From the foregoing half-dozen pages it is becoming pretty clear that a Garden of Peace may also be a Garden of Memories. But I am sure that one of the greatest attractions of garden life to a man who has stepped out of a busy world—its strepitumque virumque, is that it compels him to look forward, while permitting him to look back. The very act of dropping a seed into the soil is prospective. To see things growing is stimulating, whether they are children or other flowers. One has no time to think how one would order one's career, avoiding the mistakes of the past, if one got a renewal of one's lease of life, for in a garden we are ever planning for the future; but these rustling leaves of memory are useful as a sort of mulch for the mind.

And the garden has certainly grown since I first entered it ten years ago. It was originally to be referred to in the singular, but now it must be thought of in the plural. It was a garden, now it is gardens; and whether I have succeeded or not my experience compels me to believe that to aim at the plural makes for success. Two gardens, each of thirty feet square, are infinitely better than one garden of sixty. I am sure of that to-day, but it took me some time to find it out. A garden to be distinctive must have distinct features, like every other thing of life.

I notice that most writers on garden-making begin by describing what a wilderness their place was when they first took it in hand. I cannot maintain that tradition. Mine had nothing of the wilderness about it. On the contrary, it was just too neat for my taste. The large lawn on to which some of the lower rooms of the house opened, had broad paths on each side and a broad flower border beyond. There was not a shrub on the lawn and only one tree—a majestic deodar spreading itself abroad at an angle of the nearest wing of the house; but on a knoll at the farther end of the lawn there were, we discovered next summer, pink and white mays, a wild cherry, and a couple of laburnums, backed by a towering group made up of sycamores and chestnuts. Such a plan of planting could not be improved upon, I felt certain, though I did not discuss it at the time; for I was not out to make an alteration, and my attention was wholly occupied with the appearance of the ancient walls, glorious with snapdragon up to the lilacs that made a coping of colour for the whole high range, while the lower brick boundary opposite was covered with pears and plums clasping hands in espalier form from end to end.

But I was not sure about the flower borders which contained alternate clumps of pink geraniums and white daisies. Perhaps they were too strongly reminiscent of the window-boxes of the Cromwell Road through which I had walked every day for nearly twenty years, and in time one grows weary even of the Cromwell Road!

But so well did the accident of one elbow of the wall of the bowling-green pushing itself out lend itself to the construction of the garden, that the first and most important element in garden-design was attained. This, I need hardly say, is illusion and surprise. One fancied that here the limits of the ground had been reached, for a fine deciduous oak seemed to block the way; but with investigation one found oneself at the entrance to a new range of grounds which, though only about three times as large as the first, seemed almost illimitable.

The greater part had at one time been an orchard, we could see; but the trees had been planted too close to one another, and after thirty or forty years of jostling, had ceased to be of any pictorial or commercial value, and I saw that these would have to go. Beyond there was a kitchen garden and a large glass-house, and on one side there was a long curve of grass terrace made out of the Saxon or Roman earthwork, against which, as I have already said, the Norman walls were built, showing only about twelve or fifteen feet above the terrace, while being forty or fifty down to the dry moat outside. This low mural line was a mass of antirrhinums, wallflowers, and such ferns as thrive in rock crevices.

There was obviously not much to improve in all this. We were quite satisfied with everything as it stood. There was nothing whatsoever of the wilderness that we could cause to blossom as the rose, only—not a rose was to be seen in any part of the garden!

We were conscious of the want, for our Kensington garden had been a mass of roses, and we were ready to join on to Victor Hugo's “Une maison sans enfants,” “un jardin sans roses?” But we were not troubled; roses are as easily to be obtained as brambles—in fact rather more easily— and we had only to make up our minds where to plant them and they would blush all over the place the next summer.

We had nothing to complain of but much to be thankful for, when, after being in the house for a month, I found the old gardener, whom we had taken over with the place, wheeling his barrow through a doorway which I knew led to a dilapidated potting-shed, and as I saw that the barrow was laden with rubbish I had the curiosity to follow him to see where he should dispose of it.

He went through a small iron gate in the wall alongside the concealed potting-house, and, following him, I found myself to my amazement in a small walled space, forty feet by thirty, containing rubbish, but giving every one with eyes to see such a picture of the Barbican, the Castle Gate with the Keep crowning the mound beyond, as made me shout—such a picture as was not to be found in the county!

