THE FOUNTAIN
Have you ever seated yourself in your garden, more especially on a warm
summer day, and dreamily listened to the musical tinkle of the water
that flowed from the mouth of the fountain, dripping down from the
over-flowing basin into the pool below? It is then you realize what an
attractive ornament it is for your garden for it appeals not only to the
eye but to the ear. Lowell picturesquely describes his idea of this bit
of garden furnishing when he speaks of it as "leaping and flashing," in
the sunlight.
While the pergola, the garden seat and the sundial each have their own
appropriate use, they serve one purpose only. Not so the fountain, which
never fails to convey a delightful impression of coolness, as it gurgles
and murmurs, on its way. Surely there is nothing that gives to the
garden a more picturesque charm than this, standing like a spot of color
in a vivid setting of bright flowering plants. In the pool below one
finds constantly changing pictures of the blue sky, snowy clouds or
summer blossoms, each one worthy of its floral frame.
As the garden fountain is merely an accessory and the beauty of the
constantly dripping water and the rising of the spray are what
constitutes its real charm, the conventional design can be simple or
elaborate but it should follow the garden scheme. It depends upon its
environment as to whether we make it the central feature in the design
or a setting in the wall. Lovely effects can easily be produced if one
is careful in trying to work out a right treatment, for the placing is
fully as much of importance as the planting. Balance should be the main
object.
To the amateur who has had no special training in floriculture, the
introduction of even a simple water spout is of interest. He watches its
workings with a newly awakened enthusiasm, directing its course so that
it falls artistically over the different levels of the rock garden into
the home-made concrete pool below. The introduction of this water
feature gives a distinctive touch to even the simplest little flower
plot. For a larger garden, what is more alluring than a fountain
sending forth a high, vapory stream, bursting into a cloud of filmy
spray? This is especially true when it is viewed through a vista or at
the ending of a vine-shaded pergola. Around it should be planted a
carefully selected combination of flowers or shrubs, great care being
taken that they blend harmoniously.
The size of the fountain and the breadth of the pool lend themselves
more or less effectively to producing alternating sunshine and shade on
the surface of the water. The basin is, in a way, of as much importance
as the fountain design. It is generally round, although occasionally an
oblong design fits better into the landscape effect. It should be from
two to three feet deep and so constructed that the sides slope outward
much like the ordinary wooden water bucket. There is a practical reason
for this, as it prevents cracking during the winter months. The cost
naturally varies, the size materially affecting the price.
The background demands more than passing notice. Nearness of trees is a
decided drawback, as the falling leaves, especially in the autumn, mar
the surface and clog the outlet and make it necessary to clean the basin
frequently.
The best time to plan for any garden ornament is just before the early
fall. The flowers are in their prime and one can better determine
placing than in the early spring when the garden lies bleak and
desolate.
Many garden lovers with a desire for originality feel confident that
they can rely upon their imagination to work out color schemes even
during the winter months. Fortunate is he who accomplishes this
satisfactorily. There is great danger, however, that his castles in the
air may fall to the ground through taking too much for granted. The
grounds do not always meet requirements, and the result is not only
wrong placing but an ornament that is either too large or too small for
its allotted space.
We are far too impatient to obtain results and it is this undue haste
that often ruins the composition of gardens. There is a great
satisfaction in adding to and improving our grounds, much more so than
if the whole work were developed at once. Almost every garden into which
careful thought has been placed grows with its years. Few, if any garden
lovers, but have felt a keen sense of disappointment at the finished
results of their garden schemes. What was satisfying the first year,
has later brought about unhappy combinations. It is this fact that
should be impressed on everyone's mind, if they wish a perfect lay-out.
[Illustration: A ROMAN FOUNTAIN PLACED AGAINST A VERY APPROPRIATE
BACKGROUND]
Probably everybody who has become interested in floriculture finds the
same difficulty in obtaining exactly what they wish. It is often hard to
match ideas with reality. This is another reason for curbing one's
impatience. The right things are sure to be found, that is if one is
willing to take time.
It is when comparing the gardens of the old world with those of to-day
that we are impressed with the atmosphere of the twentieth-century
garden, where nature is encouraged to be genuine rather than artificial.
This is the height of success, the bringing into harmony of paths,
ornaments, and flowers, omitting gaudy effects or over-crowding with
marble fragments. Simplicity should be the key-note in arranging this
part of our ground, a simplicity that has been worked out by careful
thought for it means hard study to obtain natural effects.
There are many materials from which our fountain can be manufactured.
The most expensive of these are marble, terra cotta and manufactured
stone, the former leading the list, while the latter is better suited to
the moderate purse. This last is, in reality, a composition of marble
dust with cement, and the result is most satisfactory, the finished
product showing a smooth surface resembling as nearly as possible that
of unpolished marble. In rare cases, however, chemicals have been used
to produce an antique look. Many people are under the impression that
manufactured stone is always white. As a matter of fact, in the finished
product, there are as many as half a dozen neutral tints shown. These
all incline to a soft, delicate gray, sometimes with a blueish cast.
