3° 



LANDSCAPE DESIGN 



Humanized 

 and 



Naturalistic 

 Styles . 



say in all cases just what features of a landscape design are traceable 

 to the environment, what to the people, what to conscious purpose. 

 All matters of expression of the people by their work, conscious or un- 

 conscious, are in large part their previous environment showing itself 

 in their expressed ideas ; and much of the environment of civilized men 

 is of their own making and so itself the expression of the people. We 

 can say, however, that all the different varieties of landscape designs 

 owe their existence, and difference, to environment, people, and their 

 resultant, purpose ; and as these factors vary in combination, so will 

 the designs vary. Now these factors in various definite combinations 

 have at certain places and certain times in history been the same over 

 some period of time and over some considerable area : many gardens, 

 for instance, have been constructed in this way under more or less 

 identical general conditions. These identical conditions have produced 

 a similarity of expression in these gardens, which makes us recognize 

 them as a class, and this common expression in its more notable mani- 

 festations we call " historic style." Such a style need not be conscious ; 

 it may exceptionally arise through a number of the same kind of people 

 working under the same general conditions without very definite knowl- 

 edge of each other's work and without intentional expression of any- 

 thing but their individual desires. Some styles may exist, in various 

 degrees of distinctness and perfection, which are of little interest to us 

 as designers. Many styles, too, must have arisen in the past and 

 been forgotten with the monuments in which they were recorded, — 

 there was doubtless an Aztec style of landscape design and perhaps a 

 Carthaginian style ; but those styles which we call "historic " are those 

 with which we are familiar. 



A work of art which has style may be esthetically organized In 

 either one of two fundamentally different ways. The artist may de- 

 sign his work to express his own ideas, to serve his own uses, to show 

 his own control over some of the materials and forces of nature. Or 

 on the other hand he may design his work to express to the beholders 

 the understanding which he has of some modes of nature's organization, 

 and the pleasure which he finds in them. In the first case, the esthetic 

 success of the work will require that the hand and the will of man be 

 visible in it; in the second case, the higher art would be that which 



