8o 3Lan&scape Hrcbitecture 



distant scenes and their many associations, and yet 

 one remains in a resting place, a circumscribed area. 



In another place we find the location of a house and 

 its tributary buildings made in a dense woods where 

 the forest has been cut away to gain the necessary room. 

 Here again the basic law of design applies, but how 

 differently? The open space is made large enough for 

 the buildings, gardens, and lawns with their enclosing 

 plantations. Around these open spaces, however, along 

 the border of the woods are found plantations of more 

 trees and shrubs, nmning in and out of the forest, 

 contrasting, contradicting, and yet harmonizing the 

 new with the old, a fringe that straggles, blends, and 

 loses itself, dies away so that the natural scene may 

 still triumph and live; boundary Hnes that evidently 

 exist but hardly appear. Such work needs artistic 

 training and real knowledge of plants, and quite as great 

 is the ability to open paths properly to beautiful glades 

 and fine groups of trees, or perhaps to a pool or brook or 

 some picturesque mass of rock. The roads through such 

 regions should lead in devious ways, never straight, but 

 on revealing lines that would inspire the imagination to 

 wonder what will be next slipping around the comer. 

 Doubtless, most persons have seen a straight vista cut 

 through woods, to allow some statue or building to ap- 

 pear at the end of it. Read what Richard Jeffries says 

 about this in his chapter on "An English Deer Park": 



"Wide straight roads — ^you can call them nothing 

 else — were cut through the finest woods so that on 