Terra cotta comes next in cost. A detriment to its use is that,
particularly when it is shown in deep bronze coloring, it does not lend
itself artistically to landscape effect, through lack of contrast with
its surroundings. We find this material with both glazed and unglazed
surfaces, the former being more expensive but not as practical as the
latter. The most strongly recommended coloring is limestone gray, whose
soft, delicate finish brings out the tone of the vines, and emphasizes
the color of the surrounding flowers. Next comes the Pompeian red, only
to be used under certain conditions on account of its color. Colonial
yellow has also been introduced. The two last colors are rarely, if
ever, used for fountain designs, the gray being considered much more
advisable.
There are many reasons why cement is considered practical; its cost, its
wearing qualities, and its appropriate coloring. All these qualities
lend themselves to constructive purposes, and making it decoratively
most desirable.
The architect who suits the design of the garden to the type of the
house will take advantage of this particular material. He has his ideas
concerning the effect that he wishes to bring out, to emphasize the
design of the house. He realizes that there is something more than
interest in botany to be shown if he wishes to make this part of his
plan a success. We have grown to a realizing sense that for the best
results it is better to employ a skilled man. No clever result can be
brought out through an inexperienced person planning the grounds, that
is, unless they have natural ability such as few people possess. We have
only to go back to our Colonial ancestors and study effects. It is then
we realize the difference between home planting and architectural
planting.
Cost is not the only thing to be taken into consideration when creating
garden effects. Character should be considered as well. In order to
obtain this satisfactorily, the accessories should be planned by a
connoisseur, such as an architect becomes after many years' study of the
subject. The fountain is the most important detail and requires more
careful thought than any other part of the garden setting. It makes no
difference what its construction is, so that it fits in with the scheme.
Great care should be taken not to introduce different periods or
materials when placing garden ornaments on our grounds. Take, as an
instance, a home-made fountain and place it in close proximity with an
imported one and note the result. You will see the lack of harmony. The
Italian fountain belongs distinctively to the formal or Italian lay-out,
and should never be used, with the exception of making a central feature
on a lawn, in any other way. If you place the Greek fountain on a
hillside where landscape effects have been worked out through the use of
cascades that dash over terraces and under rustic bridges, you will see
it is entirely out of place and in the wrong surroundings.
[Illustration: AN ARTISTIC FOUNTAIN PARTICULARLY WELL PLACED]
Occasionally, we come across an iron fountain painted black or red. This
metal is cheap and stock designs can be purchased, but the very best
ones are private orders and can never be reproduced. The price varies as
with every other bit of garden furniture from a few dollars up to as
many thousands. The advantage of this metal is that it fits into places
where marble should be avoided.
Pottery fountains have been used within the last few years, and many of
them are very graceful, being turned and finished by hand. This type has
a special mission in our garden, its proper placing being in New England
where the gray rocks, hedges and evergreen predominate. This material is
shown in more colors than almost any other. These include gray, brown,
green, blue, and many shades of terra cotta. This variation of color
makes it adapted to almost any situation. One advantage in their use is
that, strongly reinforced as they are by galvanized steel wires, they
are climate-proof and practically indestructible.
The location of this special garden ornament demands serious attention.
It is often placed where it will attract attention to some special
feature that has been carefully worked out in detail. More especially
is this true when it has been inserted as a part of the retaining wall
and is surrounded by some choice vine whose flowers accentuate the
architecture.
There are so many forms and features connected with this special garden
ornament that there need never be any sameness. It is an ideal medium
with which to recreate the fauns, satyrs and nymphs of the garden.
Animals, too, are often used and so are cupids.
The planting, which is of as much importance as the ornamentation,
depends upon the size of the pool and its location. Shade requires far
different treatment from sunny exposures, while the heart of a grass
plot lends itself to little or no floral embellishment. The finish of
the pool influences the arrangement of the flowers. Should it be very
ornamental, the planting should be far enough away not to shut off its
picture effect in the landscape. If it is simply a curbing, it should
have a setting of green or of low-growing plants.
Often an effective treatment is worked out through a border of velvety
turf outlined by plants. Peonies never fail to bring out the right
coloring of the fountain, that is if they are far enough away not to
cut off the design. They are called rightly the aristocrats of the
flower garden. For mass planting, they are most effective, their great
gorgeous blossoms, daintily dyed and ranging from white to the deepest
red, their wonderful fragrance and their decorative value are
unsurpassed. They can either be planted in solid color or in a
combination that is artistic. The Couronne d'Or, beautiful white in
coloring and showing blossoms of red in the center with a halo of yellow
around, makes a picturesque contrast to the deep green of the tree
leaves. The large, double, ball-shape bloom of the Felix Crousse
intermixed with white, gives one of the most fascinating combinations of
red and white. The beauty of peonies is that they grow anywhere although
they do best in rich, deep soil and with a sunny exposure. They are
perfectly hardy, require no protection and unlike most other plants are
not infested by either insects or disease. All they ask for is plenty of
water during their growing season.
