124 THE PLAN OF THE PLACE 



even spirited in the photograph. But there is 

 something more than mere condensation in this 

 vitalizing and beautifying effect of the photograph 

 or the painting. Individual objects are so much 

 reduced that they no longer appeal to us as 

 distinct subjects, and however uncouth they may 

 be in the reality, they make no impression in the 

 picture. The thin and sere sward may appear 

 rather like a closely shaven lawn or a new-mown 

 meadow. And again, the picture sets a limit to 

 the scene ; it frames it, and thereby cuts off all 

 extraneous and confusing or irrelevant landscapes. 

 "All these remarks are enforced in the aesthe- 

 tics of landscape gardening. It is the artist's one 

 desire to make pictures in the landscape. This 

 is done in two ways, by the form of plantations// 

 and by the use of vistas. He will throw his plan -If 

 tations into such positions that open and yet more 

 or less confined areas of greensward are presented 

 to the observer at various points. This glade-like 

 opening is nearly or quite devoid of small or in- 

 dividual objects, which always destroy the unity 

 of such areas and are meaningless in them- 

 selves. The two sketches illustrate my me; ling. 

 The first one (Fig. 119) is a fair diagram of the 

 average front-yard. It is full of individual trees 

 and bushes, or groups, and the eye is carried from 

 object to object, while the entire yard makes no 

 quick appeal to the mind. One is pleased only 

 with the kinds of plants which he sees. The 



