Old-Time Gardens, Newly Set Forth. Earle Alice Morse
life.
Within the past five or six years there have been laid out in America, at the country seats of men of wealth and culture, a great number of formal gardens, – Italian gardens, some of them are worthily named, as they have been shaped and planted in conformity with the best laws and rules of Italian garden-making – that special art. On this page is shown the finely proportioned terrace wall, and opposite the upper terrace and formal garden of Drumthwacket, Princeton, New Jersey, the country seat of M. Taylor Pyne, Esq. This garden affords a good example of the accord which should ever exist between the garden and its surroundings. The name, Drumthwacket – a wooded hill – is a most felicitous one; the place is part of the original grant to William Penn, and has remained in the possession of one family until late in the nineteenth century. From this beautifully wooded hill the terrace-garden overlooks the farm buildings, the linked ponds, the fertile fields and meadows; a serene pastoral view, typical of the peaceful landscape of that vicinity – yet it was once the scene of fiercest battle. For the Drumthwacket farm is the battle-ground of that important encounter of 1777 between the British and the Continental troops, known as the Battle of Princeton, the turning point of the Revolution, in which Washington was victorious. To this day, cannon ball and grape shot are dug up in the Drumthwacket fields. The Lodge built in 1696 was, at Washington's request, the shelter for the wounded British officers; and the Washington Spring in front of the Lodge furnished water to Washington. The group of trees on the left of the upper pond marks the sheltered and honored graves of the British soldiers, where have slept for one hundred and twenty-four years those killed at this memorable encounter. If anything could cement still more closely the affections of the English and American peoples, it would be the sight of the tenderly sheltered graves of British soldiers in America, such as these at Drumthwacket and other historic fields on our Eastern coast. At Concord how faithfully stand the sentinel pines over the British dead of the Battle of Concord, who thus repose, shut out from the tread of heedless feet yet ever present for the care and thought of Concord people.
We have older Italian gardens. Some of them are of great loveliness, among them the unique and dignified garden of Hollis H. Hunnewell, Esq., but many of the newer ones, even in their few summers, have become of surprising grace and beauty, and their exquisite promise causes a glow of delight to every garden lover. I have often tried to analyze and account for the great charm of a formal garden, to one who loves so well the unrestrained and lavished blossoming of a flower border crowded with nature-arranged and disarranged blooms. A chance sentence in the letter of a flower-loving friend, one whose refined taste is an inherent portion of her nature, runs thus: —
"I have the same love, the same sense of perfect satisfaction, in the old formal garden that I have in the sonnet in poetry, in the Greek drama as contrasted with the modern drama; something within me is ever drawn toward that which is restrained and classic."
In these few words, then, is defined the charm of the formal garden – a well-ordered, a classic restraint.
Some of the new formal gardens seem imperfect in design and inadequate in execution; worse still, they are unsuited to their surroundings; but gracious nature will give even to these many charms of color, fragrance, and shape through lavish plant growth. I have had given to me sets of beautiful photographs of these new Italian gardens, which I long to include with my pictures of older flower beds; but I cannot do so in full in a book on Old-time Gardens, though they are copied from far older gardens than our American ones. I give throughout my book occasional glimpses of detail in modern formal gardens; and two examples may be fitly illustrated and described in comparative fulness in this book, because they are not only unusual in their beauty and promise, but because they have in plan and execution some bearing on my special presentation of gardens. These two are the gardens of Avonwood Court in Haverford, Pennsylvania, the country-seat of Charles E. Mather, Esq., of Philadelphia; and of Yaddo, in Saratoga, New York, the country-seat of Spencer Trask, Esq., of New York.
