CHAPTER XVIII

GARDEN FURNISHINGS

"Furnished with whatever may make the place agreeable, melancholy, and country-like."

--_Forest Trees_, JOHN EVELYN, 1670.

Quaint old books of garden designers show us that much more was contained in a garden two centuries ago, than now; it had many more adjuncts, more furnishings; a very full list of them has been given by Batty Langley in his _New Principles of Gardening_, etc., 1728. Some seem amusing--as haystacks and woodpiles, which he terms "rural enrichments." Of water adornments there were to be purling streams, basins, canals, fountains, cascades, cold baths. There were to be aviaries, hare warrens, pheasant grounds, partridge grounds, dove-cotes, beehives, deer paddocks, sheep walks, cow pastures, and "manazeries" (menageries?); physic gardens, orchards, bowling-greens, hop gardens, orangeries, melon grounds, vineyards, parterres, fruit yards, nurseries, sun-dials, obelisks, statues, cabinets, etc., decorated the garden walks. There were to be land gradings of mounts, winding valleys, dales, terraces, slopes, borders, open plains, labyrinths, wildernesses, "serpentine meanders," "rude-coppices," precipices, amphitheatres. His "serpentine meanders" had large opening spaces at proper distances, in one of which might be placed a small fruit garden, a "cone of evergreens," or a "Paradice-Stocks,"--about which latter mysterious garden adornment I think we must be content to remain in ignorance, since he certainly has given us ample variety to choose from without it.

Other "landscapists" placed in their gardens old ruins, misshapen rocks, and even dead trees, in order to look "natural."

In 1608 Henry Ballard brought out _The Gardener's Labyrinth_--a pretty good book, shut away from the most of us by being printed in black letter. He says:--

"The framing of sundry herbs delectable, with waies and allies artfully devised is an upright herbar."

Herbars, or arbors, were of two kinds: an upright arbor, which was merely a covered lean-to attached to a fence or wall; and a winding or "arch-arbor" standing alone. He names "archherbs," which are simply climbing vines to set "winding in arch-manner on withie poles." "Walker and sitters there-under" are thereby comfortably protected from the heat of the sun. These upright arbors were in high favor; Ballard says they offered "fragrant savours, delectable sights, and sharpening of the memory."

[Illustration: A Garden Lyre at Waterford, Virginia.]

Tree arbors were in use in Elizabethan times, platforms built in the branches of large trees. Parkinson called one that would hold fifty men, "the goodliest spectacle that ever his eyes beheld." A distinction was made between arbors and bowers. The arbor might be round or square, and was domed over the top; while the long arched way was a bower. In our Southern states that special use of the word bower is still universal, especially in the term Rose bowers. A quaint and universal furnishing of old Southern gardens were the trellises known as garden lyres. Two are shown in this chapter, from Waterford, Virginia; one bearing little foliage and another embowered in vines, in order to show what a really good vine support they were. Garden lyres and Rose bowers are rotting on the ground in old Virginia gardens, and I fear they will never be replaced.

The word pergola was seldom heard here a century ago, save as used by the few who had travelled in Italy; but pergolas were to be found in many an old American garden. An ancient oval pergola still stands at Arlington, that beautiful spot which was once the home of the Virginia Lees, and is now the home of the honored dead of our Civil War. This old pergola has remained unharmed through fierce conflict, and is wreathed each spring with the verdure of vines of many kinds. It is twenty feet wide between the pillars, and forms an oval one hundred feet long and seventy wide, and when in full greenery is a lovely thing. It was called--indeed it is still termed in the South--a "green gallery," a word and thing of mediaeval days.

[Illustration: A Virginia Lyre with Vines.]

There are many pretty trellises and vine supports and arbors which can be made of light poles and rails, but I do not like to hear the pretentious name, pergola, applied to them. A pergola must not be a mean, light-built affair. It should be of good proportions and substantial materials. It need not be made with brick or marble pillars; natural tree trunks of good size serve as well. It should look as if it had been built with care and stability, and that the vines had been planted and trained by skilled gardeners. A pergola may have a dilapidated Present and be endurable; but it should show evidences of a substantial Past.

Little sisters of the pergola are the _charmilles_, or bosquets, arches of growing trees, whose interlaced boughs have no supports of wood as have the pergolas. When these arches are carefully trained and pruned, and the ground underneath is laid with turf or gravel, they form a delightful shady walk.

Charming covered ways can be easily made by polling and training Plum or Willow trees. Arches are far too rare in American gardens. The few we have are generally old ones. In Mrs. Pierson's garden in Salem the splendid arch of Buckthorn is a hundred and twenty five years old. Similar ones are at Indian Hill. Cedar was an old choice for hedges and arches. It easily winter-kills at the base, and that is ample reason for its rejection and disuse.

The many garden seats of the old English garden were perhaps its chief feature in distinction from American garden furnishings to-day. In a letter written from Kenilworth in 1575 the writer told of garden seats where he sat in the heat of summer, "feeling the pleasant whisking wynde." I have walked through many a large modern garden in the summer heat, and longed in vain for a shaded seat from which to regard for a few moments the garden treasures and feel the whisking wind, and would gladly have made use of the temporary presence of a wheelbarrow.

[Illustration: Old Iron Gate at Westover-on-James.]

Seats of marble and stone are in many of our modern formal gardens; a pretty one is in the garden at Avonwood Court.

Grottoes, arbors, and summer-houses were all of importance in those days, when in our latitude and climate men had not thought to build piazzas surrounding the house and shadowing all the ground floor rooms. We are beginning to think anew of the value of sunlight in the parlors and dining rooms of our summer homes, which for the past thirty or forty years have been so darkened by our wide piazzas. Now we have fewer piazzas and more peristyles, and soon we shall have summer-houses and garden houses also.

There are preserved in the South, in spite of war and earthquake, a number of fine examples of old wrought-iron garden gates. King William of England introduced these artistic gates into England, and they were the height of garden fashion. Among them were the beautiful gates still at Hampton Court, and those of Bulwich, Northamptonshire. They were called _clair-voyees_ on account of the uninterrupted view they permitted to those without and within the walls. These were often painted blue; but in America they were more sober of tint, though portions were gilded. One of the old gates at Westover-on-James is here shown, and on page 390 the rich wrought-iron work in the courtyard at the home of Colonel Colt in Bristol, Rhode Island. This is as fine as the house, and that is a splendid example of the best work of the first years of the nineteenth century.

Fountains were seen usually in handsome gardens in the South; simple water jets falling in a handsome basin of marble or stone. Statuary of marble or lead was never common in old American gardens, though pretentious gardens ha