In this favoured land the common Laurel is a beautiful tree, thirty feet high; the mildness of the winter climate allowing it to grow unchecked. Only those who have seen it in tree form in the best climates of our islands, or in Southern Europe, know the true nature of the Laurel’s growth, or the poetry and mystery of its moods and aspects. The long grey limbs shoot upward and bend and arch in a manner almost fantastic. Sometimes a stem will incline downwards and run along the ground, followed by another. In the evening half-light they might be giant silver-scaled serpents, writhing and twisting and then springing aloft and becoming lost to sight in the dim masses of the crowning foliage. Seen thus one can hardly reconcile its identity with that of the poor, tamed, often-clipped bush of every garden. The Laurel is so docile, so easily coerced to the making of a quickly-grown hedge or useful screen, that its better qualities as an unmutilated tree in a mild district are usually lost sight of. The house at Abbey Leix is a stone building of classical design of the middle of the eighteenth century. On the northern front is the entrance [Illustration: ABBEY-LEIX FROM THE PICTURE IN THE POSSESSION OF SIR JAMES WHITEHEAD, BART.] forecourt; on the southern, the garden. Here, next the house, is a wide terrace, bounded on the outer side by the parapet of a retaining wall, and next the building, by a running _guilloche_ of box-edged beds filled with low-growing plants. The terrace has a semi-circular ending, near the eastern wall of the house, formed of an evergreen hedge, with a wooden seat following the same line, and a sundial at the radial point. At the other end, the terrace ends in a flight of downward steps leading to large green spaces, with fine trees and flowering shrubs, and eventually to the walled gardens. Straight across the terrace from the house is the parterre, whose centre ornament is an unusually well-proportioned fountain of the same date as the house. It is circular in plan, with a wide lower basin and two graduated superimposed tazzas. From this, four cross-paths radiate; the quarters are filled mainly with half-hardy flowers such as Gladiolus; the design being accentuated at several points by the upright growing Florence Court Yews. The parterre is inclosed by a low wall, backed by a clipped evergreen hedge; on the wall stand at intervals graceful stone figures of _amorini_, identical in character with those shown in the picture of Phlox and Daisy, and apparently designed by the same hand.