THE ARCHITECTURAL STYLE. 31 



where the grounds are naturally of cliief importance, 

 they respond most readily and satisfactorily to the nat- 

 ural style of development. This rule may not he proof 

 against exceptions, but it is safe. 



One word more needs to he said. A compromise or 

 comhination of the two styles — the natural and the 

 architectural — is utterly irrational and impossible. Cer- 

 tain concessions to architecture are always necessary in 

 natural gardening, even in Yellowstone National Park, 

 but they must always be looked upon as detracting from 

 the ideal, and their thoughtless introduction or unskill- 

 ful treatment may quickly damage the naturalistic land- 

 scape beyond repair. And so must flowers, foliage and 

 trees be brought into the architectural garden, but they 

 must, by heroic efforts, be subordinated to the geomet- 

 rical outlines of the main features. 



Geometrical lines, always to be avoided in natural- 

 istic gardening, are to be conservatively sought in work- 

 ing out the architectural ideal. Flower beds, borders, 

 drives, walks, and all other similar elements of the land- 

 scape, which in naturalistic compositions would prefer- 

 ably be expressed in flowing curves, will in this style be 

 set in straight lines and geometrical curves. There are 

 pleasing geometrical lines, and un])leasing ones. More 

 truly are there good combinations of geometrical lines, 

 and bad ones. To discriminate between the good and 

 the bad requires the same taste that is needed to criti- 

 cise any other art object. To originate a good one in 

 the imagination and successfully to transfer it to the 

 garden, requires the mind and the education of an artist. 



The amateur may remember that these three tests 

 can safely be applied to his geometrical tracings : Sim- 

 plicity, boldness, grace. Simplicity is of supreme 

 importance. Intricate or complex geometrical designs, 

 which do not appear at once clear and reasonable, even 

 at the first careless, inattentive glance, are curiosities fit 



