138 LAWNS 



relation with the main lines of the building 

 it supports, rather than with the far distance. 

 These two essentially different yet not in- 

 harmonious points of view are too often con- 

 fused. The results are incongruous or ludi- 

 crous. Fancy putting a "cut-ofF" plantation 

 at the far end of a stretch of a five-acre lawn 

 which comes to look like a mere hedge in the 

 distance, clearly marking a boundary and 

 a separation from the distant view, and hav- 

 ing no apparent reason — ^that is no artistic 

 reason — for its existence. As in structural 

 art, in architecture, etc., every line and every 

 curve should be a part of the structural 

 scheme, and have its existence justified 

 so also it is with the landscape. Every mass 

 or group of trees should justify itself, or 

 form part of the general whole. 



LANDSCAPE IN THE CITY LOT 



Open treatment of a small lawn, such as 

 is met with in a city or suburban lot, usually 

 is unsatisfactory because it brings into the 

 lines of sight the more undesirable and ob- 

 trusive features of the surrounding lots. 

 But even with the close border planting it is 



