Part 7

FROM THE PICTURE IN THE POSSESSION OF

MR. EDWIN CLEPHAN]

growth. There is some planting between the lower windows at Brympton, but it is doubtful whether it would not have been better omitted. It is a place more suitable (if on this front any gardening is desirable) for the standing of Bays or some such trees, in tubs or boxes on the terrace.

There is sometimes a flower-border at the base of such a house; where this occurs it is a common thing to see it left bare in winter and in the early year dotted with bulbous plants and spring flowers; to be followed in summer with bedding-plants. No such things look well or at all in place directly against a building. The transition from the permanent structure to the transient vegetation is too abrupt. At least the planting should be of something more enduring and of a shrubby character, and mostly evergreen. Such plants as Berberis Aquifolium, Savin, Rosemary and Laurustinus would seem to be the most suitable, with the large, persistent foliage of the Megaseas as undergrowth, Pyrus japonica for early bloom, and perhaps some China Roses among the Rosemary.

But happily this house has been treated as to its environment with the wisest restraint. No showy or pretentious gardening intrudes itself upon the great charm of the place, which is that of quiet seclusion in a beautiful but little-known part of the county. The place lies among fields--just the House, the Church and the Rectory. There is no village or public road. The house is approached by a long green forecourt inclosed by walls. Between this and the kitchen garden is the quiet, low, stone-roofed church, in a churchyard that occupies such another parallelogram as the forecourt. The pathway to the church passes across the forecourt into the restful churchyard with its moss-grown tombs and bushes of old-fashioned Roses, and the grassy mounds that mark the last resting-place of generations of long-forgotten country folk.

The church has a bell-cote built upon the gable of its western wall of remarkable and very happy form, stone-roofed like the rest. Among the graves stands the base--three circular steps and a square plinth--of what was once an ancient stone cross. The church seems to lie within the intimate protection of the house, adding by its presence to the general impression of repose and peaceful dignity.

The picture shows the walled and balustraded entrance, probably contemporary with the classical façade, wrought of the local Ham Hill stone; a capital freestone for the working of architectural enrichment. It is of a warm yellowish-brown colour; but grey and yellow lichens and brown mosses have painted the surface after their own wayward but always beautiful manner. A light cloud of Clematis Flammula peeps over the bushes through the balusters. Stonework so good as this can just bear such a degree of clothing with graceful flowery growth; no doubt it is watched and not allowed to hide too much with an excess of overgrowth. Where garden architecture is beautiful in proportion and detail it is not treating it fairly to smother it with vegetation. How many beautiful old buildings are buried in Ivy or desecrated by the unchecked invasion of Veitch’s Virginia Creeper!

BALCASKIE

Equidistant from Pittenweem and St. Monan’s, in Fifeshire, and a mile from the sea, stands Balcaskie, the beautiful home of Sir Ralph Anstruther.

The park is entered from the north by a fine gateway with stone piers bearing “jewelled” balls, dating from the later middle of the seventeenth century. The entrance road is joined by two others from east and west, all passing through a park of delightful character. The road leads straight through a grassy forecourt walled on the three outer sides by yew hedges, and reaches the door by a gravelled half-circle formed by the projection on either side, of the curved walls of the offices and stables. The house, of the middle seventeenth century, though just too late to have been built as a fortress, retains much of the character of the older Scottish castles, but adds to it the increased comfort and commodiousness of its own time. There have been considerable later additions and alterations, but much of the old still remains, including some rooms with very interesting ceilings.

The main entrance on the north leads straight through to a door to the garden on the south. The garden occupies a space equal to about five times the length of the house-front. The ground falls steeply, something like fifty feet in all, and is boldly terraced into three levels. Looking southward from the door and across the garden, the eye passes down a great vista between trees in the park to the Firth of Forth, and across it to the Bass Rock, some twelve miles away and near the further shore.

The upper garden level, reached from the house by a double flight of descending steps, has a broad walk running the whole length, with an excellently modelled lead statue at each end; to the west an Apollo, a singularly graceful figure, and to the east a female statue, possibly a Diana. The space in front of the house is divided into three portions; the two outer compartments having hedges of yew from four to five feet high. One of these incloses a bowling-green, the other a lawn with some beds. The middle turfed space has a sundial and beds of flowers. Here is also the remaining one of what was formerly a pair of fine cedars, placed symmetrically to right and left. Adjoining the house and next to the end of the broad walk where stands the Apollo, is the rose-garden, which, with this graceful statue, forms the subject of the picture. The rose-garden is of beds cut in the grass, containing not Roses only but also other bright garden flowers. A female statue of more modern work stands in the centre.

