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looking from a certain window or standing at a cer- 

 tain spot in the grounds you might see a church tower 

 at the end of the cutting. In some parks there are 

 half a dozen such horrors shown to you as a great 

 curiosity; some have a monument or pillar at the 

 end. These hideous disfigurements of beautiful 

 scenery should be wiped out in our day. The stiff 

 straight cutting could soon be filled up by planting 

 and after a time the woods would resume their 

 natural condition. Many common highway roads 

 are really delightful, winding through trees and hedge- 

 rows with glimpses of hills and distant villages. 

 But these planned straight vistas, radiating from a 

 central spot as if done by ruler and pen, at once 

 destroy the pleasant illusion of primeval forest. 

 You may be dreaming under the oaks of the chase of 

 Rosalind: the moment you enter such a vista all 

 becomes commonplace." 



The object of these two examples is to show how 

 extent and space in landscape of all sizes, especially 

 the largest, can constitute many diverse and individual 

 problems and yet how they should be unified into one 

 scheme of landscape design. It should be all simple 

 and yet almost infinite in its contrasts and harmonies. 

 Prince Piickler speaks in Hints on Landscape Gardening 

 about "frozen music" thus: 



"Even so one might compare the higher garden 

 art with music, and at least as fitly as architecture 



