vi preface 



they are dependent for their value on the growth of 

 living things. Such artistic work is also dependent 

 for value on the general consensus of opinion delivered 

 by well recognized authorities. The work is done in- 

 stinctively; criticism and rules may be deduced from 

 the work afterwards, but good artistic design and crafts- 

 manship are instinctive. Kant, in discussing aesthetic 

 judgment, said, "judgments of taste are not susceptible 

 of proof, but they may be evoked when an opportunity 

 for immediate perception occurs. Their general vaUd- 

 ity is exemplary, i.e., it is gained by means of examples, 

 not rules. " Investigating the production of the beauti- 

 ful in art, the same writer says "that the production 

 like the estimation is carried on without the guidance of 

 abstract rules, and yet in such wise that that which is 

 produced is the object of general recognition and may 

 serve as a model, " and Schopenhauer even goes so far 

 as to say that "the fine arts do not advance beyond 

 intention and hence give fragments, and examples, but 

 no rule or totality. " 



Therefore, it will be conceded that the art of land- 

 scape architecture is not subject to the application of 

 hard and fast rules as a science would be. The study 

 of nature assisted by the best examples is the proper 

 field for the art of landscape architecture. Models 

 are based on approval by persons of recognized fitness 

 for rendering judgment. One can no more indicate the 

 rules that govern the development of the work of the 

 landscape architect than he can explain how a Titian 

 was painted. The result is evident, and ideas and 



