LANDSCAPE LINES AND GARDENING 267 



zontals, a scheme which obviously does not comport 

 with its extraordinary proportions. But by stressing the 

 spaces between the windows into unbroken piers and thus 

 throwing the windows back and relating each one not to 

 those on either side, but to those below and above on-the 

 same vertical line, an entirely new effect is achieved. 

 The mood of the upright is evoked, as befits so tall and 

 narrow a structure, and a true and fitting beauty is created. 

 We naturally think of mountains as something verti- 

 cal, but they are seldom vertical as a matter of fact; 

 they have a vast variety of line and of mood. The 

 Berkshire Hills, for example, run in two parallel ranges 

 east and west of a sweet green valley, with level tops 

 like the crest of an advancing wave, and the scenery 

 among them is most often spoken of as "peaceful." It 

 is the peace, of course, of the horizontal, the peace, al- 

 most, of the slow canal or the long green marshes border- 

 ing the sea, or would be were it not for the pleasant 

 contrast of sloping shoulders. It is only the sharp 

 peak or the towering pyramid which has the true 

 vertical aspiration, such a peak as the Matterhorn, or 

 Chief Mountain in northern Montana (which stands out 

 sharp and precipitous from the wall of the Great Divide, 

 sentinelling the prairie) , or the white-capped cone of Fuji- 

 yama, used over and over in their prints by Hokusai or 

 Hiroshige, like a religious motif. Mountains, indeed, are 

 rather more frequently disturbing on a near view, be- 

 cause of their broken lines, their half uprights and 



