By this understanding of the matter what a fine truce-note is blown between the contending advocates of "natural" and of "formal" gardening! The right choice between these two aspects of the art, and the right degree in either choice, depend on the character of the house. The house is a part of the garden. It is the garden's brow and eyes. In gardening, almost the only thing which costs unduly is for us to try to give our house some other house's garden. One's private garden should never be quite so far removed from a state of nature as his house is. Its leading function should be to delight its house's inmates (and intimates) in things of nature so refined as to inspire and satisfy their happiest moods. Therefore no garden should cost, nor look as if it cost, an outlay of money, time or toil that cramps the house's own ability to minister to the genuine bodily needs and spiritual enlargements of its indwellers; and therefore, also, it should never seem to cost, in its first making or in its daily keeping, so much pains as to lack, itself, a garden's supreme essential—tranquillity.
So, then, to those who would incite whole streets of American towns to become florally beautiful, "formal" gardening seems hardly the sort to recommend. About the palatial dwellings of men of princely revenue it may be enchanting. There it appears quite in place. For with all its exquisite artificiality it still is nearer to nature than the stately edifice it surrounds and adorns. But for any less costly homes it costs too much. It is expensive in its first outlay and it demands constantly the greatest care and the highest skill. Our ordinary American life is too busy for it unless the ground is quite handed over to the hired professional and openly betrays itself as that very unsatisfying thing, a "gardener's garden."
" ... until the house itself seems as naturally ... to grow up out of the garden as the high keynote rises at the end of a lady's song."
On the right of this picture you may see the piers of one of the front gates of My Own Acre standing under Henry Ward Beecher's elm. The urn forms surmounting them are of concrete, and the urns are cast from earlier forms in wood, which were a gift from Henry van Dyke. On the left the tops of the arbor vitæ and a magnolia are bending in the wind.
Our ordinary American life is also too near nature for the formal garden to come in between. Unless our formal gardening is of some inexpensive sort our modest dwelling-houses give us an anticlimax, and there is no inexpensive sort of formal gardening. Except in the far south our American climate expatriates it.
A very good practical rule would be for none of us to venture upon such gardening until he is well able to keep up an adequate greenhouse. A formal garden without a greenhouse or two—or three—is a glorious army on a war footing, but without a base of supplies. It is largely his greenhouses which make the public gardener and the commercial florist so misleading an example for the cottager to follow in his private gardening.
To be beautiful, formal gardening requires stately proportions. Without these it is almost certain to be petty and frivolous. In the tiny gardens of British and European peasants, it is true, a certain formality of design is often practised with pleasing success; but these gardens are a by-product of peasant toil, and in America we have no joy in contemplating an American home limited to the aspirations of peasant life. In such gardening there is a constraint, a lack of natural freedom, a distance from nature, and a certain contented subserviency, which makes it—however fortunate it may be under other social conditions—wholly unfit to express the buoyant, not to say exuberant, complacencies of the American home. For these we want, what we have not yet quite evolved, the American garden. When this comes it must come, of course, unconsciously; but we may be sure it will not be much like the gardens of any politically shut-in people. No, not even of those supreme artists in gardening, the Japanese. It will express the traits of our American domestic life; our strong individuality and self-assurance, our sense of unguarded security, our affability and unexclusiveness and our dislike to high-walled privacy. If we would hasten its day we must make way for it along the lines of these traits.
On the other hand, if in following these lines we can contrive to adhere faithfully to the worldwide laws of all true art, who knows but our very gardening may tend to correct more than one shortcoming or excess in our national character?
In our Northampton experiment it has been our conviction from the beginning that for a private garden to be what it should be—to have a happy individuality—a countenance of its own—one worthy to be its own—it must in some practical way be the fruit of its householder's own spirit and not merely of some hired gardener's. If one can employ a landscape-architect, all very well; but the most of us cannot, and after all, the true landscape-architect, the artist gardener, works on this principle and seeks to convey into every garden distinctively the soul of the household for which it springs and flowers.
"Since when it grows and smells, I swear,
Not of itself but thee."