graphia Rustica," "did plant the large semicircle before the palace . . . in pursuance of some great design he had formed in gardening."
This must have been one of his first works, for as early as June 9, 1662, John Evelyn, who was a great authority on gardens, noted that the Park, "formerly a flat, naked piece of ground," was "now planted with sweet rows of lime trees," and that the "canal for water" was "now near perfected." The whole of the alterations were in the direction of enlargement, which was fully in accordance with Evelyn's advice. The aim of the changes was to imitate Versailles. The House Park stretches for more than a mile to the south. In that fine space there could be well set the vistas of tree and water which should lead so appropriately to the sovereign's home. Every plan was drawn on strictly geometrical lines, in the gardens, as later in Wren's buildings.[1]
Evelyn tells us also of two other features of the gardens, which fitly represent the two contending tastes of earlier days. "In the garden there is a rich and noble fountain, with sirens, statues, &c., cast in copper by Fanelli." This fountain seems to have disappeared, but many beautiful specimens of architectural decoration remain, chiefly vases, elaborately designed in lead and stone, and little animal or figure groups dispersed among the beds. The second feature whichEvelyn mentions—but this is later—is one which strikes every visitor to-day. It
- ↑ Cf. a delightful article in the Spectator for August 1, 1896.
