greenery; on the upper level swinging round in a half circle, in which are cut arched niches. In each leafy niche is a bust of a Cæsar in marble on a tall term-shaped pedestal. Orange trees in tubs stand by the sides of the Canal. This is the most ornate portion of the garden, but its whole extent is designed with equal care. There is a wide bowling-green for quiet play; turf walks within walls of living green; everywhere that feeling of repose and ease of mind and satisfaction that comes of good balance and proportion. It shows the classical sentiment thoroughly assimilated, and a judicious interpretation of it brought forth in a form not only possible but eminently successful, as a garden of Italy translated into the soil of one of our Southern Counties.
Whether or not it is in itself the kind of gardening best suited for England may be open to doubt, but at least it is the work of a man who knew what he wanted and did it as well as it could possibly be done. Throughout it bears evidence of the work of a master. There is no doubt, no ambiguity as to what is intended. The strong will orders, the docile stone and vegetation obey. It is full-dress gardening, stately, princely, full of dignity; gardening that has the courtly sentiment. It seems to demand that the actual working of it should be kept out of sight. Whereas in a homely garden it is pleasant to see people at work, and their tools and implements ready to their hands, here there must be no visible intrusion of wheelbarrow or shirt-sleeved labour.
Possibly the sentiment of a garden for state alone was the more gratifying to its owner because of the near neighbourhood of miles upon miles of wild, free forest; land of the same character being inclosed within the property; the tall trees showing above the outer hedges and playing to the lightest airs of wind in an almost strange contrast to the inflexible green boundaries of the ordered garden.
The danger that awaits such a garden, now just coming to its early prime, is that the careful hand should be relaxed. It is an heritage that carries with it much responsibility; moreover, it would be ruined by the addition of any commonplace gardening. Winter and summer it is nearly complete in itself; only in summer flowers show as brilliant jewels in its marble vases and in its one restricted parterre of box-edged beds.
It is a place whose design must always dominate the personal wishes, should they desire other expression, of the succeeding owners. The borders of hardy and half-hardy plants, that in nine gardens out of ten present the most obvious ways of enjoying the beauty of flowers, are here out of place. In some rare cases it might not be impossible to introduce some beautiful climbing plant or plant of other habit, that would be in right harmony with the design, but it should only be attempted by an artist who has such knowledge of, and sympathy with, refined architecture as will be sure to guide him aright, and such a consummate knowledge of plants as will at once present to his mind the identity of the only possible plants that could so be used. Any mistaken choice or introduction of unsuitable plants would grievously mar the design and would introduce an element of jarring incongruity such as might easily be debased into vulgarity.
There is no reason why such other gardening may not be rightly done even at Brockenhurst, but it should not encroach upon or be mixed up with an Italian design. Its place would be in quite another portion of the grounds.
BROCKENHURST: THE GARDEN GATE
FROM THE PICTURE IN THE POSSESSION OF Miss Radcliffe