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Manual of Gardening (Second Edition) by L. H. Bailey

L >> L. H. Bailey >> Manual of Gardening (Second Edition)

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[Illustration: Fig. 237. Suggestions for a border of spring flowers.]

[Illustration: Fig. 238. A border of summer-flowering herbs.]

It must not be supposed, however, that one cannot have a border unless
he has wide marginal spaces about his grounds. It is surprising how many
things one can grow in an old fence. Perennials that grow in fence-rows
in fields ought also to grow in similar boundaries on the home
grounds. Some of garden annuals will thrive alongside a fence,
particularly if the fence does not shut off too much light; and many
vines (both perennial and annual) will cover it effectively. Among
annuals, the large-seeded, quick-germinating, rapid-growing kinds will
do best. Sunflower, sweet pea, morning glory, Japanese hop, zinnia,
marigold, amaranths, four o'clock, are some of the kinds that will hold
their own. If the effort is made to grow plants in such places, it is
important to give them all the advantage possible early in the season,
so that they will get well ahead of the grass and weeds. Spade up the
ground all you can. Add a little quick-acting fertilizer. It is best to
start the plants in pots or small boxes, so that they will be in advance
of the weeds when they are set out.

[Illustration: Fig. 239. An autumn-flowering border.]

_The flower-beds._

We must remember to distinguish two uses of flowers,--their part in a
landscape design or picture, and their part in a bed or separate garden
for bloom. We now consider the flower-bed proper; and we include in the
flower-bed such "foliage" plants as coleus, celosia, croton, and canna,
although the main object of the flower-bed is to produce an abundance
of flowers.

In making a flower-bed, see that the ground is well drained; that the
subsoil is deep; that the land is in a mellow and friable condition, and
that it is fertile. Each fall it may have a mulch of rotted manure or of
leafmold, which may be spaded under deeply in the spring; or the land
may be spaded and left rough in the fall, which is a good practice when
the soil has much clay. Make the flower-beds as broad as possible, so
that the roots of the grass running in from either side will not meet
beneath the flowers and rob the beds of food and moisture. It is well to
add a little commercial fertilizer each fall or spring.

Although it is well to emphasize making the ground fertile, it must be
remembered (as indicated at the close of Chap. IV) that it can easily be
made too rich for such plants as we desire to keep within certain
stature and for those from which we wish an abundance of bloom in a
short season. In over-rich ground, nasturtiums and some other plants not
only "run to vine," but the bloom lacks brilliancy. When it is the leaf
and vegetation that is wanted, there is little danger of making the
ground too rich, although it is possible to make the plant so succulent
and sappy that it becomes sprawly or breaks down; and other plants may
be crippled and crowded out.

There are various styles of flower-planting. The mixed border, planted
with various hardy plants, and extending along either side of the
garden-walk, was popular years ago; and, with modifications in position,
form, and extent, has been a popular attachment to home grounds during
the past few years. To produce the best effects the plants should be set
close enough to cover the ground; and the selection should be such as to
afford a continuity of bloom.

The mixed flower-bed may contain only tender summer-blooming plants, in
which case the bed, made up mostly of annuals, does not purport to
express the entire season.

In distinction from the mixed or non-homogeneous flowerbed are the
various forms of "bedding," in which plants are massed for the purpose
of making a connected and homogeneous bold display of form or color. The
bedding may be for the purpose of producing a strong effect of white, of
blue, or of red; or of ribbon-like lines and edgings; or of luxurious
and tropical expression; or to display boldly the features of a
particular plant, as the tulip, the hyacinth, the chrysanthemum.

In ribbon-bedding, flowering or foliage plants are arranged in
ribbon-like lines of harmoniously contrasting colors, commonly
accompanying walks or drives, but also suitable for marking limits, or
for the side borders. In such beds, as well as the others, the tallest
plants will be placed at the back, if the bed is to be seen from one
side only, and the lowest at the front. If it is to be seen from both
sides, then the tallest will stand in the center.

A modification of the ribbon-line, bringing the contrasting colors
together into masses forming circles or other patterns, is known as
"massing," or "massing in color," and sometimes is spoken of as
"carpet-bedding."

