greatly the vogue in the eighteenth century. Practically the
_gloriette_, a word in common use in northern France and in Flanders,
was a _logette de plaisance_. The Spaniards, too, in their _glorietta_,
a pavilion in a garden, had practically the same signification of the
word.

In the fourteenth century French garden the _gloriette_ was a sort of
arbour, or trellis-like summer-house, garnished with vines and often
perched upon a natural or artificial eminence. Other fast developing
details of the French garden were tree-bordered alleys and the planting
of more or less regularly set-out beds of flowering plants.

Vine trellises and vine-clad pavilions and groves were a speedy
development of these details, and played parts of considerable
importance in gardening under the French Renaissance.

In this same connection there is a very precise record in an account of
the gardens of the Louvre under Charles V concerning the contribution of
one, Jean Baril, maker of Arlors, to this form of the landscape
architect's art.

"Ornamental birds--peacocks, pheasants and swans now came in as adjuncts
to the French land and water garden." This was the way a certain
pertinent comment was made by a writer of the fifteenth century. From
the "Menagier de Paris," a work of the end of the fourteenth century,
one learns that behind a dwelling of a prince or noble of the time was
usually to be found a "_beau jardin tout plante d'arbres a fruits, de
legumes, de rosiers, orne de volieres et tapise de gazon sur lesquels se
promenent les paons_."

French gardens of various epochs are readily distinguished by the width
of their alleys. In the moyen-age the paths which separated the garden
plots were very narrow; in the early Renaissance period they were
somewhat wider, taking on a supreme maximum in the gardens of Le Notre.

Trimmed trees entered into the general scheme in France towards the end
of the fifteenth century. Under Henri IV and under Louis XII trees were
often trimmed in ungainly, fantastic forms, but with the advent of Le
Notre the good taste which he propagated so widely promptly rejected
these grotesques, which, for a fact, were an importation from Flanders,
like the _gloriettes_. Not by the remotest suggestion could a clipped
yew in the form of a peacock or a giraffe be called French. Le Notre
eliminated the menagerie and the aviary, but kept certain geometrical
forms, particularly with respect to hedges, where niches were fre