LANDSCAPE COMPOSITION 89 



the color, the drawing in perspective, the atmosphere, in his picture. 

 The landscape architect is making a composition in solid objects in the 

 outdoor world which will be seen from many points of view, and so the 

 three-dimensional relations of his elements will be to him the more 

 important consideration. It is true, however, that any one view of 

 the landscape architect's work will produce on the spectator's mind 

 an effect closely comparable to that produced by a painting, and there- 

 fore the landscape architect must not neglect this two-dimensional or 

 pictorial relation in his work. It is indeed only through obtaining a 

 series of these two-dimensional views that an observer can perceive or 

 value the three-dimensional composition.* 



Our pleasure in the composition of a landscape depends on our ap- Order in 

 preciation of the ordered relations which exist among its parts. This Composition^ 

 order must inevitably consist objectively of some similarity of physical Subjective 

 characteristics among the parts, or of some discernibly harmonious 

 space relation among them ; that is, the separate objects in the com- 

 position must be either harmonious in color or shape or texture or else 

 harmoniously related one to another by repetition or sequence or 

 balance. Stated subjectively, the pleasure is based on the pleasant 

 relations of the interests which are aroused by the various characteris- 

 tics. The repetition, sequence, or balance which produces order in a 

 composition is in this sense therefore repetition, sequence, or balance 

 of interest, and not merely of objects or of characteristics. This can 

 easily be proved by observing a picture which contains upon one side 



* " The great object of our present inquiry seems to be, what is that mode of study 

 which will best enable a man of a liberal and intelligent mind, to judge of the forms, 

 colours, effects, and combinations of visible objects : to judge of them either as single 

 compositions, which may be considered by themselves without reference to what 

 surrounds them ; or else as parts of scenery, the arrangement of which must be more 

 or less regulated and restrained by what joins them, and the connection of which 

 with the general scenery must be constantly attended to. Such knowledge and 

 judgment comprehend the whole science of improvement with regard to its effect 

 on the eye; and I believe can never be perfectly acquired, unless to the study of 

 natural scenery, and of the various styles of gardening at different periods, the im- 

 prover adds the theory at least of that art, the very essence of which is connection : 

 a principle of all others the most adapted to correct the chief defects of improvers." 



Sir Uvedale Price, Essays on the Picturesque^ 1810, v. i, p. 12. (See References.) 