Carpet-bedding, however, belongs more properly to a style of bedding in
which plants of dense, low, spreading habit--chiefly foliage plants,
with leaves of different forms and colors--are planted in patterns not
unlike carpets or rugs. It is often necessary to keep the plants sheared
into limits. Carpet-bedding is such a specialized form of plant-growing
that we shall treat of it separately.

Beds containing the large foliage plants, for producing tropical
effects, are composed, in the main, of subjects that are allowed to
develop naturally. In the lower and more orderly massing, the plants are
arranged not only in circles and patterns according to habit and height,
but the selection is such that some or all may be kept within proper
limits by pinching or trimming. Circles or masses composed of flowering
plants usually cannot be cut back at the top, so that the habit of the
plants must be known before planting; and the plants must be placed in
parts of the bed where trimming will not be necessary. They may be
clipped at the sides, however, in case the branches or leaves of one
mass or line in the pattern grow beyond their proper bounds.

The numbers of good annuals and perennials that may be used in
flower-beds are now very large, and one may have a wide choice. Various
lists from which one may choose are given at the end of this chapter;
but special comment may be made on those most suitable for bedding, and
in its modification in ribbon-work and sub-tropical massing.

Bedding effects.

Bedding is ordinarily a temporary species of planting; that is, the bed
is filled anew each year. However, the term may be used to designate a
permanent plantation in which the plants are heavily massed so as to
give one continuous or emphatic display of form or color. Some of the
best permanent bedding masses are made of the various hardy ornamental
grasses, as eulalias, arundo, and the like. The color effects in bedding
may be secured with flowers or with foliage.

Summer bedding is often made by perennial plants that are carried over
from the preceding year, or better, that are propagated for that
particular purpose in February and March. Such plants as geranium,
coleus, alyssum, scarlet salvia, ageratum, and heliotrope may be used
for these beds. It is a common practice to use geranium plants which are
in bloom during the winter for bedding out during the summer, but such
plants are tall and ungainly in form and have expended the greater part
of their energies. It is better to propagate new plants by taking
cuttings or slips late in the winter and setting out young fresh
vigorous subjects. (Page 30.)

Some bedding is very temporary in its effect. Especially is this true
of spring bedding, in which the subjects are tulips, hyacinths,
crocuses, or other early-flowering bulbous plants. In this case, the
ground is usually occupied later in the season by other plants. These
later plants are commonly annuals, the seeds of which are sown amongst
the bulbs as soon as the season is far enough advanced; or the annuals
may be started in boxes and the plants transplanted amongst the bulbs as
soon as the weather is fit.

Many of the low-growing and compact continuous-flowering annuals are
excellent for summer bedding effects. There is a list of some useful
material for this purpose on page 249.

Plants for subtropical effects (Plates IV and V).

The number of plants suitable to produce a semitropical mass or for the
center or back of a group, which may be readily grown from seed, is
limited. Some of the best kinds, are included below.

It will often be worth while to supplement these with others, to be had
at the florists, such as caladiums, screw pines, _Ficus elastica,_
araucarias, _Musa Ensete,_ palms, dracenas, crotons, and others. Dahlias
and tuberous begonias are also useful. About a pond the papyrus and
lotus may be used.

Practically all the plants used for this style of gardening are liable
to injury from winds, and therefore the beds should be placed in a
protected situation. The palms and some other greenhouse stuff do better
if partially shaded.

In the use of such plants, there are opportunities for the exercise of
the nicest taste. A gross feeder, as the ricinus, in the midst of a bed
of delicate annuals, is quite out of place; and a stately, royal-looking
plant among humbler kinds often makes the latter look common, when if
headed with a chief of their own rank all would appear to the best
advantage.

Some of the plants much used for subtropical bedding, and often started
for that purpose in a greenhouse or coldframe, are:--

Acalypha.

Amarantus.

Aralia Sieboldii (properly Fatsia Japonica).

Bamboos.

Caladium and colocasia.

Canna.

Coxcomb, particularly the new "foliage" kinds.

Grasses, as eulalias, pampas-grass, pennisetums.

Gunnera.

Maize, the striped form.

Ricinus or castor bean.

