[15] See "The Praise of Gardens."
[16] "Archæological Journal," vol. v. p. 295.
[17] "Early Drawings and Illuminations." Birch and Jenner. (Bagster, 1879, p. 134.)
"Gardens.
19 D. i. ff. I. etc.
20 A. xvii. f. 7b.
20 B. ii. f. 57.
14 803 f. 63.
18 851 f. 182.
18 852 f. 3. b.
26667 f. i.
Harl. 4425. f. 12. b.
Kings 7. f. 57.
6 E. ix. f. 15. b.
14 E. vi. f. 146.
15 E. iii. f. 122.
15 E. vi. f. 146.
16 G. v. f. 5.
17 F. i. f. 149 b.
19 A. vi. f. 2. 109.
19 C. vii. f. i.
20 C. v. ff. 7. etc.
Eg. 2022. f. 36. b.
Harl. 4425. f. 160 b.
19720.
19 A. vi. f. 109."
[18] "The Garden."—Walther Howe.
[19] "English scenery of that special type which we call homely, and of which we are proud as only to be found in England, is, indeed, the production of many centuries of that conservatism which has spared the picturesque timber, and of that affectionate regard for the future which has made men delight to spend their money in imprinting on the face of Nature their own taste in trees and shrubs." ("Vert and Venery," by Viscount Lymington; Nineteenth Century, January, 1891.)
[20] Miss Edwards (and I quote from her edition of Young's "Travels in France," p. 101) has a note to the effect that the Mr Brown here referred to is "Robert Brown, of Markle, contributor to the Edinburgh Magazine, 1757-1831." Yet, surely this is none other than Mr "Capability" Brown, discoverer of English scenery, reputed father of the English garden!
[21] Lowell's "Ode to Fielding."
[22] "Mr Evelyn has a pleasant villa at Deptford," writes Gibson, "a fine garden for walks and hedges (especially his holly one which he writes of in his 'Sylva') ... In his garden he has four large round philareas, smooth-clipped, raised on a single stalk from the ground, a fashion now much used. Part of his garden is very woody and shady for walking; but his garden not being walled, has little of the best fruits."
[23] This remark of Temple's as to the small importance the flower-beds had in the mind of the gardener of his day, is significant: as indicating the different methods employed by the ancient and modern gardener. It was not that he was not "pleased with the care" of flowers, but that these were not his chiefest care; his prime idea was to get broad, massive, well-defined effects in his garden generally. Hence the monumental style of the old-fashioned garden, the carefully-disposed ground, the formality, the well-considered poise and counter-poise, the varying levels and well-defined parts. And only inwoven, as it were, into the argument of the piece, are its pretty parts, used much as the jewellery of a fair woman. I should be sorry to be so unjust to the modern landscape gardener as to accuse him of caring over-much for flowers, but of his garden-device generally one may fairly say it has no monumental style, no ordered shape other than its carefully-schemed disorder. It is not a masculine affair, but effeminate and niggling; a little park-scenery, curved shrubberies, wriggling paths, emphasised specimen plants, and flower-beds of more or less inane shape tumbled down on the skirts of the lawn or drive, that do more harm than good to the effect of the place, seen near or at a distance. How true it is that to believe in Art one must be an artist!