78 LANDSCAPE DESIGN 



the composition to another. The first of these two classes was rather 

 generally called the beautiful, the second the picturesque. In our 

 modern parlance, beauty is no longer thus considered as a kind of 

 effect, our estheticians looking upon beauty as arising from the per- 

 fection of organization rather than from the kind of organization of a 

 composition. The term picturesque, meaning at first merely causing 

 such an effect as might be produced by a picture, came, when used in 

 the sense which we have just explained, to be endowed with a much 

 more specific meaning not inherent in the word. In our present speech 

 much of this acquired meaning has been again lost, and the word is 

 used more in its simpler sense, although some of the associational flavor 

 remains, as in the antithesis of "picturesque" to "pastoral" scenery 

 in some discussions of park design. 



Their As a practical consideration in design, however, these two different 



Application classes of effects are as important now as they were then. (Compare 

 Plate 21 with Plate 12, and Drawing XXV, opp. p. 196, with Drawing 

 XXVI, opp. p. 198.) On the one hand, many scenes, of effects different in 

 subordinate ways, may be grouped together, and may be felt as being, 

 as it were, emotionally similar, if their total effect is restful, calm, 

 peaceful, depending on a smooth flow of attention. Such effects are 

 produced through association, for instance, by pastoral landscape. 

 Through the more direct agency of form, they are produced by the 

 flowing curves of rolling grassland, or of a slowly winding river; by 

 the rounded masses of low hills or of well-grown round-headed deciduous 

 trees ; or by the just proportions of a classic temple. The beauties of 

 such scenes come to the observer slowly : no pressing demand is made 

 upon his attention, and only through contemplation or repeated ob- 

 servation does he become aware of the full charm of the landscape be- 

 fore him. Such a scene has from the first a peculiar restfulness, and is 

 not likely to lose its appeal even when it becomes thoroughly familiar. 

 On the other hand, an emotional unity may similarly be felt among 

 scenes or objects which through their Romantic association or their 

 association with violent manifestations of the forces of nature, or 

 through their striking form or character, make a powerful immediate 

 appeal to the interest, and either draw the attention strongly from ob- 

 ject to object or concentrate it intensely on one point. Such a scene 



