Garden Ornaments

by Mary Harrod Northend

A ROMAN FOUNTAIN PLACED AGAINST A VERY APPROPRIATE BACKGROUND

Probably everybody who has become interested in floriculture finds the same difficulty in obtaining exactly what they wish. It is often hard to match ideas with reality. This is another reason for curbing one's impatience. The right things are sure to be found, that is if one is willing to take time.

It is when comparing the gardens of the old world with those of to-day that we are impressed with the atmosphere of the twentieth-century garden, where nature is encouraged to be genuine rather than artificial. This is the height of success, the bringing into harmony of paths, ornaments, and flowers, omitting gaudy effects or over-crowding with marble fragments. Simplicity should be the key-note in arranging this part of our ground, a simplicity that has been worked out by careful thought for it means hard study to obtain natural effects.

There are many materials from which our fountain can be manufactured. The most expensive of these are marble, terra cotta and manufactured stone, the former leading the list, while the latter is better suited to the moderate purse. This last is, in reality, a composition of marble dust with cement, and the result is most satisfactory, the finished product showing a smooth surface resembling as nearly as possible that of unpolished marble. In rare cases, however, chemicals have been used to produce an antique look. Many people are under the impression that manufactured stone is always white. As a matter of fact, in the finished product, there are as many as half a dozen neutral tints shown. These all incline to a soft, delicate gray, sometimes with a blueish cast.

Terra cotta comes next in cost. A detriment to its use is that, particularly when it is shown in deep bronze coloring, it does not lend itself artistically to landscape effect, through lack of contrast with its surroundings. We find this material with both glazed and unglazed surfaces, the former being more expensive but not as practical as the latter. The most strongly recommended coloring is limestone gray, whose soft, delicate finish brings out the tone of the vines, and emphasizes the color of the surrounding flowers. Next comes the Pompeian red, only to be used under certain conditions on account of its color. Colonial yellow has also been introduced. The two last colors are rarely, if ever, used for fountain designs, the gray being considered much more advisable.

There are many reasons why cement is considered practical; its cost, its wearing qualities, and its appropriate coloring. All these qualities lend themselves to constructive purposes, and making it decoratively most desirable.

The architect who suits the design of the garden to the type of the house will take advantage of this particular material. He has his ideas concerning the effect that he wishes to bring out, to emphasize the design of the house. He realizes that there is something more than interest in botany to be shown if he wishes to make this part of his plan a success. We have grown to a realizing sense that for the best results it is better to employ a skilled man. No clever result can be brought out through an inexperienced person planning the grounds, that is, unless they have natural ability such as few people possess. We have only to go back to our Colonial ancestors and study effects. It is then we realize the difference between home planting and architectural planting.

Cost is not the only thing to be taken into consideration when creating garden effects. Character should be considered as well. In order to obtain this satisfactorily, the accessories should be planned by a connoisseur, such as an architect becomes after many years' study of the subject. The fountain is the most important detail and requires more careful thought than any other part of the garden setting. It makes no difference what its construction is, so that it fits in with the scheme.

Great care should be taken not to introduce different periods or materials when placing garden ornaments on our grounds. Take, as an instance, a home-made fountain and place it in close proximity with an imported one and note the result. You will see the lack of harmony. The Italian fountain belongs distinctively to the formal or Italian lay-out, and should never be used, with the exception of making a central feature on a lawn, in any other way. If you place the Greek fountain on a hillside where landscape effects have been worked out through the use of cascades that dash over terraces and under rustic bridges, you will see it is entirely out of place and in the wrong surroundings.