The life story of the sundial reads like a fascinating page from some old romance of an early century. The first record of its use was in the eighth century before Christ, when it was employed by the Babylonians for the purpose of marking time. Later on, it came into use in England, attached to public buildings. One of the most interesting was shown late in the sixteenth century on the Belton House, Lincolnshire, England. It was a representation of old Father Time and Cupid cutting stone.

A passing fad at one time was diminutive sundials, so small that they folded and could be used much as watches are to-day. They soon became very popular and attracted the attention of royalty, when Charles I was seated on the throne. His collection was the largest in existence and represented all sorts of odd shapes and forms. The Stuarts were all interested in sundials, and Charles II had a large one designed and placed in the garden at Holyrood.

While the first invented were crude, yet, as time went on, they became more popular, and different materials were used, such as wood, bronze and metal. The hour spaces were computed to comply with the locality in which they were placed. This required a great deal of thought and it was necessary to employ an expert workman.

Flowers and hedge plants were occasionally used to represent this idea. One of these stood between the "Shakespeare garden" and the "garden of friendship" at Lady Warwick's summer home. The gnomon being of yew while the dial was worked out by the use of box, the lettering was outside and spelled the following motto—"Les Heures Heureuses ne se comptent pas." This, as far as we know, was the first attempt at the use of floriculture in time pieces.

Sundials might be divided into two kinds, the perpendicular and the horizontal. Each one of these has its own special place, the former being used on buildings while the latter was for garden purposes solely. In New York, one of the old perpendicular dials may still be seen on the Dutch Reformed Church.

The horizontal was extremely popular in both England and Scotland, so much so that no garden of any pretention was considered complete without one or more of these ornamental time-keepers. The high favor in which the "simple altar-like structure," with its "silent heart language," was held in England was well expressed by Charles Lamb, who said of the sundial, "It stood as the Garden god of Christian gardens."

It is the revival of this old-time custom that has given a delightful touch of sentiment to the gardens of to-day, where sundials have become, more especially of late years, a permanent fixture. Many of these have interesting mottoes, some repeating the legends of other days, while later designs bear on their face a modern inscription.

"Let others tell of storm and showers,
I'll only count your sunny hours."
"Time goes you say—ah, no!
Time stays, we go."
"I mark the time, dost thou?"
"Tyme passeth and speaketh not,
Deth cometh and warneth not,
Amend to-day and slack not,
To-morrow thyself cannot."

By the time the American colonists had leisure to devote to the laying out of beautiful gardens, the day of the sundial was drawing to a close. The introduction of clocks had done away with the necessity of depending upon such fair-weather time pieces, and furthermore, they were no longer popular in other lands. So, despite its charm and value as an ornament, it was not widely adopted in this country. Of late years, however, in the general revival of old-time customs, this interesting feature for gardens has come into favor.

The making of one of these time pieces can be carried out by a village carpenter, but the purchasing of an old one had better be done by an expert as there are so many reproductions placed to-day on the market. All that is essential in order to work out proper results is that the dial should have a firm and absolutely level base to rest on, and that the gnomon should point directly towards the North Star, so that time may be accurately computed. A stone pedestal is correct, although concrete is often used.

The design depends largely upon the type of garden and the owner's taste. The beautiful, carved pedestals imported from Italy are suitable only for the formal garden, and for our simple, less pretentious ones, wood or stone can be used, although cement has become very fashionable. To soften the lines of a severely simple column, Ivy and other clinging vines can be placed around the base. The location is a matter that requires some thought, as the sundial's charm depends upon harmonious setting. It should be exposed to the sun continuously and placed far enough away from trees or buildings to preclude the possibility of its being shaded.

There is no set rule that can be laid down for its placing. One is usually safe, however, in locating it at the intersection of two paths near a vine-clad pergola or within sight of a summer house or garden seat. Formal gardens use it frequently as a central feature. If, however, a water garden takes this central place, the sundial should be at the end of some alluring path surrounded by masses of bright bloom. The chief fault that we find in contrasting the sundials of a century ago with those of the twentieth century is that there is now too much sameness. They seem to follow the same lines, more perhaps, than any other form of garden furniture.

This can be overcome by designing them yourself, working out new ideas in the decoration and its motto. Here the gnomons offer a chance for variation for instead of a plain, simple shaft, it can be changed into an ornamental design that helps out in changing it from monotony to originality.

