the richness which the true garden rose shares with many other flowers, yet makes it the queen of them all--the flower of flowers. Indeed, the worst of this is that these sham roses are driving the real ones out of existence. If we do not look to it our descendants will know nothing of the cabbage rose, the loveliest in form of all, or the blush rose with its dark green stems and unequalled colour, or the yellow-centred rose of the East, which carries the richness of scent to the very furthest point it can go without losing freshness: they will know nothing of all these, and I fear they will reproach the poets of past time for having done according to their wont, and exaggerated grossly the beauties of the rose.
Well, as a Londoner perhaps I have said too much of roses, since we can scarcely grow them among suburban smoke, but what I have said of them applies to other flowers, of which I will say this much more. Be very shy of double flowers; choose the old columbine where the clustering doves are unmistakable and distinct, not the double one, where they run into mere tatters. Choose (if you can get it) the old china-aster with the yellow centre, that goes so well with the purple-brown stems and curiously coloured florets, instead of the lumps that look like cut paper, of which we are now so proud. Don't be swindled out of that wonder of beauty, a single snowdrop; there is no gain and plenty of loss in the double one. More loss still in the double sunflower, which is a coarse-coloured and dull plant, whereas the single one, though a late comer to our gardens, is by no means to be despised, since it will grow anywhere, and is both interesting and beautiful, with its sharply chiselled yellow florets relieved by the quaintly patterned sad-coloured centre clogged with honey and beset with bees and butterflies.
So much for over-artificiality in flowers. A word or two about the misplacing of them. Don't have ferns in your garden. The hart's tongue in the clefts of the rock, the queer things that grow within reach of the spray of the waterfall; these are right in their places. Still more the brake on the woodside, whether in late autumn, when its withered haulm helps out the well-remembered woodland scent, or in spring, when it is thrusting its volutes through last year's waste. But all this is nothing to a garden, and is not to be got out of it; and if you try it you will take away from it all possible romance, the romance of a garden.
The same thing may be said about many plants, which are curiosities only, which Nature meant to be grotesque, not beautiful, and which are generally the growth of hot countries, where things sprout over quick and rank. Take note that the strangest of these come from the jungle and the tropical waste, from places where man is not at home, but is an intruder, an enemy. Go to a botanical garden and look at them, and think of those strange places to your heart's content. But don't set them to starve in your smoke-drenched scrap of ground amongst the bricks, for they will be no ornament to it.
As to colour in gardens. Flowers in masses are mighty strong colour, and if not used with a great deal of caution are very destructive to pleasure in gardening. On the whole, I think the best and safest plan is to mix up your flowers, and rather eschew great masses of colour--in combination I mean. But there are some flowers (inventions of men, i.e. florists) which are bad colour altogether, and not to be used at all. Scarlet geraniums, for instance, or the yellow calceolaria, which indeed are not uncommonly grown together profusely, in order, I suppose, to show that even flowers can be thoroughly ugly.
Another thing also much too commonly seen is an aberration of the human mind, which otherwise I should have been ashamed to warn you of. It is technically called carpet-gardening. Need I explain it further? I had rather not, for when I think of it even when I am quite alone I blush with shame at the thought.
I am afraid it is specially necessary in these days when making the best of it is a hard job, and when the ordinary iron hurdles are so common and so destructive of any kind of beauty in a garden, to say when you fence anything in a garden use a live hedge, or stones set flatwise (as they do in some parts of the Cotswold country), or timber, or wattle, or, in short, anything but iron. {10}
And now to sum up as to a garden. Large or small, it should look both orderly and rich. It should be well fenced from the outside world. It should by no means imitate either the wilfulness or the wildness of Nature, but should look like a thing never to be seen except near a house. It should, in fact, look like a part of the house. It follows from this that no private pleasure-garden should be very big, and a public garden should be divided and made to look like so many flower-closes in a meadow, or a wood, or amidst the pavement.
It will be a key to right thinking about gardens if you consider in what kind of places a garden is most desired. In a very beautiful country, especially if it be mountainous, we can do without it well enough; whereas in a flat and dull country we crave after it, and there it is often the very making of the homestead. While in great towns, gardens, both private and public, are positive necessities if the citizens are to live reasonable and healthy lives in body and mind.
So much for the garden, of which, since I have said that it ought to be part of the house, I hope I have not spoken too much.
Now, as to the outside of our makeshift house, I fear it is too ugly to keep us long. Let what painting you have to do about it be as simple as possible, and be chiefly white or whitish; for when a building is ugly in form it will bear no decoration, and to mark its parts by varying colour will be the way to bring out its ugliness. So I don't advise you to paint your houses blood-red and chocolate with white facings, as seems to be getting the fashion in some parts of London. You should, however, always paint your sash-bars and window-frames white to break up the dreary space of window somewhat. The only other thing I have to say, is to warn you against using at all a hot brownish-red, which some decorators are very fond of. Till some one invents a better name for it, let us call it cockroach colour, and have naught to do with it.
So we have got to the inside of our house, and are in the room we are to live in, call it by what name you will. As to its proportions, it will be great luck indeed in an ordinary modern house if they are tolerable; but let us hope for the best. If it is to be well proportioned, one of its parts, either its height, length, or breadth, ought to exceed the others, or be marked somehow. If it be square or so nearly as to seem so, it should not be high; if it be long and narrow, it might be high without any harm, but yet would be more interesting low; whereas if it be an obvious but moderate oblong on plan, great height will be decidedly good.
As to the parts of a room that we have to think of, they are wall, ceiling, floor, windows and doors, fireplace, and movables. Of these the wall is of so much the most importance to a decorator, and will lead us so far a-field that I will mostly clear off the other parts first, as to the mere arrangement of them, asking you meanwhile to understand that the greater part of what I shall be saying as to the design of the patterns for the wall, I consider more or less applicable to patterns everywhere.
As to the windows then; I fear we must grumble again. In most decent houses, or what are so called, the windows are much too big, and let in a flood of light in a haphazard and ill-considered way, which the indwellers are forced to obscure again by shutters, blinds, curtains, screens, heavy upholsteries, and such other nuisances. The windows, also, are almost always brought too low down, and often so low down as to have their sills on a level with our ankles, sending thereby a raking light across the room that destroys all pleasantness of tone. The windows, moreover, are either big rectangular holes in the wall, or, which is worse, have ill-proportioned round or segmental heads, while the common custom in 'good' houses is either to fill these openings with one huge sheet of plate-glass, or to divide them across the middle with a thin bar. If we insist on glazing them thus, we may make up our minds that we have done the worst we can for our windows, nor can a room look tolerable where it is so treated. You may see how people feel this by their admiration of the tracery of a Gothic window, or the lattice-work of a Cairo house. Our makeshift substitute for those beauties must be the filling of the window with moderate-sized panes of glass (plate-glass if you will) set in solid sash-bars; we shall then at all events feel as if we were indoors on a cold day-- as if we had a roof over our heads.
As
