244 3LanJ)8cape Hrcbftecture 



give the idea of continual change and at the same time 

 of adherence to a generally pervading law of arrange- 

 ment throughout the entire landscape scheme, for "an 

 organic unified scheme is one in which the whole is in 

 every part." 



Does this seem hard to understand? If the ac- 

 companying plan taken from Prince Puckler's book 

 showing how a group of shrubs and trees should be 

 constituted or designed is studied the meaning may 

 be clearer. Certain spaces it will be seen are occupied 

 with shrubs and trees and flowers of various kinds; these 

 kinds are made to produce a variation of high and low 

 forms and masses of colour related to each other accord- 

 ing to a definite scheme which also has its own relation 

 as a mass to the surrounding grass space ; the grass space 

 has again its own special relation to its environment. 



This type of treatment, with its overlapping and 

 predominance of each part as the landscape may 

 demand, should repeat itself over and over again 

 throughout the space in the garden as well as the park. 

 Prom this statement it is evident that there is no abso- 

 lute garden, nor any park in the sense of wild nature. 

 Unfortunately there is, however, an antagonism of two 

 types or schools of landscape art existing, one archi- 

 tectural and one that may be termed natural. The 

 architectural school held sway for centuries and pro- 

 duced a one-sided landscape art, but, in the renewed 

 artistic life of the Renaissance and the followers of 

 Rousseau, a violent love of pure nature developed and 

 produced in the reaction many fanciful and ill-devised 