For the simple garden, why not make one yourself? It is not a hard matter, that is if you have any ingenuity. The only thing we must consider is to have it set perfectly even, to be sure the pedestal is carefully laid so that it will not tip and spoil the marking of the hours. There are so many materials that you can construct one from, there is no need of sameness. The most inexpensive is the rustic sundial. This is made from a small tree trunk. It should be about six to eight inches in diameter, tapering at the top, and show branches irregularly cut within three or four inches of the main trunk. There is a reason for this; it adds picturesqueness to the effect and gives pegs for the vines to climb over. Do not top it with a wooden dial. They are never satisfactory, for they are apt to warp and thus ruin the entire scheme. You need not go to great expense to procure a satisfactory one, for there are many materials to draw from, iron, brass and slate being the most desirable. The latter are not expensive as they cost simply the price of the material and engraving. It takes a piece that ranges from an inch to an inch and a half in thickness and should not be more than a foot square. For this, one should not pay more than seventy-five cents, although if it is cut round it will be a little more expensive. If you prefer to use brass it costs more and needs a machinist who is used to handling this material to put it together for you and burnish the surface. You must remember that this applies to the dial only, the pedestal being a separate proposition.

For a little inexpensive time piece for your garden you can make one of wood, coloring it any shade that you like but so that it will contrast prettily with the flowers. The only thing that you must bear in mind is that care should be taken in its setting. If it is out of plumb it will not keep good time. Should you, by chance, be able to procure an old mill stone, it serves two purposes, first it is a practical foundation and second it lends an old-time setting that is appropriate. For a simple, every-day foundation, stones can be laid about six inches deep and filled in with mortar. Cement is also appropriate and oftentimes bricks can be used to good advantage.

For a pedestal, a rather good idea is to use second-hand bricks. These can be cemented together with mortar, the red giving a touch of color to the drapery of the sundial that is picturesque. Sometimes a boulder is used for this purpose or a slab of stone.

If you purchase a sundial, you should bear in mind that if it is a genuine antique, it may not be suitable for our latitude. In cases like that it is best to have it looked after by an expert and so placed that it will be a correct timekeeper.

We tire of the same idea continuously reproduced so why not work out a design of your own? This is hard to do, however, unless cement is used, when some floral design or ornamentation that is appropriate for the garden can be introduced. For the dial the gnomon is made much more interesting if it shows a unique formation rather than a straight shaft, as in the sundial at Didsbury, England, where a harp is introduced, and in another case where a dragon holds the uplifted shaft.

The situation of this feature has much to do with its practicability. As it is a sun-loving formation, its proper place is necessarily in the open, but whether surrounded by lawn or flowers, is something that everyone must decide for themselves. One reason against the flower setting is that it serves to hide the dial's meaning until you approach it closely. The eye is attracted to the bright blooming flowers rather than to the dial itself. This is not so if it has only a sward setting. It then becomes a prominent piece of garden furniture, its pure white surface standing out vividly from its surrounding of soft green grass.

Occasionally, all attempt at floriculture or gardening is abandoned. This is when it stands in the heart of a garden at the intersection of two paths. Then care should be taken that in immediate proximity there should be pure white pebbles picked up on the beach. This may re-act on the shaft, giving it an air of sameness, and in that case different colored stones can be introduced. One can even go so far as to work out mottos in this way, forming the letters out of highly colored pebbles.

To give it a rural appearance, some people set it in the heart of a bed of ferns. These can be chosen from a single variety such as the Boston fern, which is one of the most popular on account of its graceful fronds and the durability which causes it to keep green for a long time.

Should, however, a lower growth be necessary, there is the Dreyii, which is a dwarf variety of the same species. A much better effect, however, is obtained by planting the dwarf fern as a border to the circle and placing inside the Elegantissima, which belongs to the crested variety and is especially adapted for massing. For a delicate, dainty setting, there is nothing more beautiful than the Adiantum Ruhm von Mordrecht, which is the most beautiful of all the maiden hair ferns and easily cultivated. It is so graceful that it seems to add an almost poetic touch to the foundation on which the sundial stands.

Have you ever considered placing your sundial in the heart of a rose garden? Unconsciously, the sweet perfume of the rose does much to increase the sentiment of this particular feature of garden culture. It depends in part on the pedestal as to whether low roses or delicate climbing ones should be used. If it is a plain, simple shaft, it can be delicately draped to within a few inches of the dial, but great care should be taken to obtain delicate coloring that will bring out the whiteness of the marble.

One should be very careful not to have the roses grow so high that only the dial is visible. This would spoil the idea which it represents—a sundial in a garden. One of the most artistic ways is to plant low, dwarf roses, near the pedestal just far enough away so there will be several inches of space between. The roses themselves should be planted in heavy clay loam, although light and sandy soil can be used for this purpose. Many people make a mistake in having their rose beds too rich. The fertilizer can be replaced, if exhausted, by fine-ground bone, which can be used only once a year.

The dwarf Polyanthas are a charming class of ever-blooming roses with bushy habits. The flowers are double, delightfully fragrant and borne in large clusters, being covered with a large mass of bloom. For a combination planting, the Baby Dorothy is very effective; it is carnation pink, with the habit and growth similar to that of the Baby Rambler. The latter is very effective, rosy crimson in coloring, very free flowering, and useful in massing effects. Add to that Catherine Zeimet, which is a great acquisition, to the Baby Ramblers, and produces an abundance of double white flowers.

