Si3C an^ JExtcnt ot an lEstate 83 



a design which has rhythm and flow. The important 

 thing is to keep the mind fixed on the broad outlines, 

 the articulation of any place, even the smallest, its 

 bones and sinews, and not allow oneself to be diverted 

 to producing more or less petty effects where a large 

 one should be accomplished, setting out some rare or 

 curious tree or shrub where it does not belong, just 

 because you have a whim to set it there. The improper 

 use of rocks, water, and paths and roads creates a strain 

 and an incongruity that is not the contradiction and 

 contrast that makes for harmony within the scheme 

 of the landscape design. The artistic effect sought 

 should be just as refined and rare and delicate as that of 

 a Constable landscape. 



Perhaps the ordinary man, the man of the street, 

 may believe he cannot achieve the desired result. 

 Perhaps he cannot. The longer he works at it , however, 

 the more beauties he will discover he can bring into 

 being, and the more he tries the more he will want to 

 try, for it all becomes more and more fascinating as he 

 brings out more beauty of tree and shrub and flower. 

 Many a man has been astonished at what he can ac- 

 complish in landscape making. The trouble is that 

 few think of doing such work on artistic lines. They 

 simply set out plants and grade grounds with what they 

 consider good taste. This artistic work they think 

 belongs to the landscape architect, and doubtless it 

 does, but no man will ever inspire or even assist the 

 designer in his work, unless he follows and sustains 

 him intelligently with an appreciation of his effort 