Scarlet sage.

Wigandia.

_Aquatic and bog plants._

Some of the most interesting and ornamental of all plants grow in water
and in wet places. It is possible to make an aquatic flower-garden, and
also to use water and bog plants as a part of the landscape work.

The essential consideration in the growing of aquatics is the making of
the pond. It is possible to grow water-lilies in tubs and half barrels;
but this does not provide sufficient room, and the plant-food is likely
soon to be exhausted and the plants to fail. The small quantity of water
is likely also to become foul.

The best ponds are those made by good mason work, for the water does not
become muddy by working among the plants. In cement ponds it is best to
plant the roots of water-lilies in shallow boxes of earth (1 foot deep
and 3 or 4 feet square), or to hold the earth in mason-work
compartments.

[Illustration X: A shallow lawn pond, containing water-lilies,
variegated sweet flag, iris, and subtropical bedding at the rear;
fountain covered with parrot's feather _(Myriophyllum
proserpinacoides_).]

Usually the ponds or tanks are not cement lined. In some soils a simple
excavation will hold water, but it is usually necessary to give the
tank some kind of lining. Clay is often used. The bottom and sides of
the tank are pounded firm, and then covered with 3 to 6 in. of clay,
which has been kneaded in the hands, or pounded and worked in a box.
Handfuls or shovelfuls of the material are thrown forcibly upon the
earth, the operator being careful not to walk upon the work. The clay is
smoothed by means of a spade or maul, and it is then sanded.

The water for the lily pond may be derived from a brook, spring, well,
or a city water supply. The plants will thrive in any water that is used
for domestic purposes. It is important that the water does not become
stagnant and a breeding place for mosquitoes. There should be an outlet
in the nature of a stand-pipe, that will control the depth of water. It
is not necessary that the water run through the pond or tank rapidly,
but only that a slow change take place. Sometimes the water is allowed
to enter through a fountain-vase, in which water plants (such as
parrot's feather) may be grown (Plate X).

In all ponds, a foot or 15 in. is sufficient depth of water to stand
above the crowns of the plants; and the greatest depth of water should
not be more than 3 ft. for all kinds of water-lilies. Half this depth is
often sufficient. The soil should be 1 to 2 ft. deep, and very rich. Old
cow manure may be mixed with rich loam. For the nympheas or
water-lilies, 9 to 12 in. of soil is sufficient. Most of the foreign
water-lilies are not hardy, but some of them may be grown with ease if
the pond is covered in winter.

Roots of hardy water-lilies may be planted as soon as the pond is clear
of frost, but the tender kinds (which are also to be taken up in the
fall) should not be planted till it is time to plant out geraniums. Sink
the roots into the mud so that they are just buried, and weight them
down with a stone or clod. The nelumbium, or so-called Egyptian lotus,
should not be transplanted till growth begins to show in the roots in
the spring. The roots are cleaned of decayed parts and covered with
about 3 in. of soil. A foot or so of water is sufficient for lotus
ponds. The roots of Egyptian lotus must not freeze. The roots of all
water-lily-like plants should be frequently divided and renewed.

With hardy aquatics, the water and roots are allowed to remain naturally
over winter. In very cold climates, the pond is protected by throwing
boards over it and covering with hay, straw, or evergreen boughs. It is
well to supply an additional depth of water as a further protection.

As a landscape feature, the pond should have a background, or setting,
and its edges should be relieved, at least on sides and back, by
plantings of bog plants. In permanent ponds of large size, plantings of
willows, osiers, and other shrubbery may set off the area to advantage.
Many of the wild marsh and pond plants are excellent for marginal
plantings, as sedges, cat-tail, sweet-flag (there is a striped-leaved
form), and some of the marsh grasses. Japanese iris makes an excellent
effect in such places. For summer planting in or near ponds, caladium,
umbrella-plant, and papyrus are good.

If there is a stream, "branch," or "run" through the place, it may often
be made one of the most attractive parts of the premises by colonizing
bog plants along it.

