The wide gravel walk next the house-front falls a little as it passes to the left, divides in two and continues by an upward slope on either side of a wall-fountain in a small inclosure formed by the retaining walls of the rising paths. The path then passes all round the large rectangular pool, one end of which forms the subject of the picture. This shows well the graceful ease and, one may say, the courteous suavity, that is the foremost character of this beautiful kind of French designing. The high level of the water in the pool, so necessary for good effect, is a detail that is often overlooked in English gardens. Nothing looks worse than a height of bare wall in a pool or fountain basin, and nothing is more commonly seen in our gardens. The low stone kerb bordering the pool is broken at intervals with only slightly rising pedestals for
THE POOL, BRAMHAM
FROM THE PICTURE IN THE POSSESSION OF
Sir James Whitehead, Bart.
flower vases. Tubs of Agapanthus stand on the projections by the side of the piers that flank the small fountain basin, whose overflow falls into the pool.
All this portion of the garden has a background of yew hedges inclosing large trees. From this pool the ground rises to another; also of rectangular form, but with an arm to the right, in the line of the cross axis, forming a T-shape. Between the two, on a path always rising by occasional flights of steps, is a summer-house. The path swings round it in a circle. To right and left are flower-beds and roses; outside these, also on a curved line, are ranged a series of gracefully sculptured amorini, bearing aloft vases of flowers.
The path soon reaches the upper pool, again passing all round it. At the point furthest to the right, at the end of the projecting arm, and looking along the cross axis to where, beyond the pool, the ground again rises, is a handsome wall fountain, with steps to right and left, inclosed by panelled walls. All this garden of pool and fountain, easy way of step and gravel, and ornament of flower and sculpture, is bounded by the massive walls of yew, and all beyond is sheltering quietude of ancient trees. From several points around the highest pool, as well as from the rising lawns to right and left of the theatre, straight grass-edged paths, bordered by clipped hornbeam, lead through the heavily wooded ground. From distant points the main walks converge; and here, in a circular green-walled court, stands a tall pedestal bearing a handsome stone vase. The prospects down the alleys are variously ended; some by pillared temples set in green niches, some by the open park-landscape; some by further depths of woodland. It is all easy and gracious, but full of dignity—courtly—palatial; bringing to mind the stately bearing and refined courtesy of manner of our ancestors of two centuries ago. It is good to know that some of these gardens and disciplined woodlands still exist in our own land and in France; these quiet bosquets de verdure of those far-away days. Though the scale on which they were planned is only suitable for the largest houses and for wealthy owners who can command lavish employment of labour, yet we cannot but admire the genius of those garden artists of France who designed so boldly and yet so gracefully, and who have left us such admirable records of their abounding ability.