The garden at Avonwood Court was designed and laid out in 1896 by Mr. Percy Ash. The flower planting was done by Mr. John Cope; and the garden is delightsome in proportions, contour, and aspect. Its claim to illustrative description in this book lies in the fact that it is planted chiefly with old-fashioned flowers, and its beds are laid out and bordered with thriving Box in a truly old-time mode. It affords a striking example of the beauty and satisfaction that can come from the use of Box as an edging, and old-time flowers as a filling of these beds. Among the two hundred different plants are great rows of yellow Day Lilies shown in the view facing page 76; regular plantings of Peonies; borders of Flower de Luce; banks of Lilies of the Valley; rows of white Fraxinella and Lupine, beds of fringed Poppies, sentinels of Yucca – scores of old favorites have grown and thriven in the cheery manner they ever display when they are welcome and beloved. The sun-dial in this garden is shown facing page 82; it was designed by Mr. Percy Ash, and can be regarded as a model of simple outlines, good proportions, careful placing, and symmetrical setting. By placing I mean that it is in the right site in relation to the surrounding flower beds, and to the general outlines of the garden; it is a dignified and significant garden centre. By setting I mean its being raised to proper prominence in the garden scheme, by being placed at the top of a platform formed of three circular steps of ample proportion and suitable height, that its pedestal is also of the right size and not so high but one can, when standing on the top step, read with ease the dial's response to our question, "What's the time o' the day?" The hedges and walls of Honeysuckle, Roses, and other flowering vines that surround this garden have thriven wonderfully in the five years of the garden's life, and look like settings of many years. The simple but graceful wall seat gives some idea of the symmetrical and simple garden furnishings, as well as the profusion of climbing vines that form the garden's boundaries.
This book bears on the title-page a redrawing of a charming old woodcut of the eighteenth century, a very good example of the art thought and art execution of that day, being the work of a skilful designer. It is from an old stilted treatise on orchards and gardens, and it depicts a cheerful little Love, with anxious face and painstaking care, measuring and laying out the surface of the earth in a garden. On his either side are old clipped Yews; and at his feet a spade and pots of garden flowers, among them the Fritillary so beloved of all flower lovers and herbalists of that day, a significant flower – a flower of meaning and mystery. This drawing may be taken as an old-time emblem, and a happy one, to symbolize the making of the beautiful modern Rose Garden at Yaddo; where Love, with tenderest thought, has laid out the face of the earth in an exquisite garden of Roses, for the happiness and recreation of a dearly loved wife. The noble entrance gate and porch of this Rose Garden formed a happy surprise to the garden's mistress when unveiled at the dedication of the garden. They are depicted on page 81, and there may be read the inscription which tells in a few well-chosen words the story of the inspiration of the garden; but "between the lines," to those who know the Rose Garden and its makers, the inscription speaks with even deeper meaning the story of a home whose beauty is only equalled by the garden's spirit. To all such readers the Rose Garden becomes a fitting expression of the life of those who own it and care for it. This quality of expression, of significance, may be seen in many a smaller and simpler garden, even in a tiny cottage plot; you can perceive, through the care bestowed upon it, and its responsive blossoming, a something which shows the life of the garden owners; you know that they are thoughtful, kindly, beauty-loving, home-loving.
Behind the beautiful pergola of the Yaddo garden, set thickly with Crimson Rambler, a screenlike row of poplars divides the Rose Garden from a luxuriant Rock Garden, and an Old-fashioned Garden of large extent, extraordinary profusion, and many years' growth. Perhaps the latter-named garden might seem more suited to my pages, since it is more advanced in growth and apparently more akin to my subject; but I wish to write specially of the Rose Garden, because it is an unusual example of what can be accomplished without aid of architect or landscape gardener, when good taste, careful thought, attention to detail, a love of flowers, and intent to attain perfection guide the garden's makers. It is happily placed in a country of most charming topography, but it must not be thought that the garden shaped itself; its beautiful proportions, contour, and shape were carefully studied out and brought to the present perfection by the same force that is felt in the garden's smallest detail, the power of Love. The Rose Garden is unusually large for a formal garden; with its vistas and walks, the connected Daffodil Dell, and the Rock Garden, it fills about ten acres. But the