_Rockeries, and alpine plants._

A rockery is a part of the place in which plants are grown in pockets
between rocks. It is a flower-garden conception rather than a landscape
feature, and therefore should be at one side or in the rear of the
premises. Primarily, the object of using the rocks is to provide better
conditions in which certain plants may grow; sometimes the rocks are
employed to hold a springy or sloughing bank and the plants are used to
cover the rocks; now and then a person wants a rock or a pile of stones
in his yard, as another person would want a piece of statuary or a
sheared evergreen. Sometimes the rocks are natural to the place and
cannot well be removed; in this case the planning and planting should be
such as to make them part of the picture.

The real rock-garden, however, is a place in which to grow plants. The
rocks are secondary. The rocks should not appear to be placed for
display. If one is making a collection of rocks, he is pursuing geology
rather than gardening.

Yet many of the so-called rock-gardens are mere heaps of stones, placed
where it seems to be convenient to pile stones rather than where the
stones may improve conditions for the growing of plants.

The plants that will naturally grow in rock pockets are those requiring
a continuous supply of root moisture and a cool atmosphere. To place a
rockery on a sand bank in the burning sun is therefore entirely out of
character.

Rock-garden plants are those of cool woods, of bogs, and particularly of
high mountains and alpine regions. It is generally understood that a
rock-garden is an alpine-garden, although this is not necessarily so.

In this country alpine-gardening is little known, largely because of our
hot dry summers and falls. But if one has a rather cool exposure and an
unfailing water supply, he may succeed fairly well with many of the
alpines, or at least with the semi-alpines.

Most of the alpines are low and often tufted plants, and bloom in a
spring temperature. In our long hot seasons, the alpine-garden may be
expected to be dormant during much of the summer, unless other
rock-loving plants are colonized in it. Alpine plants are of many kinds.
They are specially to be found in the genera arenaria, silene,
diapensia, primula, saxifraga, arabis, aubrietia, veronica, campanula,
gentiana. They comprise a good number of ferns and many little heaths.

A good rock-garden of any kind does not have the stones piled merely on
the surface; they are sunken well into the ground and are so placed that
there are deep chambers or channels that hold moisture and into which
roots may penetrate. The pockets are filled with good fibrous
moisture-holding earth, and often a little sphagnum or other moss is
added. It must then be arranged so that the pockets never dry out.

Rock-gardens are usually failures, because they violate these very
simple elementary principles; but even when the soil conditions and
moisture conditions are good, the habits of the rock plants must be
learned, and this requires thoughtful experience. Rock-gardens cannot be
generally recommended.

1. PLANTS FOR CARPET-BEDS

(By Ernest Walker)

The beauty of the carpet-bed lies largely in its unity, sharp contrast
and harmony of color, elegance--often simplicity--of design, nicety of
execution, and the continued distinctness of outline due to scrupulous
care. A generous allowance of green-sward on all sides contributes
greatly to the general effect,--in fact it is indispensable.

Whatever place is chosen for the bed, it should be in a sunny exposure.
This, nor any kind of bed, should not be planted near large trees, as
their greedy roots will rob the soil not only of its food, but of
moisture. The shade also will be a menace. As the plants stand so thick,
the soil should be well enriched, and spaded at least a foot deep. In
planting, a space of at least six inches must be left between the outer
row of plants and the edge of the grass. The very style of the bed
requires that lines be straight, the curves uniform, and that they be
kept so by the frequent and careful use of the shears. During dry
periods watering will be necessary. The beds, however, should not be
watered in the hot sunshine. Foliage plants are most in use, and are the
ones which will prove the most satisfactory in the hands of the
inexperienced, as they submit to severe clipping and are thus more
easily managed.

The following list will be helpful to the beginner. It embraces a
number of the plants in common use for carpet-bedding, although not all
of them. The usual heights are given in inches. This, of course, in
different soils and under different treatment is more or less a variable
quantity. The figures in parentheses suggest in inches suitable
distances for planting in the row when immediate effects are expected. A
verbena in rich soil will in time cover a circle three feet or more in
diameter; other plants mentioned spread considerably; but when used in
the carpet-bed, they must be planted close. One cannot wait for them to
grow. The aim is to cover the ground at once. Although planted thick in
the row, it will be desirable to leave more room between the rows in
case of spreading plants like the verbena. Most of them, however, need
little if any more space between the rows than is indicated by the
figures given. In the list those plants that bear free clipping are
marked with an asterisk (A):

_Lists for carpet-beds._

_The figure immediately following the name of plant indicates its
height, the figures in parentheses the distance for planting,
in inches._

1. LOW-GROWING PLANTS

A. FOLIAGE PLANTS.

_Crimson._--(A)Alternanthera amoena spectabilis, 6 (4-6).
Alternanthera paronychioides major, 5 (3-6).
Alternanthera versicolor, 5 (3-6).

