A Garden of Peace: A Medley in Quietude. Frank Frankfort Moore
It had some narrow escapes in its time, however. An old builder who had been concerned in some of the repairs shook his head sadly when he assured me that a more pigheaded gentleman than the owner of the house at that time he had never known.
“He would have it done with the old material,” he explained sadly. “That's how it comes to be like what it is to-day.” And he nodded in the direction of the exquisitely-weathered old Caen blocks with the great bosses of house-leek covering the coping. “It was no use my telling him that I could run up a nine-inch brick wall with proper coping tiles that would have a new look for years if no creepers were allowed on it, for far less money; he would have the old stone, and those squared flints that you see there.”
“Some people are very obstinate, thank God!” said I.
“I could have made as good a job of it as I did of St. Anthony's Church—you know the new aisle in St. Anthony's, sir,” said he.
I certainly did know the new aisle in St. Anthony's; but I did not say that I did in the tone of voice in which I write. It is the most notorious example of what enormities could be perpetrated in the devastating fifties and sixties, when a parson and his churchwardens could do anything they pleased to their churches.
In a very different spirit was the Barbican of the old Castle of Yardley repaired under the care of a reverential, but not Reverend, director. Every stone was numbered and put back into its place when the walls were made secure.
The gardens and orchards and lawns behind the walls which were reconstructed by the owner whose obstinacy the builder was lamenting, must extend over three or four acres. Such a space allows for a deep enough fringe of noble trees, giving more than a suggestion of a park-land which had once had several vistas after the most approved eighteenth century type, but which have not been maintained by some nineteenth century owners who were fearful of being accused of tolerating anything so artificial as design in their gardens. But the “shrubberies” have been allowed to remain pretty much as they were planted, with magnificent masses of pink may and innumerable lilacs. The rose-gardens and the mixed borders are chromatic records of the varying tastes of generations.
What made the strongest appeal to me when I was wandering through the grounds a year or two before that fatal August afternoon was the beauty of the anchusas. I thought that I had never seen finer specimens or a more profuse variety of their blues. One might have been looking down into the indigo of the water under the cliffs of Capri in one place, and into the delicate ultramarine spaces of the early morning among the islands of the Ægean in another.
I congratulated one of the gardeners upon his anchusas, and he smiled in an eminently questionable way.
“Maybe I'm wrong in talking to you about them,”
I said, looking for an explanation of his smile. “Perhaps it is not you who are responsible for this bit.”
“It's not that, sir,” he said, still smiling. “I'm ready to take all the responsibility. You see, sir, I was brought up among anchusas: I was one of the gardeners at Dropmore.”
I laughed.
“If I want to know anything about growing anchusas I'll know where to come for information,” I said.
The great charm about these gardens, as well as those of the Crusaders' planting now enjoyed by the people of the High Street, is that among the mystery of their shady places one would not be surprised or alarmed to come suddenly upon a nymph or a satyr, or even old Pan himself. It does not require one to be
“A Pagan suckled in a creed outworn,”
to have such an impression conveyed to one, any more than it is necessary for one to be given over exclusively to a diet of nuts and eggs to enjoy, as I hope we all do, a swing on a bough, or, as we grow old, alas! on one of those patent swings made in Paris, U.S.A., where one gets all the exuberance of the oscillation without the exertion. Good old Pan is not dead yet, however insistently the poet may announce his decease. He will be the last of all the gods to go. We have no particular use for Jove, except as the mildest form of a swear word, nor for Neptune, unless we are designing a fountain or need to borrow an emblem of the Freedom of the Seas—we can even carry on a placid existence though Mercury has fallen so low as to be opposite “rain and stormy” on the barometric scale, but we cannot do without our Pan—the jolly, wicked old fellow whom we were obliged to incorporate in our new theological system under the name of Diabolus. It was he, and not the much-vaunted Terpsichore, who taught the infant world to dance, to gambol, and to riot in the woodland. He is the patron of the forest lovers still, as he was when he first appeared in the shape of an antelope skipping from rock to rock while our arboreal ancestors applauded from their boughs and were tempted to give over their ridiculous swinging by their hands and tails and emulate him on our common mother Earth.
Is there any one of us to-day, I wonder, who has not felt as Wordsworth did, that the world of men and cities is too much with us, and that the shady arbours hold something that we need and that we cannot find otherwhere? The claims of the mysterious brotherhood assert themselves daily when we return to our haunts of a hundred thousand years ago: we can still enjoy a dance on a woodland clearing, and a plunge into the sparkling lake by which we dwelt for many thousand years before some wretch found that the earth could be built up into caves instead of dug into for domestic shelter.
Let any one glance over the illustrated advertisements in Country Life and see how frequently the “old world gardens” are set forth as an irresistible attraction of “a desirable residence.” The artful advertisers know that the appeal of the old world is still all-powerful, especially with those who have been born in a city and have lived in a city for years. Around Yardley there has sprung up quite recently a colony of red-brick and, happily, red-roofed villas. Nearly all have been admirably constructed, and with an appreciation of the modern requirements in which comfort and economy are combined. They have all gardens, and no two are alike in every particular; but all are trim and easily looked after. They produce an abundance of flowers, and they are embowered in flowering shrubs, every one of which seems to me to be a specimen. More cheerful living-places could not be imagined; but it is not in these gardens that you need look for the cloven vestiges of a faun or the down brushed from the butterfly wings of a fairy. Nobody wants them there, and there is no chance of any of these wary folk coming where they are not wanted. If old Pan were to climb over one of these walls and his footprints were discovered in the calceolaria bed, the master of the house would put the matter in the hands of the local police, or write a letter signed “Ratepayer” to the local Chronicle, inquiring how long were highly-taxed residents to be subjected to such incursions, and blaming the “authorities” for their laxity.
But there is, I repeat, no chance of the slumbers of any of the ratepayers being disturbed by a blurred vision of Proteus rising from the galvanised cistern, or by the blast of Triton's wreathed horn. They will not be made to feel less forlorn by a glimpse of the former, and they would assuredly mistake the latter for the hooter of Simpson's saw-mill.
“The authorities” look too well after the villas, and the very suggestion of “authorities” would send Proteus and Triton down to the deepest depths they had ever sounded. They only come where they are wanted and waited for. It takes at least four generations of a garden's growth to allow of the twisted boughs of the oak or the chestnut turning into the horns of a satyr, or of the gnarled roots becoming his dancing shanks.
It was one of the most intelligent of the ratepayers of these bright and well-kept “residences” who took me to task for a very foolish statement he had found in a novel of mine (6d. edition) which he said he had glanced at for a few minutes while he was waiting for a train. I had been thoughtless enough to make one of the personages, an enterprising stockbroker, advocate the promotion of a company for the salvage of the diamonds which he had been told Queen Guinevere flung into the river before the appearance of the barge with the lily maid of Astolat drifting to the landing-place below the terrace.
“But you know they were not real diamonds—only the diamonds of the poet's imagination,” he said.
“I do believe you are right,” said I, when I saw