THE HORTICULTURAL SOCIETY OF NEW YORK 



of work done sets a standard and an example readily and eagerly 

 followed by others. 



When my interest in landscape design began twenty-five years 

 ago, the profession was at its very beginning and the art known 

 only to an exceedingly small public. Frederick Law Olmstead, 

 Sr. had unquestionably established it by masterful work, and his 

 sons and his associates were carrying on his tradition in public 

 and private undertakings, while a handful of other men were en- 

 deavoring to obtain recognition through good professional work 

 and unselfish educational efforts. But in the main, the public 

 was satisfield with such ornamentation of grounds as the gardener, 

 the nurseryman and the florist could supply. There was no idea 

 of artistic composition. It was rather a question of grading for 

 drainage, of planning for utility, or ornamenting for show and of 

 planting as many trees and shrubs as possible, in order to present 

 a collection of exotic materials. It was the age of the pergola 

 and of the blue spruce. The age which is responsible for the 

 development and growth of our nurseries producing trees and 

 shrubs for the ornamental planter rather than for the composer of 

 pictures. 



In general, very little effort was made to stimulate the senses 

 with well conceived arrangements of the materials which nature 

 puts at the disposal of the landscape designer. There was little 

 understanding of the art, which is one of expression and compo- 

 sition based upon the same eternal principles which govern the 

 other fine arts. The media only differ. By skillful modeling of 

 the ground surfaces, the artist prepares the foundation upon which 

 he builds his composition. By adding to and subtracting from 

 the existing vegetation, trees and shrubs, the size, color and texture 

 of which do or do not harmonize with and contribute to the pleas- 

 ing effects of the whole, he establishes the most important masses 

 of his design. By devising means of approach and by providing 

 the many utilitarian features of his problem in such fashion as not 

 to intrude unduly upon artistic effects, he makes his work available 

 for use and for comfort. Finally, by judicious control of skyhne, 

 by introduction of architectural or sculptural ornament, by the use 

 of water in the many forms in which it delights the eye or the ear, 



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