_Yellow._--Alternanthera aurea nana, 6 (4-6).

_Gray, or whitish._--Echeveria secunda, glauca, 1-1/2 (3-4).
Echeveria metallica, 9 (6-8).
Cineraria maritima, 15 (9-12).
Sempervivum Californicum, 1-1/2 (3-4).
Thymus argenteus, 6 (4-6).

_Bronze brown._--Oxalis tropaeoloides, 3 (3-4).

_Variegated_
(white and green).--Geranium Mme. Salleroi, 6 (6-8).
(A)Sweet alyssum, variegated, 6 (6-9).

B. FLOWERING PLANTS.

_Scarlet._--Phlox Drummondii, Dwarf, 6 (4-6).
Cuphea platycentra, Cigar Plant, 6 (4-6).

_White._--Sweet alyssum, Little Gem, 4 (4-6).
Sweet alyssum, common, 6 (6-8).
Phlox Drummondii, Dwarf, 6 (4-6).

_Blue._--Lobelia, Crystal Palace, 6 (4-6).
Ageratum, Dwarf Blue, 6 (6-8).


2. PLANTS OF TALLER GROWTH

A. FOLIAGE PLANTS.

_Crimson._--(A)Coleus Verschaffeltii, 24 (9-12).
(A)Achyranthes Lindeni, 18 (8-12).
(A)Achyranthes Gilsoni, 12 (8-12).
(A)Achyranthes Verschaffeltii, 12 (8-12).
(A)Acalypha tricolor, 12-18 (12).

_Yellow._--(A)Coleus, Golden Bedder, 24 (9-12).
(A)Achyranthes, aurea reticulata, 12 (8-12).
Golden feverfew (Pyrethrum parthenifolium
aureum), (6-8).
Bronze geranium, 12 (9).

_Silvery white._--Dusty miller (Centaurea gymnocarpa), 12 (8-12).
(A)Santolina Chamaecyparissus incana, 6-12 (6-8).
Geranium, Mountain of Snow, 12 (6-9).

_Variegated_
(white and green).--(A)Stevia serrata var., 12-18 (8-12).
Phalaris arundinaeca var., (grass), 24 (4-8).
Cyperus alternifolius var., 24-30 (8-12).

_Bronze._--(A)Acalypha marginata, 24 (12).


B. FLOWERING PLANTS.

_Scarlet._--Salvia splendens, 36 (12-18).
Geraniums, 24 (12).
Cuphea tricolor (C. Llavae), 18 (8-12).
Dwarf nasturtium (Tropaeolum), 12-18 (12-18).
Begonia, Vernon, 12 (6-8).
Verbenas, 12 (6-12).
Phlox Drummondii, Dwarf, 6 (4-6).

_White._--Salvia splendens, White-flowered, 36 (12-18).
Geraniums, 18-24 (12).
Lantana, Innocence, 18-24 (8-12).
Lantana, Queen Victoria, 24 (8-12).
Verbena, Snow Queen, 12 (6-12).
Ageratum, White, 9 (6-9).
Phlox Drummondii, Dwarf, 6 (4-6).

_Pink._--Petunia, Countess of Ellesmere, 18 (8-12).
Lantana, 24 (8-12).
Verbena, Beauty of Oxford, 6 (8-12).
Phlox Drummondii, Dwarf, 6 (4-6).

_Yellow._--Dwarf nasturtium, 12 (12-18).
Anthemis coronaria fl. pl., 12 (6-8).

_Blue._--Ageratum Mexicanum, 12 (6-8).
Verbenas, 6 (6-12).
Heliotrope, Queen of Violets, 18 (12-18).

