There is, however, an exception to this rule when,
as in this case, a distinct feature is at the end of
the vista. An ancient wooden bridge, such as
might occur in one of Morland's Sussex scenes, is
in the mid-distance and appears to be the objective
of the grass walk. All the other lines, the pergolas
and surprise gardens that are subordinate to the
chief feature, run parallel to the distant hills, and
thus correct any hint of unrest that the over-
scrupulous architectural designer might perceive.
One reason that makes me love the long flower
borders is that I can always see and admire them,
in every passing shade of day or evening light. On
a boisterous, untempting day, the parlour window
suffices to show them to me, and unlike large, old-
fashioned gardens that surround Queen Anne or
Georgian houses, I have not to walk through an
acre of mown grass or shrubbery before I can pick
the flowers. For this reason there is additional
interest in the endeavour to obtain a good colour
scheme and a never-failing succession of flowers.
The two borders are very much. raised towards
the back and have the appearance of being high
banks of colour, so that, as you walk below along
the grass path between them, the flowers are on a
level with the eye and, in some cases, high above it.
At the back they are outlined by a high wooden



28 HOW THE GARDEN WAS MADE

fence upon which grow cHmbing roses of all kinds.
