DESIGN 53 



upon. This is the principle of unity, the subordi- 

 nation of all parts to the main scheme. 



In the formal type of planting, architectural 

 lines will probably be emphasized, while the in- 

 formal type will lay greater stress upon the horti- 

 cultural features. 



In the garden at Wilton House, for example, 

 the architecture is quite the dominating note, the 

 plants being used simply as spots of color for dec- 

 orative purposes and not for any intrinsic inter- 

 est. The very formal architectural terrace de- 

 pends for its adornment ujoon statues and vases, 

 and descends to a formal inclosure, which is 

 walled, and accented in like fashion with vases and 

 statuary. A naturalistic tree bank m the back- 

 ground renders the accent of the dividing-wall 

 very marked. If the treatment ^\ithin the wall 

 were as naturalistic as is the exterior planting, the 

 wall would seem entirely useless and out of place. 

 Any planting within the inclosure must ajipear as 

 restrained and severe as the inclosing wall, or it 

 will not be in keeping with the whole. Con- 

 verseh^ if the formal planting stopped short at a 

 naturalistic tree mass without any defining wall, 

 there would be a shock. But the problem is well 

 handled. The space is divided geometricalh^ by 



