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THE POTOMAC AND RAPPAHANNOCK In the house border we find a tessellated border of box, each point a symbol of a human being, who is the termination of a line of ancestry, and the beginning of a line of posterity. In these box designs we also find open-grave designs, symbol of the Resurrection and humility—two bare feet designs, symbol of an oblique angle (heel of right to hollow of left)—open circle standing for infinite expansion—solid sphere or worlds prepared for human habitation—open squares representing Blue Lodge apron— solid squares meaning salt which cannot burn or freeze—a broken triangle and pendant, standing for faithfulness and _ regret. Whether these were deliberately planned by Washington, we do not know, but. it seems likely that the young Mason worked out his emblems, just as in the Vatican at Rome, since time beyond record, the Pope’s insignia is also worked out in box in his private gardens. Two lilacs stand sentinel at either side of the gate, to guard its privacy, and to extend a sweet, fragrant welcome to visitors. In February, 1785, Washington writes in his diary: ‘“Removed two pretty large and full grown lilacs to the north garden, one on each side, taking up as much dirt with the roots as could be obtained.”’ The conservatory faces the entrance, flanked on each side by the quarters of the household servants. [his conservatory contained a collection of rare exotics; some of which were presented as tokens of esteem, and others purchased from the eminent botanist, John Bartram, of Philadelphia. Among these plants Washington had a small grove of lemon-trees, a sago-palm from Fast India, and a century-plant from Porto Rico. ‘These plants were destroyed when the conservatory was burnt in 1835. The rose garden is to the right. Here indeed is a lovely sight— borders of cowslip and ivy, and such lovely roses of all hues, with lilacs as a background. What a delightful combination—lilacs and roses and fresh perishable cowslips, with gray evergreen ivy. Long L195 |
