88 Xan^scape Hrcbitecture 



a classical, antique building, a palace from the Strada 

 Balbi, sumptuous in its decorative flourishes, sur- 

 rounded with high terraces, rich multi-coloured 

 parterres ' of flowers, studded with marble statues 

 and alive with the movement of waters; what a 

 contrast would this be to the tremendous naked 

 grandeur of the setting of mountains? A few steps 

 aside in the woods, and palace and gardens would 

 have vanished from view, as by a magic wand, to 

 make room again for the undisturbed loneliness and 

 majestic wilderness of nature. Farther on, perhaps, 

 a bend in the road would open up an unexpected 

 vista, where, in the distance, the work of art like a 

 realized fairy dream would show through the dark 

 firs, glowing in the light of the setting sun, or rising 

 up over the mysterious darkness of the valley in a 

 mass where, here and there, the tiny sparkles of 

 lighted candles would glow. Would not such a pic- 

 ture be wonderful, and owe its chief beauty largely 

 to contrast? When nature offers her material, the 

 scheme must be different; then the park, an oasis in 

 a broad, flat space, must first create its own environ- 

 ment. Although the same laws are everywhere the 

 foundation of beauty, they have to be interpreted 

 and expressed in various ways. In such a case, 

 v/here no impression by great contrasts can be 

 achieved, one must carefully seek to create a pleasant 

 and gentle, general harmony, bringing into view 

 large elements, such as the distant views which may 

 be secured, into correspondence with the character 



