The readers of the Horticultttrist will remember that in the February number a few remarks were made relative to home adornment, and a promise also made to depict further some features of beauty found in the grounds of Joseph Perkins, Esq., Cleveland, O., which are worthy of study and thought by every owner of a homestead, inasmuch as they are good examples of true taste applied by principle to art in connection with nature. Of the fine arts in general, and of landscape gardening in particular, there are many amateurs whose minds are open to conviction and inclined to truth, but whose powers of observation are not sufficient to enable them to discover what is right and appropriate until it is pointed out to them. The art of composition embraced in landscape gardening has certain principles which go toward forming a unity of the whole, and from which no deviation can be made without marring the result. Taste may be possessed in a greater or less degree; but without reference to principles, it will fail to create a design, of harmonious proportion or association. It is to be regretted that so little attention is given to the subject of principle and arrangement of tree, shrub, flower, and path, as a whole, in the decoration of our homes.

Thousands on thousands of dollars are yearly expended in creation of new places, to be again remodeled the succeeding year because of the apparent want, when completed, of congruity and harmony necessary to an effective whole. It is not expected that every man will, or can, be a landscapist any more than he can be a physician or lawyer; but he should have sufficient love for his own home to induce him to study the principles of the art, so as to be able to appreciate the reasons for arrangement of designs submitted by his gardener'or landscape artist. A spirit of independence, a pride and love for the cre ation of one's own, should imbue every citizen to the designing or planning for his own home surroundings; but ere he puts his plans into execution, he should submit them to some professional artist for criticism, and be prepared to receive and understand any and all reasons for changes. Were this the condition of things, the rapidity and beauty of creation of new home surroundings would be greatly enhanced; and many a gentleman's grounds that now receive almost an annual remodeling, would exhibit most gratifying results within a period of five to six years from first planting.

It may be pleasant to pass through an apprenticeship of learning by practice the character of tree and plant, the requisite breadth of lawn or road to give the best effect, or to arrange them in one harmonious whole; but it consumes years of time, and is a knowledge which may be bought and made applicable whenever the purchaser has fitted his mind by reading and study to appreciate it. I make these prefatory remarks because at this time probably many readers of the Horticulturist arc about to plant trees, form beds for flowers, etc., and possibly may be induced thereby to think the subject over carefully before ordering the . position of a tree or flower bed; and because by creating in their minds thoughts of the art, they will the better appreciate the illustrations exhibiting the work of others.

"One of the most common errors in ornamental gardening is that of mixing herbaceous flowers with shrubs and trees," by which neither can thrive properly; or if they do, the effect of the one is injured by that of the other. However pleasing and picturesque it may be to see trees, shrubs, and flowers all striving together for the mastery in a natural wood, yet this sort of beauty is totally unsuited to scenes of art; and however much the owner may desire to see and study every tree, shrub, and flower, it is better to plant the surplus in a reserve border in some part of the rear garden, than to destroy unity and effect by a crowding of varieties incongruously together. Another error common to small gardens is the want of some leading feature of special interest, such as the creating of a flower garden proper, a fountain, or rockery; the last one of the most difficult construction, but especially valuable, for the reason that it never satiates.

Landscape Or Home Adornment 230043

Fig. 46.

The flower-garden proper is the most readily constructed, and within the power of all. It should be always near the house, and if possible so that more or less of the views from the windows of the house will look down upon it. Various patterns for the arrangement of the beds and paths are found in all works on landscape gar-dening ; but in copying them, thought should be taken as to their adaptation to the position or form of boundary in which they are to be placed. For a plot with parallel boundary lines, the accompanying design, fig. 46, copied from the grounds of Joseph Perkins, is one of the simplest and yet effective which I have ever seen. By examining, it will be observed that the center is a simple circle from which four beds are formed, and from outside of that the paths and beds are made to accommodate natural lines of travel, which the position of the house, being on the side where stands the vase, and the opening in the opposite hedge, seem to demand. Planting these separate beds with masses, each of a distinct color, produces a constant feature of interest and attraction.

The fountain is the second available item of ready construction within a moderate cost. In the suburbs of our large cities, when water is supplied from public reservoirs, the cost is little more than the introduction and placing of pipes. In the country, tanks have to be constructed ; and here let me say such tanks should never be placed in the house, because they can just as well be in the barn, and in the event of a leakage, the injury therefrom will be less. While water, in many ways, is one of the most pleasing and even attractive features of the pleasure-ground, it is at the same time most difficult of association with surrounding features of art. Commonly a basin of stone-work is constructed directly in front of the house, and contiguous thereto, in which some figure, or a succession of urns or basins, is placed, and from which a single little jet of water is forced continuously. Often this falling water, with its silvery lightness, glittering as with myriads of diamonds in the sun, has for association some stiff and stately tree for its foreground, as seen in our figure, 47, where the owner has planted two Scotch pines within a very few feet of the fountain; while the house, as a background, stands distant some forty feet; the whole bringing out each feature distinct and prominent, but each an item of itself, without any association or harmony with the other.