DESIGN 27 



eral design, it follows that it is exactly like all the 

 other provinces of design, such as architecture, 

 painting, music, and literature, so far as general 

 principles go. Its own individual characteristics 

 are due to the fact that the landscape-designer has 

 certain unique conditions imposed upon him by 

 the limitations of his problem. These conditions 

 are quite different from those with which his 

 brother-designers have to deal, but he has also the 

 satisfaction of knowing that he has certain glori- 

 ous opportunities which it would be impossible for 

 them to take advantage of in their respective 

 fields. 



Landscape design as an art is less artificial than 

 any other form of design because it deals almost 

 entirely with natural objects in formal or infor- 

 mal combinations. The landscape-designer uses 

 trees and shrubs instead of spots of paint. He 

 uses the real sky instead of an artificial represen- 

 tation of one, and his hills and ravines should ap- 

 pear as the results of natural forces rather than 

 as man's creation. 



In every form of design, structure, as a fulfil- 

 ment of conditions, is of paramount importance. 

 This structure may be the rocky framework of the 

 landscape or the skeleton of a building. The re- 



