THE SUN-DIAL IN THE GARDEN
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.
[Illustration: THE SUN-DIAL IS A FEATURE IN ITSELF]
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.
[Illustration: AN OLD WELL USED EFFECTIVELY AS A DECORATIVE FEATURE]
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.
THE FOUNTAIN
[Illustration: NARCISSUS STANDS IN THE HEART OF THE FOUNTAIN]