but a charming image taken from Chinese mythological lore, with three Elysian Isles, and ever tranquil waters on which the passenger is not troubled, and the little basin is at rest. Although the gardener does not go so far in verisimilitude as to flavour the water with salt, or strew seaweed on the beach, there are certain fixed rules for sea-water scenery that must not be broken. No river or lake plants must grow on its edges, or fresh-water Reeds or Lotus flowers spring from its waves, no bridges (which are for smaller, fresh-water scenes) must reach from the mainland to its islands, and the sand and shells of its beach, and its regulation stones, must have the look and savour of the ocean about them.
Another favourite classical model, according to Mr. Conder, “is the extensive lagoon of the Che Kiang, in China—called Seiko by the Japanese—and remarkable for its wealth of Lotus flowers.” He says that it is invariably represented in temple grounds; by which, I think, he means that it is not seen in private gardens, being considered inappropriate to any but a large representation.
In sea views it is not necessary to show the source and outlet of the water, as is insisted on in fresh-water scenery, for the obvious reason that it is not seen in the original model. In fresh-water scenery, if the source of the water is artificial it is brought into the picture with
