The book of garden design — Edition Insights

Principles over Patterns

Thonger explicitly rejects the idea of providing ready-made plans. In the preface he warns that readers seeking a model to duplicate will search in vain. Instead, he advocates for comfort and convenience as primary essentials, condemning undue complexity and eccentricity. He advises against attempting too much and stresses the importance of variety, colour, and contrast. The designer, he argues, should be guided by the site’s natural features rather than by rigid geometry. This principle is reinforced throughout the chapters, where he repeatedly cautions against pretentious avenues and clipped yew hedges, favouring a more naturalistic approach that respects the existing landscape.

The Practical Garden: Paths, Lawns, and Safety

Thonger devotes considerable attention to the practical layout of walks and lawns. Carriage drives should be direct, while paths in different parts of the garden may be serpentine. He values lawns for the sense of breadth and space they convey. A notable detail is his concern for safety around water features. He recounts an incident where a lady, distracted by the garden’s beauty, fell into a lily tank. Thonger wryly notes the specialist’s greater distress over the lost Nymphæa than the ruined Paris frock. He urges designers to render fountains and ponds safe, a practical touch that reflects his overall emphasis on usability.

Utility and the Orchard Beautiful

The book does not neglect the working parts of a garden. Thonger recommends a separate enclosure for frames, hot beds, and compost heaps, placed outside the main garden to avoid untidiness. He also advocates for a well-built toolhouse, possibly with an upper fruit room, noting that many large gardens are miserably provided with such structures. The orchard receives particular attention: Thonger distinguishes between the utilitarian orchard and the orchard beautiful, the latter achieved through neglect and nature’s reassertion. He suggests planting damson trees for shelter and describes the old grass orchard as a wild garden of true beauty, with daffodils, narcissi, and clematis creating vistas of colour among grey trunks.

Movement between Scenes

Thonger’s structure moves deliberately from the general to the specific, and from the ornamental to the practical. The book opens with philosophical principles, then proceeds to site selection, walks, lawns, and planting. Later chapters address the kitchen garden, orchard, and service areas. This progression mirrors the designer’s own movement through a property: from the approach and pleasure grounds to the productive and utilitarian zones. The recurring image of paths—their direction, edging, and junctions—serves as a structural thread, connecting the formal and the natural. Thonger’s advice to place a sunk tank at the junction of four paths exemplifies his preference for symmetry in service of convenience.

Thonger’s book is best read as a companion for the gardener who wishes to think independently. Its value lies not in prescriptive diagrams but in the author’s insistence on observing one’s own site, soil, and surroundings. The Edwardian voice—confident, anecdotal, occasionally wry—offers a perspective that remains useful for understanding the principles of garden design as a dialogue between human intention and natural growth.