56 LANDSCAPE DESIGN 



to certain places and occasions, and so on through a range of symbol- 

 ism, not all of which would be apparent to an untrained Euro- 

 pean eye, nor even, indeed, to the eyes of many of the modern 

 Japanese. This symbolic use of objects as representing larger natural 

 forms and as suggesting certain emotional effects has enabled the 

 Japanese to compose on a miniature piece of ground a suggestion of a 

 large natural landscape. In these miniature compositions it is of 

 course not for a moment supposed that the design is an imitation of its 

 natural prototype, but rather that, as in a stanza of poetry, the forms 

 used should be in themselves beautiful, their arrangement in composition 

 should be pleasing, their significance should be worthy, and the sequence 

 of associations aroused by their symbolism should be harmonious. 



The points of view from which the various compositions are to be 

 seen, especially from the principal rooms of the house, the sequence in 

 which the various views are to be presented to the visitor, are carefully 

 considered and carefully designated in the design of the garden, — cer- 

 tain shelters, certain stones, certain bridges, certain lanterns, being 

 placed in certain definitely related positions ; and these arrangements 

 are to a considerable extent a matter of convention and symbolism, 

 though in their actual physical arrangement at the hands of the designer 

 they are seldom twice alike. 



These compositions have usually been closely studied in relation 

 to the topography and to the life, means, and tastes of the owner, the 

 artist endeavoring to choose a conception for his design which should 

 be thoroughly appropriate in every way, and then to carry out this con- 

 ception, however humble, to its fullest realization. To the Japanese, 

 trained as they have been, almost without exception, to appreciate the 

 beauty of an arrangement of a few precious objects on the tokonoma 

 in their houses, accustomed to seeing infinite pains taken in the arrange- 

 ment of a single sprig of blossoming cherry in a vase, there has seemed 

 little difference In the degree of artistic achievement between the tiny 

 garden of the poor man and the no more perfectly designed property of 

 the prince. There are three degrees of finish in which a design may be 

 carried out, the bold or rough, the intermediate, and the finished or 

 highly-wrought. Whichever kind of finish Is chosen is carefully adhered 

 to throughout the design. Whatever type of garden — landscape or 



