Introduction xvii 



for buildings of great size, corresponding to public 

 buildings in the present day, and the creation of 

 the type of scenery that is characteristic of mod- 

 ern "rural" or "country" parks. Without doubt 

 the most suggestive ideals for the public parks of 

 our own great cities, ideals that have impressed 

 themselves upon the most distinguished landscape 

 architects since Repton's day, are to be found in 

 the " park ' ' or informal pleasure-grounds of a w^ell- 

 to-do Englishman's estate. These "parks" were 

 extensive in area, usually including from one to 

 a thousand acres, and possessed all the interest and 

 charm of beautiful natural scenery enhanced and 

 perfected by discriminating art. 



Repton's knowledge of nature and command 

 of the processes of art were not superficial. Nature 

 he knew at first hand. He was himself a nature- 

 lover. Before becoming a landscape gardener he 

 was a "country gentleman." But he was also an 

 artist, gifted with what he repeatedly refers to 

 as "good taste"; and by study and experience 

 he added to his natural gifts. His profession to 

 him was primarily an opportunity for design, — 

 design based alike upon an accurate knowledge 

 of the peculiar local situation and conditions and 

 upon the fundamental principles of art and the 

 laws of nature. He knew well the meaning and 

 value of such art principles as are suggested by 

 the words proportion, variety, intricacy, harmony, 

 and unity. One quotation will illustrate his point 



