LANDSCAPE C OMPOSITION loi 



composition, entirely of itself, is a fundamental and unescapable fac- 

 tor which will affect many observers similarly, and should be studied 

 first by the designer, however much the results of this study may be 

 modified by the considerations of color, texture, and the infinite variety 

 of effects from association. (See the shape composition in Plate i.) 



When we speak of the size of an object we are using merely a rela- Size, Scale, 

 tive term : a thing is large or small entirely according to the standard '^"'^ ^"'^w'^' 

 with which it is compared. Our only direct visual perception of size 

 consists in the size of the image of the object on the retina, and this 

 being dependent also on the distance of the object from the observer, 

 size, like shape, can be appreciated with any accuracy only as we bring 

 our experience and what we have learned through other senses to bear 

 in making deductions from our visual impressions. 



We use the word scale to denote the relative size of objects. The Absolute and 

 terms absolute scale and absolute size are used in speaking of the ■^"^''"''^ 

 relation of the size of any given object to a definitely designated 

 standard, as a linear foot. Inasmuch, however, as the realizing sense 

 which we have of any such absolute standard depends inevitably on 

 its relation to the dimensions of our own bodies, we may say for all 

 practical purposes that absolute scale is the relation of an object to 

 the size of a man. Relative scale is the relative size of objects within 

 a given composition ; for example, we say that the relative scale in a 

 Japanese garden might be similar to the relative scale in a natural 

 Japanese landscape. The objects in the one case are absolutely very 

 small, in the other case of normal size, but their relative size in the two 

 cases would be somewhat the same. 



In any landscape composition the absolute scale of the objects may Indication of 

 be established by the introduction of anything which shows the height ^"^ , ^^ 

 of a man. (See Plate 7 and Drawing XIII, opp. p. 100.) Men them- Composition 

 selves are the best measuring rods, as is felt by the architect who intro- 

 duces figures into his drawings for this very purpose ; but more per- 

 manent objects, flights of steps, balustrades, handrails, door openings, 

 seats and so on, which have definite sizes themselves to fit them for 

 the use of man, will serve the same purpose. (See Plate 34.) As we 

 have said, the apparent size of an object visually perceived depends 

 not only on its actual size but also on its distance from the eye, and 



