New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-03-07

include about all the essentials OF what we
call the art Of gardening.
In the concluding chapter. which Is devoted 10
garden composition proper. Mr.. Conner states
that teachers OF the art insist that OUTDOOR
sketching is the most important part OF pre-
liminary education in garden design students
are required 10 take notes and sketches oI
natural scenery constantly. rot from one point
Of view and with the object Of producing coHi-
plete picture. but fragmentary ana '"'i! Nc
sketches from different directions anev Instances
are made compulsory. so that the main contours
and features OF given spot are dcIihea''u anu
studied separately. both in the foreground anu
in the distance. These sketches are not lh'ehufu
:, no coined in any actual design. but are to be
Mood simnlv as suggestions and inspirations.
c,r,o of the rnaxlms OF the masters seem rather
odd. when judged from an American point oi
view as for example. one authority IN com-
noei,son advises 10 plant the larger trees in the
front parts Of a garden and the lower ones In
the background thus assisting the effect OF per-
snective distance: and this device Is to be prac-
,ised In small gardens. The same authority
makes the distant hillocks lower than the nearer
ones and the level of artificial water hlEner
in the BACKGROUND than the foreground 50 as 10
strengthen the Illusion Of remoteness. Inc SUI
dent of landscape art, as we understand IT, WIN
find very few hints In this trcatse Oh sa'u'"
design which he can use II advantage III '"e
practice of his art In America or Europe ''ie
thing which might we'll be initiated II ''' ''"P"-
,ous cleanliness which the japanese treatment
cxacts and the total absence OF anything IKE
litter ar untdness. Many of the devices and
convenences which are used IN Japanese s'-
dams might also be introduced with advantage
in our own gardens. Among these are the Step-
ming stones which are fiat pieces Of stone laid on
the grass at intervals. and making Winning
nath which is much more picturesque than
rrayelled walks costing less to begin with ana
costing nothing to maintain. Years ago we used
TO see in old country places stone walks or fhis
character leading to a spring or a milk-house'
and they were always beautiful. The bamboo
fences. too are peculiarly light and graceful
and their simplicity and ncatness commend them'
as they do some Of the light garden gates OF
(which Mr. Gender publishes many beautiful e%-
ampes The pictures in this volume are mostly
Iananese and many Of them are very rough ana
unfinished. but they are all illustrative OF the
text and some Of the bridges, wells. lanterns ana
water-basins as well as the gates and fences
are singularly beautiful
STRANGELY enough the most beautiful gardens
in Japan from our point Of view. are not
Japancse at all but were designed long ago when
tho art Of japan was completely dominated by
the influence OF China. Mr.. Gender does not
seem to appreciate this fact. and he makes 10
mention Of the Shrincs of Nikko' Win inc"
gigantic walls. spacious terraces. dark over
green forests and world-renowned avenue "'
Crvptomcrias These temple gardens DUH
nearly three centuries ago. were planned 10y "''
Of the great artists Of the world; but although
this UNIQUE work stands by Itself without any
ooual or rival there are many other gardens III
the natural style in Japan which were '"S'E"''
and completed long before the art OF landscape
corSoning as We know II was pracuS"l III
Iurerc The Arsenal Garden In TOXIC or h"'"-
kucn as 1t Is called. has long been known u
travellers from the Fast and IL mas pe'h ~
freshnlent to the spirit q all Nisi'ors WIZ ""'
n.ho,osome and robust love Of nature for her
ovr s,ke II was planned early In the seven
,oo,,,, century. and has been admirably main
,,i,ed ever since one who simply loves ilah'S
for their own sake can find In this old garden
,roos which were probably planted when 1t was
a., lald ant and. therefore. they have now
reached the age and proportion which make 'hefh
,,oncrabc as well as dignihcd. Here are noble "'n
bollies oaks and naples which are hoAry WIN
the nosse- Of centuries. while statellest OF AL
the Japanesc frs tower 70 height OF AT i''S'
$50 feet Several other examples oi '"'"'
gardening Of this period can be iouh" III '"e
Emnire. and It is to these that We must 'oo"
for the highest type Of garden art as we u'''''-
stand II. in Japan.
r,or,uratelv. Mr. Conder has Just supple
,ncnted his original work. which appehrei so'''
thing Ike a year ago with another Voluine VINO"
mt trs illustrations Of much Of this old garden
scen.rv This album. unlike the original VOL
anna u,tch was illustrated from native works
rrosents photographic plates from modern photo
pranhs by Mr. *. gawa. The feeling OF the
photographs Is very well reproduced In these
rlates and they have been very softy printed
Residen the garden views. there are some pictures
Of the natural scenery OF the country when
make us wish there had been more, Tor although
much Of the landscape work Is taken from sV"u
oxamplcs. there are other instances which show
in the hard lines OF the bridges and the de-
pressing artnclality OF their heaps Of stones.
the most unattractve side Of japanese art.
Nevertheless. the book. a whole, Is delight
10 the eye and to the Imagination, ana these
plates much more than double the value OF Mr..
Condcr's treatise Perhaps it was better to give
bits of representative landscape "a japanese
artists have constructed Il, rather than t. give
such views only as an appeal to Western taste.
We are beginning to understand the limitations
Of japanese art well rs Its strong points.
and these pictures Illustrate both It's strength
and weakness. and show how completely genuine
beauty. beauty that Is beautiful all the world
over. pre- dominates In these gardens over what IL
beautiful only to those whose senses have been
warped moulded by centuries OF Oriental
tradition.
LITERARY NOTES.