DOI Heft:
No. 185 (July, 1912)
DOI Artikel:Edson, Mira: A garden entrance
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43450#0362
A Garden Entrance
A GARDEN ENTRANCE
BY MIRA EDSON
k The garden enclosure, of which the
accompanying illustration is a part, is
before the home of Mr. Dudley Olcott at Mor-
ristown, N. J., and forms a part of the garden
and grounds planned by Mr. Ferruccio Vitale.
The steps lead down from the house, just glimpsed
above on the right, to the court which is here
shown, and on to the pool and flower garden
beyond, which lends an appropriate contrast to
the quiet dignity of the entrance.
The walls, as may be seen, are of tapestry
brick and have enough variety of plan to com-
bine pleasantly with the foliage about them
and with borders of Indiana limestone which
forms, too, the steps and other portions of the
court. The broad, low steps suggest an easy de-
scent to the floor of the court, where the bricks
are laid in an ornamental pattern, while flower
borders beneath the walls on either side relieve
any severity of setting by their pleasing touch of
color and their delicate freedom. The small
formal trees which are set in garden jars within
the enclosure contrast interestingly with the
masses of trees outside, and these, as an accom-
paniment to vase and wall and fountain, form a
kind of link between outer and inner, free nature
and man’s handiwork. The fountains are set one
on either hand of the upper wall and represent the
dolphin and shell in pleasing and familiar Renais-
sance arrangement, and by the suggestion they
give of running waters convey the necessary note
of free movement. This freedom of movement is
echoed in the flowering borders, the growth of
which becomes even freer as it recedes into the
garden beyond. Climbing vines as they grow will
soften a trifle more the charming background of
the ornamental brick wall.
If the garden which emphasizes nature inde-
pendent of man can please most directly, as a rule,
the general public, the formal garden, awing while
it charms, appeals most strongly to the artist and
to those to whom the human in art and architec-
ture awakens response.
Copyright
A GARDEN ENTRANCE BY FERRUCCIO VITALE
ESTATE OF DUDLEY OLCOTT, ESQ., MORRISTOWN, N. J.
XIV
A GARDEN ENTRANCE
BY MIRA EDSON
k The garden enclosure, of which the
accompanying illustration is a part, is
before the home of Mr. Dudley Olcott at Mor-
ristown, N. J., and forms a part of the garden
and grounds planned by Mr. Ferruccio Vitale.
The steps lead down from the house, just glimpsed
above on the right, to the court which is here
shown, and on to the pool and flower garden
beyond, which lends an appropriate contrast to
the quiet dignity of the entrance.
The walls, as may be seen, are of tapestry
brick and have enough variety of plan to com-
bine pleasantly with the foliage about them
and with borders of Indiana limestone which
forms, too, the steps and other portions of the
court. The broad, low steps suggest an easy de-
scent to the floor of the court, where the bricks
are laid in an ornamental pattern, while flower
borders beneath the walls on either side relieve
any severity of setting by their pleasing touch of
color and their delicate freedom. The small
formal trees which are set in garden jars within
the enclosure contrast interestingly with the
masses of trees outside, and these, as an accom-
paniment to vase and wall and fountain, form a
kind of link between outer and inner, free nature
and man’s handiwork. The fountains are set one
on either hand of the upper wall and represent the
dolphin and shell in pleasing and familiar Renais-
sance arrangement, and by the suggestion they
give of running waters convey the necessary note
of free movement. This freedom of movement is
echoed in the flowering borders, the growth of
which becomes even freer as it recedes into the
garden beyond. Climbing vines as they grow will
soften a trifle more the charming background of
the ornamental brick wall.
If the garden which emphasizes nature inde-
pendent of man can please most directly, as a rule,
the general public, the formal garden, awing while
it charms, appeals most strongly to the artist and
to those to whom the human in art and architec-
ture awakens response.
Copyright
A GARDEN ENTRANCE BY FERRUCCIO VITALE
ESTATE OF DUDLEY OLCOTT, ESQ., MORRISTOWN, N. J.
XIV