DESIGN 69 



rence of accents which must differ sufficiently to 

 express develoimient, or it may be an undulating 

 line like a river-bank, which compels the attention 

 to follow it. 



The growth of jolants is always rhythmic; the 

 boundary of an informal walk should be. The 

 word rhythm has been used in so many different 

 ways that it has a number of loose connotations, 

 but for the purj^ose *of landscape design, as treated 

 in this book, rhythm will mean the regular recur- 

 rence of an accent of some sort, which entails the 

 idea of change. Repetition — sequence, rhythm, 

 and balance — is the foundation of design. 



In solving a practical landscaj^e problem, repe- 

 tition is not taJ^en into consideration until its ap- 

 pearances are to be determined, and this cannot be 

 done until the economic side of the question is set- 

 tled. First will come the arrangement of all the 

 IDarts for the greatest i^racticabilit^^ and this is 

 fixed in designing the j^lan. The study of this 

 plan means the arrangement of all its elements in 

 such a way as to obtain the maximum of practical 

 and esthetic fitness. It is the plan which deter- 

 mines finally the position of all the members of the 

 design. 



The first thing to decide will be position of 



