The Natural Style in Landscape Gardening 



Later follows part singing, with two or three or 

 four voices, in duet, trio or quartet. These several 

 parts are harmonized. One voice, usually the so- 

 prano, "carries the air," that is the theme, while the 

 others support it with harmonizing notes. This 

 method of composition is frequently followed by 

 the landscape architect. 



In his more complex works, as in advanced sym- 

 phony, he uses two motives together — sometimes 

 three or four. These are woven through and 

 through one another and into the texture of his 

 symphonic fabric by the method which he caEs 

 counterpoint. Sometimes motives follow one an- 

 other or are contrasted against each other without 

 being counterpointed. This contrapuntal method 

 of composition is always open to the landscape de- 

 signer; and if it has been seldom adopted the diffi- 

 culty of the problem will sufficiently explain that 

 fact. 



We may as well admit just here that this theory 

 of paragraphs and motives does not make plain the 

 whole of art. Neither does it offer a short cut to 

 success in landscape architecture. We are not 



88 



