APPENDIX 347 



ment of the drawing inside of border lines, where this is possible without 

 loss of clearness. All plans made by an artist should have artistic 

 quality. The good artist will strive for an appropriate quality, and 

 in these construction plans he will find only these simple kinds of beauty 

 appropriate. 



Often both the record of the idea and the beauty of the sheet are 

 important, as in the case of preliminary plans, perspectives, and so on, 

 for the client. Such drawings are commonly concerned not with final 

 small details, often not with accurate presentation of details at all — 

 these being not at the time decided — but rather with a presentation 

 of the scheme as a whole, and with conveying to the client the idea 

 that the scheme will be beautiful when executed. The attractiveness 

 of the scheme is inevitably judged somewhat by the attractiveness of 

 the presentation, whether it be perspective or plan, or whatever else. 

 Also the general artistic ability of the designer is judged by the presen- 

 tation, and through this, again, the attractiveness of the proposed re- 

 sult. The client may say to himself: "He must be an artist to pro- 

 duce a drawing like that ; if he is an artist, he can make the final result 

 look well." 



Now, especially in landscape architecture, a drawing or a design, 

 faithfully representing something which if constructed would be beau- 

 tiful, is not therefore necessarily itself beautiful. The construction is 

 to be seen in perspective, in three dimensions. The drawing may be 

 — usually is — a plan ; and the appearance of the plan often bears 

 little more resemblance to the construction itself than does the appear- 

 ance of a page of written description to the thing described. There is 

 therefore always a problem of compromise between the meaning and 

 the appearance of the drawing. The landscape architect must express 

 on his plan the various elements of the design in their relations, so that 

 things of dominant importance in reality shall appear so in plan, and 

 those of less importance shall appear similarly with their proper em- 

 phasis. Things related in reality should look so on plan. Things of 

 similar appearance in reality should look so on plan. And this must 

 be done in such a way that the resultant sheet shall be in itself deco- 

 rative, as a piece of composition in line or color, just as a Persian rug 

 is decorative, without any reference to its meaning. 