If it had a fault at all it was to be found in its perfection. Every one has, I hope, seen the Sham Castle, the castellated gateway, built on Hampton Down, near Bath, to add picturesqueness to the prospect as seen from the other side. This is as perfectly made a ruin as ever was built up by stage carpenters. There was no reason why it should not be so, for it was easy to put a stone in here and there if an improvement were needed, or to dilapidate a bit of a tower until the whole would meet with the approval even of the Ecclesiastical Commissioners, who are, I am given to understand, the best informed authorities in England on the assessment of dilapidations. I must confess that the first glimpse I had of the picture that stood before my eyes above my newly-acquired rubbish-heaps suggested the perfection of a sham. The mise-en-scÈne seemed too elaborate—too highly finished—no detail that could add to the effect being absent. But there it was, and I remained looking at it for the rest of the day.

The over-conscientious agents had said not a word in the inventory of the most valuable asset in connection with the property. They had scrupulously advertised the “unique and valuable old-fashioned residence,” and the fact that it was partially “covered by creepers”—a partiality to which I was not very partial—and that the “billiard saloon” had the same advantages—they had not failed to allude to the gardens as “old-world and quaint,” but not one word had they said about this view from the well-matured rubbish-heaps!

It was at this point that I began to think about improvements, and the first essay in this direction was obvious. I had the rubbish removed, the ground made straight, a stone sundial placed in the centre, and a Dutch pattern of flower-beds cut around it.

On the coping of the walls—they were only six feet high on our side, but forty on the culside—I placed lead and stone vases and a balustrade of wrought iron-work. I made an immense window in the wall of the potting-shed—a single sheet of plate-glass with four small casements of heraldic stained glass; and then the old potting-shed I panelled in coloured marbles, designed a sort of domed roof for it and laid down a floor in mosaics. I had in my mind a room in the Little Trianon in all this; and I meant to treat the view outside as a picture set in one wall. Of course I did not altogether succeed; but I have gone sufficiently far to deceive more than one visitor. Entering the room through a mahogany door set with a round panel of beautifully-clouded onyx—once a table-top in the gay George's pavilion' at Brighton—a visitor sees the brass frame of the large window enclosing the picture of the Barbican, the Gateway, and the Keep, and it takes some moments to understand it.

All this sounds dreadfully expensive; but through finding a really intelligent builder and men who were ready to do all that was asked of them, and, above all, through having abundance of material collected wherever it was going at shillings instead of pounds, I effected the transformation at less than a sixth of the lowest assessment of the cost made by professional friends. To relieve myself from any vain charge of extravagance, I may perhaps be permitted to mention that when the property was offered for sale in London a week before I bought it, not a single bid was made for it, owing to an apparent flaw in one of the title-deeds frightening every one off. Thus, without knowing it. I arrived on the scene at the exact psychological moment—for a purchaser; and when I got the place I found myself with a considerable sum in hand to spend upon it, and that sum has not yet been all spent. The bogey fault in the title was made good by the exchange of a few letters, and it is now absolutely unassailable.

It must also be remembered by such people as may be inclined to talk of extravagance, that it is very good business to spend a hundred pounds on one's property if the property is thereby increased in value by three hundred. I have the best of all reasons for resting in the assurance that for every pound I have spent I am three to the good. There is no economy like legitimate expenditure.

I wonder if real authorities in garden design would think I was right in treating after the Dutch fashion the little enclosed piece of ground on which I tried my prentice hand.

In order to arrive at a conclusion on this point I should like to be more fully informed as to what is congruous and what incongruous. What are the important elements to consider in the construction of a Dutch garden, and are these elements in sympathy with the foreground of such a picture as I had before me when I made up my mind on the subject?

Now I have seen many Dutch gardens in Holland, and in Cape Colony—relics of the old Dutch Colonial days—and every one knows how conservative is this splendid if somewhat over-hospitable race. Some of the gardens lying between Cape Town and Simon's Bay, and also on the higher ground above Mossel Bay are what old-furniture dealers term “in mint condition”—I disclaim any suggestion of a pun upon the herb, which in Dutch houses at the Cape is not used in sauce for lamb. They are as they were laid out by the Solomons, the Cloetes, the Van der Byls, and the other old Dutch Colonial families; so far from adapting, themselves to the tropical and subtropical conditions existing in the Colony, they brought their home traditions into their new surroundings with results that were both happy and profitable. There are certainly no finer or more various bulbs than those of Dutch growth at the Cape, and I have never seen anything more beautiful than the heaths on the Flats between Mowbray and Rondesbosch at the foot of the Devil's Peak of Table Mountain.

