Winter Meeting. 333 



one can make the curve seem natural by planting shrubs or a tree 

 in those places. Whatever may be his device, it should be something- 

 that is permanent and real. Something that could not be destroyed 

 or easily removed. For instance, a flower bed would not be a perma- 

 nent obstruction. It would offer no resistance to passing wheels. 

 Not only would it be unsuitable on account of its trivial transitory 

 nature, but on grounds which are large enough to require a road, a 

 flower bed would be entirely out of place. The same principal holds 

 true in the construction of paths as in the construction of drives. 

 Paths and drives are for utility and not for beauty. Then with that 

 aim — and only that in view, should they be built. 



We have still a more difficult problem to meet than that of walks 

 and drives, and that is what to plant and how to plant it. These are 

 questions that ought to be raised by nearly every one, for there are 

 few places but what could be improved by a judicious planting of or- 

 namental plants. In the words of Mrs. Rensselaer, "two trees and 

 six shrubs, a scrap of lawn and a dozen plants may form either a beau- 

 tiful little picture or a huddled disarray of forms and colors." Too 

 often instead of a beautiful picture we have a "huddled disarray." 

 But even that is better than no attempt at all. It shows a slight ap- 

 preciation of the beauiful. 



But to return to our ideal garden. In this we would have shade 

 trees, shrubs, hardy climber, annuals, perenials and a well-kept lawn. 

 There must be harmony throughout not only with the individual de- 

 tails, but with the landscape beyond. There must be harmony of 

 color, form and structure. How to obtain these is the work of the 

 artist. 



The most valuable plantings from a standpoint of beauty and 

 utility, are the shade trees. Their artistic value is embodied in the 

 three qualities, form, texture, and color. The form of a tree is dctcr- 

 maned by its outline as described against the sky or other trees. In 

 this it may be eliptical, oval, pearshape or of various other outlines. 

 Structure is another important factor in determining the form of a 

 tree. This includes the manner of branching, which may vary all the 

 way from the drooping habit of the willow to the aspiring branches 

 of the poplar. We can, thus, readily see the inharmonious effect in 

 massing trees of these two extremes as the willow and the poplar. 

 The texture of a tree is determined largely by the form and density ox 

 its foliage. Let us compare, if you please, the leaves of the arbor vitae 

 and those of the pine, the great trembling leaves of the cottonwood 

 with those of the weeping willow, thq catalpa and cedar — the extreme 

 difference is apparent. 