Grandmother's flowers, which are so fashionable to-day, are particularly
desirable as a planting around a fountain. The sweet moss rose trailing
through the grass and mixing its blossoms with the yellow of the Scotch
rose is often used for low effects, or where very little coloring is
advisable. The amount of planting and the height naturally depend upon
the design of the individual fountain. Those that are ornamental are so
effective that they need practically nothing to bring out right effects.
Iris is always in good form. We find it to-day so highly developed that
in comparison to the little fleur-de-lis that grows unmolested in the
neighboring swamp, it seems scarcely a variety of the same flower. As we
are able to buy both double and single Irises, we should make a choice
and not mingle the two. The double with its flowers averaging from eight
to ten inches across, is an artistic foil for the white of the fountain.
Commencing with the German, which comes into bloom about the middle of
May, we can follow the time of blossoming through the introduction of
the Japanese Iris which lasts through July. In their planting, better
effects are produced if two colors only are used. This can be
supplemented by a third if the coloring is broken by the introduction of
a thread of white. For the German, why not use the Honorabilis, which is
a golden yellow with outside yellow petals shading to a mahogany brown,
or the King of Iris, which is a clear yellow. The Florentina Alba
gives the white coloring, its flowers being very large and fragrant.
These two colors can be enhanced by the adding of the Camillian which is
a delicate blue with falls tipped a little darker shade. These are more
suited for a fountain with a low curbing or for an informal garden where
cement is used. They give a very pretty effect, their flowers being
pictured in the water below.
[Illustration: THIS WALL FOUNTAIN WITH ITS SHELL BACKGROUND AND BASIN IS
MOST FITTINGLY PLACED]
Pansies are never out of place. A very pretty idea is to have them
massed for as many as eight inches around the curb. Choose for these,
bright-colored varieties rather than dark. The tufted pansies, which are
one of the most important bedding plants in Europe, are rapidly growing
in favor in our country. One reason for this is that they flower
continuously for nearly eight months in the year. The flowers are not as
large as those of the single pansy, but their bright colors make them a
welcome addition to our garden. The rich, golden yellow, the violet with
a dark eye and the white, are all three admirable for this purpose.
Pansies love coolness and give their largest and finest flowers in early
spring and late fall. They are so easy to grow, rioting in the cool,
deep mellow beds they love, that everybody should use them. They will
endure all winter long if protected by a few evergreen vines. The size
needed for bedding for your fountain depends entirely upon the width of
the bed. The most superb specimens are found among the orchid flowering
ones. They take their name mainly from their tints and variation of
color resembling the gorgeous shades seen in orchids. These are the most
novel and distinctive strain that we have used for years.
Have you ever considered the graceful effect of ornamental grasses? They
can be used with telling effects for the margin of the fountain,
although care must be taken not to plant those that grow to enormous
height. The Euallia Japonica is appropriate. Its long, narrow, graceful
green foliage, flowering into attractive plumes, give it a distinctive
place for this purpose. Mix with it the Zebra grass, whose long blades
are marked with broad yellow bands across the leaf. Intermix with this
the hardy fountain grass which grows only four feet in height and has
narrow foliage, bright green in coloring, cylindrical flower-heads
carried well above the foliage, tinged with a bronze purple and is one
of the most valuable of the hardy grasses.
In the planting of the grasses, to make the best effect give the taller
ones the outside row, letting the low ones fall over the water,
mirroring in the surface below. One of the advantages in using this is
that it attracts birds and butterflies. Nothing can attract the
songsters quicker to your fountain than this kind of surrounding.
Occasionally, we find that instead of planting, beds are geometrically
laid out to surround this, the axis of the garden design. In cases like
this we have to depend upon the borders for effect. These can be
hedge-loving plants or they can be a solid, low planting. Scotch heather
is very pretty. It should be grown in sunny places with moist
surroundings. Its racimes of dark rose pink petals, lasting from July to
September, make it very effective for this purpose. The Japanese
Barberry can also be included, nothing equals it in artistic value. It
requires but little pruning to keep it in shape, while its fruit or
berries, assuming rich brilliant colors in the fall, are most effective
when used for a setting like this.
If possible, try for flowers that have fragrance. It adds so much to the
effect to breathe in the sweet odor as you sit watching the shading of
the flowers, the swaying of the birds, and listening to the musical
tinkle of the water as it drips into the basin below.