Stowe, and Hagley in Worcestershire, which both owe much of their character to the taste and judgment of Lord Chatham, are perhaps the best examples of lay outs which are not so much gardens, as a collection of landscape pictures to which interest was imparted by the introduction of classic buildings, and from which symmetry and formality were excluded. [Illustration: FIG. 158.--In the Gardens of Wrest, Bedfordshire.] In contrast to the free treatment at Stowe, which brought a tract of countryside into the curtilage of the house, is the formality at Bramham Park, some ten miles from Leeds, which carried the ordered symmetry of the house into the gardens. Of the two methods, the formal was the earlier, but during the eighteenth century it gradually gave way to the other. The gardens at Bramham are among the most satisfactory of the large lay outs of the period (Figs. 162, 163). They were devised for Robert Benson, afterwards Lord Bingley, about the year 1710.[69] There are the usual vistas converging upon the house; there are various buildings in imitation of the antique, both classic and Gothic; there are memorials to pet animals; but the number is reasonable, and the scheme is more easily grasped than that of Stowe. The principal walk runs parallel to the garden front of the house, near which it ends against a “temple,” which is the chapel of the mansion. In the opposite direction it merges into an avenue which leads the eye across the park to a distant monument. Just before quitting the garden the vista crosses an elaborate arrangement of ornamental water, comprising a large basin flanked by subsidiary pools and cascades, all symmetrically planned. The walk is led from one level to another by monumental steps, producing picturesque groups of garden architecture, and the large water basin is the starting-point of fresh vistas. [Illustration: FIG. 159.--The Gardens at Drayton House, Northamptonshire.] [Illustration: FIG. 160.--Plan of the Gardens at Drayton House, Northamptonshire. H. Inigo Triggs, _del._] [Illustration: FIG. 161.--Garden House at Croom’s Hill, Greenwich.] The garden buildings form an interesting commentary on the architectural literature of the time, for whereas those in the classic style are quite good, owing to the numerous examples in books, those in the Gothic style are lamentable, since there was nothing to guide the designer but his own study and observation; and nobody at that period had any but the merest nodding acquaintance with Gothic work. [Illustration: FIG. 162.--BRAMHAM PARK GARDENS, YORKSHIRE.]