Speaking broadly, a person will get from a garden what he puts into it; and it is of the first importance, therefore, that a clear conception of the work be formulated at the outset. I do not mean to say that the garden will always turn out what it was desired that it should be; but the failure to turn out properly is usually some fault in the first plan or some neglect in execution.

Sometimes the disappointment in an ornamental garden is a result of confusion of ideas as to what a garden is for. The garden ought to express the feeling of the different months. The failing leaves and expended plants are therefore to be looked on, to some extent at least, as the natural order and destiny of a good garden.

These attributes are well exhibited in the vegetable-garden. In the spring, the vegetable-garden is a model of neatness and precision. The rows are straight. There are no missing plants. The earth is mellow and fresh. Weeds are absent. One takes his friends to the garden, and he makes pictures of it. By late June or early July, the plants have begun to sprawl and to get out of shape. The bugs have taken some of them. The rows are no longer trim and precise. The earth is hot and dry. The weeds are making headway. By August and September, the garden has lost its early regularity and freshness. The camera is put aside. The visitors are not taken to it: the gardener prefers to go alone to find the melon or the tomatoes, and he comes away as soon as he has secured his product. Now, as a matter of fact, the garden has been going through its regular seasonal growth. It is natural that it become ragged.

There are two types of outdoor gardening in which the progress of the season is not definitely expressed,--in the carpet-bedding kind, and in the subtropical kind. I hope that my reader will get a clear distinction in these matters, for it is exceedingly important. The carpet-bedding gardening is the making of figure-beds in house-leeks and achyranthes and coleus and sanitalia, and other things that can be grown in compact masses and possibly sheared to keep them within place and bounds; the reader sees these beds in perfection in some of the parks and about florists' establishments; he will understand at once that they are not meant in any way to express the season, for the difference between them in September and June is only that they may be more perfect in September. The subtropical gardening (plates IV and V) is the planting out of house-grown stuff, in order to produce given effects, of such plants as palms, dracenas, crotons, caladiums, papyrus, together with such luxuriant things as dahlias and cannas and large ornamental grasses and castor beans; these plants are to produce effects quite foreign to the expression of a northern landscape, and they are usually at their best and are most luxuriant when overtaken by the fall frosts.

Now, the home gardener usually relies on plants that more or less come and go with the seasons. He pieces out and extends the season, to be sure; but a garden with pansies, pinks, sweet william, roses, sweet peas, petunias, marigolds, salpiglossis, sweet sultan, poppies, zinnias, asters, cosmos, and the rest, is a progress-of-the-season garden, nevertheless; and if it is a garden of herbaceous perennials, it still more completely expresses the time-of-year.

My reader will now consider, perhaps, whether he would have his garden accent and heighten his natural year from spring to fall, or whether he desires to thrust into his year a feeling of another order of vegetation. Either is allowable; but the gardener should distinguish at the outset.

There are two ways by which the garden year may be extended: by planting things that bloom very late in fall and others that bloom very early in spring; by using freely, in the backgrounds, of bushes and trees that have interesting winter characters.

One cannot expect satisfaction in the planting and developing of a home area unless he has a clear conception of what is to be done. The homemaker should develop his plan before he attempts to develop his place. He must study the various subdivisions in order that the premises may meet all his needs. He should determine the locations of the leading features of the place and the relative importance to be given to the various parts of it,--as of the landscape parts, the ornamental areas, the vegetable-garden, and the fruit plantation.

It is desirable to have a definite plan on paper (drawn to scale) for the location of the leading features of the place. These features are the residence, the out-houses, the walks and drives, the service areas (as clothes yards), the border planting, flower-garden, vegetable-garden, and fruit-garden. It should not be expected that the map plan can be followed in every detail, but it will serve as a general guide; and if it is made on a large enough scale, the different kinds of plants can be located in their proper positions, and a record of the place be kept.

These remarks are illustrated in the aesthetics of landscape gardening. It is the artist's one desire to make pictures in the landscape. This is done in two ways: by the form of plantations, and by the use of vistas. He will throw his plantations into such positions that open and yet more or less confined areas of greensward are presented to the observer at various points. This picture-like opening is nearly or quite devoid of small or individual objects, which usually destroy the unity of such areas and are meaningless in themselves. A vista is a narrow opening or view between plantations to a distant landscape. It cuts up the broad horizon into portions that are readily cognizable. It frames parts of the country-side. The verdurous sides of the planting are the sides of the frame; the foreground is the bottom, and the sky is the top. It is of the utmost importance that good views be left or secured from the best windows of the house (not forgetting the kitchen window); in fact, the placing of the house may often be determined by the views that may be appropriated.

If a landscape is a picture, it must have a canvas. This canvas is the greensward. Upon this, the artist paints with tree and bush and flower as the painter does upon his canvas with brush and pigments. The opportunity for artistic composition and design is nowhere so great as in the landscape garden, because no other art has such a limitless field for the expression of its emotions. It is not strange, if this be true, that there have been few great landscape gardeners, and that, falling short of art, the landscape gardener too often works in the sphere of the artisan. There can be no rules for landscape gardening, any more than there can be for painting or sculpture. The operator may be taught how to hold the brush or strike the chisel or plant the tree, but he remains an operator; the art is intellectual and emotional and will not confine itself in precepts.

The making of a good and spacious lawn, then, is the very first practical consideration in a landscape garden.

The lawn provided, the gardener conceives what is the dominant and central feature in the place, and then throws the entire premises into subordination to this feature. In home grounds this central feature is the house. To scatter trees and bushes over the area defeats the fundamental purpose of the place,--the purpose to make every part of the grounds lead up to the home and to accentuate its homelikeness.

Of course these remarks about the lawn are meant for those countries where greensward is the natural ground cover. In the South and in arid countries, greensward is not the prevailing feature of the landscape, and in these regions the landscape design may take on a wholly different character, if the work is to be nature-like. We have not yet developed other conceptions of landscape work to any perfect extent, and we inject the English greensward treatment even into deserts. We may look for the time when a brown landscape garden may be made in a brown country, and it may be good art not to attempt a broad open center in regions in which undergrowth rather than sod is the natural ground cover. In parts of the United States we are developing a good Spanish-American architecture, perhaps we may develop a recognized comparable landscape treatment as an artistic expression.

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