A Dutch gentleman once said to me in Rotterdam, “If you want to see a real Dutch garden you must go to the Cape, or, better still, to England—for it.”

He meant that in both places greater pains are taken to maintain the original type than, generally speaking, in Holland.

I know that he spoke of what he knew, and with what chances of observation I have had, I long ago came to the conclusion that the elements of what is commonly called a Dutch garden do not differ so greatly from, those that went to the making of the oldest English herb and flower garden. This being so, when I asked myself how I should lay out a foreground that should be congenial with the picture seen through the window of the marble-panelled room, I knew that the garden should be as like as possible that which would be planted by the porter's wife when the Castle was at its best. The porter's lodge would join on to the gate, and one side of the gateway touches my ground, where the lodge would be; so that, with suggestions from the Chatelaine, who had seen the world, and the Chaplain, who may have been familiar with the earliest gardens in England—the monastery gardens—she would lay out the little bit of ground pretty much, I think, as I have done. In those days people had not get into the way of differentiating between gardens and gardens—there was no talk about “false notes” in design, men did not sleep uneasily o' nights lest they had made an irremediable mistake in giving hospitality to a crimson peony in a formal bed or in failing to dig up an annual that had somehow found a place in a herbaceous border. But a garden bounded by walls must be neat or nothing, and so the porter's wife made a Dutch garden without being aware of what she was doing, and I followed her example, after the lapse of a few hundred years, knowing quite well what I was doing in acting on the principle that the surroundings should suggest the garden. I know now, however, that because William the Conqueror had a fine growth of what we call Dianthus Caryophylla at his Castle of Falaise, we should have scrupulously followed his example. However, the elements of a Dutch garden are geometrical, and within four walls and with four right angles one cannot but be geometrical. One cannot have the charming disorderliness of a meadow bounded by two meandering streams. That is why I know I was right in refusing to allow any irregularity in my treatment of the ground. I put my sundial exactly in the middle and made it the centre for four small beds crossed by a narrow grass path; and except for the simple central design there is no attempt at colour effect. But every one of the little beds is brilliant with tulips or pansies or antirrhinum or wallflowers, as the season suggests. There is the scent of lavender from four clumps—one at each angle of the walls—and over the western coping a pink rose climbs. To be consistent I should confine the growth of this rose to an espalier against the wall. I mean to be consistent some day in this matter and others nearly as important, and I have been so meaning for the past ten years.

I picked up some time ago four tubs of box and placed one in each corner of the grass groundwork of the design; but I soon took them away; they were far too conspicuous. They suggested that I was dragging in Holland by the hair of the head, so to speak.

It is the easiest thing in the world to spoil a good effect by over-emphasis; and any one who fancies that the chief note in a Dutch garden is an overgrowth of box makes a great mistake. It is like putting up a board with “This way to the Dutch garden,” planted on its face.

I remember years ago a play produced at the Hay-market, when Tree had the theatre and Mr. J. Comyns Carr was his adviser. It was a successor to an adaptation of Called Back, the first of the “shilling shockers,” as they were styled. In one scene the curtain rose upon several of the characters sucking oranges, and they kept at it through the whole scene. That is what it is termed “local colour”; and it was hoped that every one who saw them so employed was convinced that the scene was laid in Seville. It might as well have been laid in the gallery of a theatre, where refreshment is taken in the same form.

M. Bizet achieved his “local colour” in Carmen in rather a more subtle way. He did not bother about oranges. The first five bars of the overture prepared us for Spain and we lived in it until the fall of the curtain, and we return to it when one of the children strums a few notes of “L'amour est un oiseau rebelle,” or the Toreador's braggadocio.

But although I have eaten oranges in many parts of the world since I witnessed that play at the Haymarket, I have never been reminded of it, and to-day I forget what it was all about, and I cannot for the life of me recollect what was its name.

So much for the ineffectiveness of obvious effects.