82 3Lan&scape Hrcbltecture 



has been called frozen music, call garden art grow- 

 ing music. It too has its symphonies, adagios, and 

 allegros, which stir the senses with vague and power- 

 ful emotions. Further, as Nature offers her features 

 to the landscape gardener for use and choice, so does 

 she offer to music her fundamental tones, beautiful 

 like the human voice, the song of birds, the thunder 

 of the tempest, the roaring of the hurricane, the 

 bodeful wailing of branches — ugly sounds like howl- 

 ing, bellowing, clattering, and squeaking, yet the 

 instruments bring all these out and work according 

 to circumstances, ear splitting in the hands of the 

 incompetent, entrancing when arranged by the artist 

 in an orderly whole. The genial nature painter 

 (landscape architect) does the same. He studies 

 the manifold material given him by nature, and works 

 the scattered parts by his art into a beautiful whole 

 whose melody flatters the senses, but only unfolds 

 its highest powers and yields the greatest enjoyment 

 when harmony has breathed true soul into the work." 



This is not altogether sentiment. If you do not 

 cut out your woods in this way, a way bom of much 

 study and a good sense of harmony and trained skill, 

 you will simply get the effects against which Jeffries 

 rails, and Puckler exclaims. 



Every one of the lawns with great outlooks, or only 

 village street scenes, should have the same application 

 of contradiction and contrast breaking into each other 

 and finally producing the harmony of a unified scheme, 



