MEDIÆVAL GARDENS
means to communicate with one another, but tradition, which is sometimes twin-brother to truth, has handed down the story of a go-between who conveyed missives and tokens.
In the accompanying picture we see a corner of a mediæval garden, hemmed round with castle wall. In it the artist has adapted an everyday scene to a religious purpose, by giving my lady a crown, and the baby an aureole, to suggest the Holy Mother and Child, whilst one of the gentlemen-in-waiting is provided with wings, so as to make him more in harmony with such saintly company. But this is only what might have been seen on any bright morning in late spring or summer, in some castle pleasaunce. My lady reads a book, whilst her maidens amuse themselves, one holding a psaltery on which the child tinkles, to its evident delight and wonderment; another, with a perverted sporting instinct, seems to be trying to catch fish with a ladle (note the usual little channelled way, on which a bird is perched, refreshing itself), whilst a third is picking fruit. The three squires are doubtless talking of the chase, for, in my lady's presence, love would hardly be their theme. And all around are beautiful flowers—roses, lilies, and irises. Over against the enclosing wall is the usual bank of earth, faced with wood to keep it the necessary height, and planted with many flowers. This raised portion enabled those in the garden to get a view over the surrounding country, and to have a point of outlook in case of
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