Directly around the base of the pedestal, you can plant your climbing roses, taking great care to nip them back so that they will only show a tracery of leaves and flowers and allow the white of the sundial to peer through. For these, use the Lady Gay whose delicate cerise pink blossoms fade to soft white, making a most pleasing combination of white flowers, crimson buds and green foliage. In connection with that, why not plant the Source d'Or, which is deep yellow, gradually paling. This bears large clusters of double flowers, and shows fine foliage. For red, the Wall Flower is the best, as it shows a distinct coloring and has vigorous habits. Mix with that the Shower of Gold, a fine coppery gold color with glossy foliage.

For the outer edge of the rose bed, do not forget those used in our grandmother's time. They have lasted long and on account of their sterling qualities are still popular. They have a range of coloring and are so absolutely hardy, easy to grow and fragrant that they are advisable for this use. The Clothilde Soupert is a good color to choose. It is a strong, vigorous grower, putting forth large, double flowers like a ball of snow. The color blends from soft shell pink to pure satiny white. Mix with these the Souvenir de Malmaison, which blooms well in hot weather, its rich colored flowers being of large size, doubled to the center and produced in abundance.

For a Hybrid, there is nothing more effective than the Killarney, whose color is a sparkling brilliant pink, the buds long and pointed, the petals very large and of great substance, being just as handsome in the bud form as in the full-blown flower. For a soft, pearly white, the Kaiserin Augusta Victoria is advisable, tinting to a soft lemon, its fragrance added to its beautifully formed flowers, make it a joy in your garden.

A rustic sundial requires far different treatment, and only vines that bring forth white blossoms or pale colors should be used. If Clematis is chosen, the Duchess of Edinburgh is suitable as it shows double white flowers that are very fragrant. Mixed with this can be the Jackmania Alba, which is white, shaded with blue. The Fair Rosamond, if one wishes a combination, fits in with the color scheme, being tinted white with red stripes. The advantage of these flowers is that the blossoms open in masses that bring out the dark of the wood and lend themselves to picturesque effects.

Around the foot of the sundial, why not plant Poppies, making a circle about five inches in width. The Perennial Poppies are among the most brilliant in coloring, the graceful bright-colored, cup-shaped flowers being borne on long stems. Mix with them the Oriental Poppies, which are the most showy plants possible for decorative effects. To fill in the spaces put in a package of Shirley, the combination of the three varieties giving a most fascinating touch of color. For the Shirley, why not use the finest mixed, as it will bring out white, delicate pink, deep crimson, and handsomely striped varieties. The Perennial is advantageous because it comes up every year while the Oriental are magnificent in coloring, more especially the Grand Mogul with bright crimson flower of immense size, the Princess Ena, bearing large, bright, orange-scarlet and the Marie Studholme, which is a delicate shade of salmon with a silver sheen. Nothing can give better effects for this style of sundial than the clematis with a poppy in the foreground.

Color makes a great difference in proper planting, the white marble or concrete and possibly wood painted white, demands a strong color to bring out effectively the white of the surface. The gray stone is not picturesque unless blues, yellows, or reds are used. These three colors can be blended so that they form a scheme that is most attractive. When it comes to brick you will have to depend upon white, or light blue for coloring. More care should be taken with the planting around this kind of a pedestal than any other. The red of the brick demands more covering than any other type. The Hop vine fits into the scheme, but requires a great deal of trimming lest it overshadows the brick, making a mass of green without any hint of the brick below. The leaves are fine, three-lobed, and rough on both sides while the loose paper-like straw-yellow Hop in the fall hang gracefully from the brick, making a fluffy but attractive covering.

Fragrance is necessary in the planting of a sundial, then why not use the Honeysuckle? The Brachypoda is particularly effective for this purpose. It shows white flowers in pairs, and sends forth a delicious perfume that attracts one even before the sundial is viewed. The Hall Evergreen Honeysuckle is also good for this purpose, being a strong grower and constant bloomer. The flowers open white, change to buff, and are very delicate in appearance.

This sundial should be set in a circle of green. At the edge of the border plant Iris. This makes a more effective setting than if a whole bed of this should be used. The well-known, beautiful Iris of Japan displays a great variety of colors, the chief of which is white, maroon, dark blue and violet. Most of them are veined, mottled or flaked with different colors. There are both single and double varieties. The beauty of this plant is that it succeeds in any good soil, that is if well drained and given plenty of water when dry. They can be planted either in the late summer or spring, as desirable, and should be shown in masses, growing from two to three feet in height and lasting in blossom for a month. For double use the Antelope, which shows a white ground flaked with purple. Mix with it the Beauty which is a pure white. Add to it the Mount Hood, light blue, shaded darker in the center. These can be intermixed with the Crested Iris, a dwarf, showing handsome, light-colored flowers, and the Snow Queen, whose large snow-white blossoms are free flowering.

The planting around the sundial rests with the whim of the owner, though, if out-of-the-way ideas can be evolved, it will add much to the attractiveness of this feature of the garden.