The great terrace wall, eighteen feet high, that forms the retaining wall of the upper portion of the garden, rises towards both ends to its full height as a wall, but the middle space is lightened by being treated with a handsome balustrade. At the extreme ends flights of steps lead down to the next, the middle level. The first long flight reaches a wide stone landing, the lower, shorter flight turning inwards at a right angle. Great buttresses, projecting forward eight feet at the ground-line, add much to the dignity and beauty of the wall. They are roofed with stone, and each one carries the bust of a Roman emperor. From the steps on each side come broad gravelled walks, leading by one step down to a slightly sunk rectangular lawn, which occupies the middle space. On each side of the paths are groups of flower-beds on a long axial line that is parallel with the wall. They have a broad turf verge and a nearly equal space of gravel next to their box-edges. Piers and other important points have stone balls or flower-vases. Stone seats stand upon the landings above the lowest flights or steps, against the walls which bound the garden to right and left. Beyond these boundaries are tall trees, their protecting masses giving exactly that comforting screen that the eye and mind desire, and forming the best possible background to the structure and garnishing of the beautiful garden.

It is one of the best and most satisfying gardens in the British Isles;

FROM THE PICTURE IN THE POSSESSION OF

MISS BOMPAS]

Italian in feeling, and yet happily wedding with the Scottish mansion of two and a half centuries ago, and forming, with the house and park-land, one of the most perfect examples of a country gentleman’s place. All of it is pleasant and beautiful, home-like and humanly sympathetic; the size is moderate--there is nothing oppressively grand.

More than once already in these pages attention has been drawn to the danger of letting good stone-work become overgrown with rank creepers. At Balcaskie this is evidently carefully regulated. The wall-spaces between the great buttresses, and the buttresses themselves, are sufficiently clothed but never smothered with the wall-loving and climbing plants. The right relation of masonry and vegetation is carefully observed; each graces and dignifies the other; the balance is perfect.

The lowest level is given to the kitchen garden. It is not put out of the way, but forms part of the whole scheme. It is reached by a single flight of handsome balustraded stone steps.

Balcaskie occurs as a place-name early in the thirteenth century. From 1350 to 1615 it was owned by a family named Strang, afterwards by the Moncrieffs, till 1665. It is not known whether any portion of the present house and garden belonged to these earlier dates, but it is probable that the designer of both was Sir William Bruce, one of the best architects of the time of Charles II., and an owner of Balcaskie for twenty years.

CRATHES CASTLE

Crathes Castle in Kincardineshire presents one of the finest examples of Scottish architecture of the sixteenth century. It is the seat of Sir Robert Burnett of Leys, the eleventh baronet and descendant of the founder.

Profoundly impressive are these great northern buildings, rising straight and tall out of the very earth. As to their lower walls, they are grim, forbidding, almost fiercely repellent. There is an aspect of something like ruthless cruelty in the very way they come out of the ground, without base or plinth or any such amenity--built in the old barbarous days of frequent raiding and fighting, and constant need of protection from marauders; when a man’s house must needs be a strong place of defence.

This is the first impression. But the eye travelling upward sees the frowning wall blossom out above into what has the semblance of a fairy palace. It is like a straight, tall, rough-barked tree crowned with fairest bloom and tenderest foliage. Turrets both round and square, as if in obedience to the commanding wave of a magician’s wand, spring out of the angles of the building and hang with marvellous grace of poise over the abyss. There seems to be no actual plan, and yet there is perfect harmony; the whole beautiful mass appears as if it had come into being in some one far-away, wonderful, magical night! It is a sight full of glamour and romantic impression--grim fortalice below, ethereal fantasy aloft. Rough and rugged is the rock-like wall, standing dark and dim in the evening gloom; intangible, opalescent are the mystic forms above, in the tender warmth of the afterglow; cloud-coloured, faintly rosy, with shadows pearly-blue.

FROM THE PICTURE IN THE POSSESSION OF

MR. CHARLES P. ROWLEY]

Direct descendants of the old Norman keep, these Scottish castles, for the most part, retain the four-sided tower, as to the main portion of the structure. The walls need no buttresses, for they are of immense thickness, and the vaulted masonry, usually of the simple barrel form, that carries the floors of, at any rate, the lower stories, ties the whole structure together. The angle turrets carried on bold corbels that are so conspicuous a feature of these northern castles, broke away from the Norman forms and became a distinct character of the Scottish work. They were a helpful addition to the means of defence, and, as long as they were built for use, added much to the beauty and dignity of the structure. The only detail that shows a tendency to debasement in Crathes is the quantity of useless cannon-shaped gargoyles, put for ornament only, in places where they could not possibly do their legitimate work of carrying off rain-water from the roof.

There could have been no pleasure garden in the old days; but now these ancient strongholds, mellowed by the centuries, seem grateful for the added beauty of good gardening. The grand yew hedges may be of the seventeenth century. They stand up solid and massive for ten feet or more, with roof-shaped tops, and then rise again at intervals into great blocks, bearing ornaments like circular steps crowned with a ball. The ornament is simpler, a low block and ball only, in the first picture, where they accentuate the arches that lead right and left into the two divisions of the flower garden. This plainer form is perhaps more suitable to this grand old place than the more elaborate, just because it is simpler and more dignified.