We are glad to find that our efforts to direct attention to the beautiful but much neglected art of landscape gardening, are meeting with considerable success. Much more attention is being given to having country homes outside of great cities than a few years since, and double the pleasure can be had from them when everything in their surrounding is tastefully arranged, than when things are simply "set out" and left to run in a haphazard sort of way. We have recently given home views of country seats, illustrative of special points in landscape gardening. To-day we present views of the grounds of Mr. J. M. Tilford, of White Plains, New York, showing the admirable effects of straight avenues of trees, and the more artificial features in garden art.

There was a time when everything in gardening was more or less directed in straight lines or squares. With the introduction of a taste for curved lines as being more " natural," there was such a reaction against " Dutch" gardening that no good gardener dare talk of a straight line. One of the earliest contributions to horticultural literature by the writer of these lines, was a defense of straight lines, in the early issues of Downing's Horticulturist. This paper, now nearly forty years ago, met the approval of that great landscape artist, and did a little to stem the tide setting in against the use of straight lines in many cases.

In Mr. Tilford's grounds we have a beautiful avenue, shaded by elms, which, as it has a good object at the end, is singularly effective. One of the leading features of these grounds is the good use of the artificial in connection with the natural. Summer houses, arbors, statues and rustic seats abound. Indeed, true art in landscape gardening does not consist in the employment of either curves or straight lines, or in the presence or absence of arbors, or statues, or vases, but in using or placing them just where they will be in harmony with the ideas or associations the artist desires to express. For instance, there are many places in a garden where a sun dial could be used with admirable effect. Great pleasure could be derived from placing one properly. But if we come on one set in the deep recesses of a shady wood, or in a cave, the unappropriateness excites ridicule, rather than a sensation of the agreeable. We should feel rather in a lunatic asylum than on the grounds of one with whom we might share a feast of pleasure.

Shaded Walk, J. M. Tilford's Residence.

Shaded Walk, J. M. Tilford's Residence.

Residence of J. M. Tilford, White Plains, N. Y.

Residence of J. M. Tilford, White Plains, N. Y.

Arbors and summer houses can often be made of rustic material at little cost, and will be more appropriate to the surroundings than if made of more artificial material. We give on page 36 (Fig. 1) a half section of an octagonal building, so made. The bark should be taken off and the material painted of the same color as the wood, in order to preserve its rustic appearance.

In making these houses it must be remembered that they are to serve as retreats during hot weather, and therefore coolness is a first consideration. A good non-conducting material should be used for this. There is nothing better than straw, - or, as the folks in the old country would say, a thatched roof. We give an illustration of one of these. (See Fig. 2, page 37).

Arbors and Summer houses. An Octagonal Building

Fig. 1. See Hints, page 34.

A Thatched Roof

Fig. 2. See Hints, page 34.

In our country we should prefer the eaves to be longer than given here, as the projection is a better aid to coolness, in keeping out the direct rays of the sun. In fact, the chief distinction between an American and an English summer house might be said to be that in the one coolness and shade were the prominent features, against the mere resting places of the Old World.