shops of West End dealers. But it would be difficult indeed to find one so characteristic of the Chinese carver's art as the one shown.