In Fig. 240 are shown a few designs suitable for carpet-beds. They are
intended merely to be suggestive, not to be copied precisely. The simple
forms and component parts of the more elaborate beds may be arranged
into other designs. Likewise the arrangement of plants, which will be
mentioned as suitable for making a given pattern, is only one of many
possible combinations. The idea is merely to bring out the design
distinctly. To accomplish this it is only necessary to use plants of
contrasting color or growth. To illustrate how varied are the
arrangements that may be used, and how easily different effects are
produced with a single design, several different combinations of color
for the bed No. 1 will be mentioned:

[Illustration: Fig. 240. Designs for carpet-beds.]

No. 1.--Arrangement A: Outside, Alternanthera amoena spectabilis;
inside, Stevia serrata variegata. B: lobelia, Crystal Palace; Mme.
Salleroi geranium. C: lobelia, Crystal Palace; scarlet dwarf phlox. D:
sweet alyssum; petunia, Countess of Ellesmere. E: coleus, Golden Bedder;
Coleus Verschaffeltii. F: Achyranthes Lindeni; yellow dwarf nasturtium.

No. 2.--Outside, red alternanthera; middle, dusty miller; center, pink
geranium.

No. 3.--Outside, Alternanthera aurea nana; middle, Alternanthera
amoena spectabilis; center, Anthemis coronaria.

No. 4, 5, 6, 7, 8, 12 may each be filled with a single color, or given a
border of suitable plants if the planter so chooses.

No. 9.--Ground, Alternanthera aurea nana; center, Acalypha tricolor;
black dots, scarlet geranium.

No. 10.--Ground of Centaurea gymnocarpa; circle, Achyranthes Lindeni;
cross, Golden coleus.

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Audio slideshow: Robert Shaw discusses his production of Sylvia Plath's only play
What is your biggest guilty green secret?

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A Stephen King fan has published an 80-page version of the book which novelist Jack Torrance obsessively writes during King's The Shining, where his descent into madness is revealed when his wife discovers that his work consists of just one phrase, endlessly repeated.

Torrance, played by Jack Nicholson in terrifying form in Stanley Kubrick's 1980 film, is a frustrated writer who goes with his wife and son to spend the winter in the isolated Overlook Hotel in an attempt to get the novel he has always wanted to write started. But the hotel's grisly past and unquiet ghosts have their way with him, and his wife Wendy eventually finds that the manuscript he has been working on actually only contains the phrase "All work and no play makes Jack a dull boy", typed over and over again.

Now New York artist Phil Buehler, who describes himself as "a big fan of Stanley Kubrick and Stephen King", has self-published a book credited to Torrance, repeating the phrase throughout but formatting each page differently, using the words to create different shapes from zigzags to spirals.

"The idea has probably been marinating for years, because I loved the movie and the Stephen King book," said Buehler. "I'd just finished my own obsessive art project [and] it was an idea I had over the Christmas holidays."

He said he decided to stick to type and formatting that could have been created on a typewriter, with the first ten pages duplicating shots of Torrance's work from the film. "I thought 'if he continues to get crazier, what would those pages look like?'" he said. "I hit writer's block about 60 pages in, and I had to get to 80 - that went on for about a week." His fiancée, who had neither read the book nor seen the film, became a little concerned about his actions. "I finally showed her the movie, and she realised I wasn't really losing it," said Buehler.

He's included a spoof review from the blog OverThinkingIt.com on the book's back jacket, which compares it to "the best of Beckett" in its "lack of forward momentum", and considers the struggles of the author, "heroically pitting himself against the Sisyphusean sentence". "It's that metatextual struggle of Man vs. Typewriter that gives this book its spellbinding power," the review says. "Some will dismiss it as simplistic; that's like dismissing a Pollack canvas as mere splatters of paint."

So far, Buehler says that around 1,000 people have viewed the book, for sale on Blurb.com for $8.95 in paperback, or $22.95 in hardback, and he's sold "a few" copies, with sales now starting to pick up steam. "A few people have asked me to sign it - they're looking it as a piece of art rather than a funny thing to give to a Kubrick fan," he said. "If you're not a Kubrick or King fan, you might not even get it."

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