One kind of arrangement needs to be particularly guarded against—the geometro-picturesque one, seen in some parts of the London parks devoted to subtropical gardening. The plants are very often of the finest kinds and in the most robust health, all the materials for the best results are abundant, and yet the scene fails to satisfy the eye, from the needless formality of many of the beds, produced by the heaping together of a great number of species of one kind in long straight or twisting masses with high raised edges frequently of hard-beaten soil. Many people will not see their way to obliterate the formality of the beds, but assuredly we need not do so to get rid of such effective formality as that shown in the accompanying figure!
The formality of the true geometrical garden is charming to many to whom this style is offensive; and there is not the slightest reason why the most beautiful combinations of fine-leaved and fine-flowered plants should not be made in any kind of geometrical garden.
But in the purely picturesque garden it is as needless, as it is in false taste, to follow the course here pointed out. Hardy plants may be isolated on the turf, and may be arranged in beautiful irregular groups, with the turf also for a carpet, or some graceful spray of hardy trailing plants. Beds may be readily placed so that no such objectionable stage-like results will be seen as those shown in the preceding figure: tender plants may be grouped as freely as may be desired—a formal edge avoided by the turf being allowed to play irregularly under and along the margins, while the remaining bare ground beneath the tall plants may be quickly covered with some fast-growing annuals like Mignonette or Nolanas, some soft-spreading bedding plants like Lobelias or Petunias, or subjects still more peculiarly suited for this purpose, such as the common Lycopodium denticulatum and Tradescantia discolor. Choice tender specimens of Tree ferns, etc., placed in dark shady dells, may be plunged to the rims of the pots in the turf or earth, and some graceful or bold trailing herb placed round the cavity so as to conceal it; and in this way such results may be attained as those indicated in the first plate, in those showing the Dimorphanthus, Musa Ensete, and in the frontispiece. The day will come when we shall be as anxious to avoid all formal twirlings in our gardens as we now are to have them perpetrated in them by landscape-gardeners of great repute for applying wall-paper or fire-shovel patterns to the surface of the reluctant earth, and when we shall no more think of tolerating in a garden such a scene as that shown in the preceding figure, than a landscape artist would tolerate it in a picture.
The old landscape-gardening dogma, which tells us we cannot have all the wild beauty of nature in our gardens, and may as well resign ourselves to the compass, and the level, and the defined daub of colour and pudding-like heaps of shrubs, had some faint force when our materials for gardening were few,[A] but considering our present rich and, to a great extent, unused stores from every clime, and from almost every important section of the vegetable kingdom, it is demonstrably false and foolish.
[A] “In gardening, the materials of the scene are few, and those few unwieldy, and the artist must often content himself with the reflection that he has given the best disposition in his power to the scanty and intractable materials of nature.”—Allison.
To these observations on arrangement, etc., one good rule may be added:—Make your garden as distinct as possible from those of your