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with the general scheme. The general features of its 

 construction should be therefore blended largely with 

 foliage, retaining the pervading idea of natural effect. 

 But the fact that it is a bridge for people to use in pass- 

 ing that way, makes it important that it shall be safe 

 and comfortable. For the same reason the bridge struc- 

 ture should be quite visible. Hence its location, form, 

 and material of construction become important. It 

 may consist of stepping-stones, of one solid arch, or of a 

 series of arches. There may be many forms, but they 

 should be as simple as possible and as unobtrusive: 

 lines, proportions, aU seemly and graceful, yet with 

 as little pretension to architectural display as may be. 

 It is naturally chiefly a question of choosing material 

 fitted to special conditions, and usually, almost in- 

 variably, stone of rustic character is to be preferred for 

 bridges in the midst of a landscape, but it might readily 

 be that some spot would suggest the use of wood or even 

 iron. Central Park has in its Bow Bridge a light iron 

 structure of such grace that its loss would be irreparable 

 (see illustration). Artificial stone or cement in any 

 form or mixture should be barred. In the midst of 

 trees and foliage its unnatural appearance is specially 

 objectionable. 



The entrance and exit of a bridge should be clothed 

 and screened with foliage and above the shrubs should 

 tower some large trees to emphasize the effect of coming 

 on to the structure. Sometimes Lombardy poplars in 

 clusters are effective in such places. The bridge should 

 emerge from the foliage with a certain distinction and 



