The garden, you say, is a compromise between the common and the ideal. Yet nobility comes in low disguises. We have seen that the garden is wild Nature elevated and transformed by man's skill in selection and artistic concentration--wild things to which man's art has given dignity. The common flowers of the cottager's garden tell of centuries of collaboration. The flowers and shrubs and trees with which you have adorned your own grounds were won for you by the curiosity, the aspiration, the patient roaming and ceaseless research of a long list of old naturalists; the design of your garden, its picturesque divisions and beds, a result of the social sense, the faculty for refined enjoyment, the constructive genius of the picked minds of the civilised world in all ages. The methods of planting approved of to-day, carrying us back to the admirably-dressed grounds of the ancient castles and abbeys, to the love of woodland scenery, which is said to be a special characteristic of Teutonic people, which is evidenced in the early English ballads; to the slowly acquired traditions of garden-masters like Bacon, Temple, Evelyn, Gilpin, and Repton, as well as to the idealised landscapes of Constable, Gainsborough, Linnell, and Turner; it is, in fact, the issue of the practical insight, the wood-craft, and idealistic skill of untold generations.
In this matter of floral beauty and garden-craft man has ever declared himself a prey to the "malady of the ideal"; the Japanese will even combine upon his trees the tints of spring and autumn.[8] But everywhere, and in all ages of the civilised world, man spares no pains to acquire the choicest specimens, the rarest plants, and to give to each thing so acquired the ideally best expression of which it is capable. It is as though Eden-memories still haunted the race with the solicitude of an inward voice that refused to be silenced, and is satisfied with nothing short of the best.
[Footnote 8: "This strange combination of autumn and spring tints is a very usual sight in Japan.... It is worth noting that in Japan a tree is considered chiefly for its form and tint, not for use.... I heard the cherry-trees were now budding, so I hurried up to take advantage of them, and found them more beautiful than I had ever imagined. There are at least fifty varieties, from delicately tinted white and pink to the richest rose, almost crimson blossom."--Alfred East's "Trip to Japan," _Universal Review_, March, 1890.]
