On the authority of Martial we learn that the art of Topiary was first introduced to the Romans by Cneus Matius. Matius was the friend of Julius Cæsar and a particular favourite of Augustus, but whether he originated or borrowed the idea we know not. As a court favourite, however, he must have had ample opportunity for propagating this particular method of gardening, and doubtless then, as now, a fashion set at court was quickly followed by all who wished to be up-to-date. Good or bad, the taste spread, and even such a man of taste and letters as Pliny the Roman Consul considered it quite the proper thing to use Topiary work extensively in his famous Tuscan Villa. In a letter written by Pliny the Younger to his friend Apollinaris (Ep. v. 6) is a fine description of this garden. Melmoth’s translation pictures the front of the Portico as opening on to a sort of Terrace “embellished with various figures, and bounded with a Box Hedge, from which you descend by an easy slope, adorned with the representation of divers animals in Box, answering alternately to each other: this is surrounded by a walk enclosed with tonsile evergreens, shaped into a variety of forms. Behind it is the Gestatio, laid out in the form of a Circus, ornamented in the middle with Box, cut into numberless different figures, together with a plantation of shrubs prevented by the shears from running too high: the whole is fenced in by a Wall, covered with Box, rising in different ranges to the top.” After dealing with trees, roses, etc., he continues: “Having passed through these winding alleys, you enter a straight walk, which breaks out into a variety of others divided off by Box hedges. In one place you have a little meadow; in another the Box is cut into a thousand different forms; sometimes into letters expressing the name of the master; sometimes that of the artificer; whilst here and there little Obelisks rise intermixed alternately with fruit trees, when on a sudden you are surprised with an imitation of the negligent beauties of rural Nature, in the centre of which lies a spot surrounded with a knot of dwarf Plane Trees.” It must not, however, be assumed that the Romans were entirely without appreciation of natural beauty and scenery. Far from it. But they loved lavish displays of art, and this also led them to use the gardens immediately surrounding their dwellings as a gallery in which to arrange their collections of sculptured trees. Roman poets and philosophers alike have left in their writings ample evidence that the beauties of nature were greatly admired by their countrymen, but at that period, when Rome was the mistress of the world, Italy was well supplied with natural sylvan scenery, and consequently, where it was not at all necessary to cultivate this particular form of gardening, the desire for contrast and display led to a very widespread adoption of the art of Topiary. [Illustration: LEVENS GARDENS THE BROAD WALK ]