122 NATURAL HISTORY OF THE FARM 
giving it life and interest. With these one may do much to 
alter the setting of his labors. 
Besides furnishing the farmer with all the materials used 
in her landscape compositions, nature surrounds him with 
good models, from the study of which he may learn their use. 
If he looks to the wildwood about him he will be able to find 
scenes that disclose the elements of landscape beauty. He 
will find sheltering nooks that invite him to come and rest in 
their seclusion; sinuous streams and curving paths whose 
gracefully sweeping lines invite his imagination to wander; 
broad levels, whereon his eye rests with pleasure, bordered by 
cumulous masses of shrubbery; tree-covered slopes, with the 
leafage climbing to the summits, here advancing, there 
retreating, everywhere varied with infinite tuftings, full of 
lights and shadows; irregular skylines, punctuated by not 
too many nor too prominent forms of individuality; and all 
organized and unified and harmonizing as component parts 
of the border of the valley of some stream or lake. 
Now the farm is not a natural unit of this larger landscape, 
but only a small section arbitrarily marked out by the sur- 
veyor. With the larger landscape the best one can do is to 
locate, if he may, where the prospect is good. Moreover, the 
curving lines of nature’s pictures and the merging masses of 
her plantings, are not practically applicable to the growing of 
crops. The beauty of the fields must be that of an exhibit, 
the beauty of things isolated, and well grown. 
The unity of the farm plan should center about the place 
where the farmer dwells and where others come and go. It 
will be better for him if the outlook from his window is 
pleasing; it will be better for his community if the inlook 
toward his door from the public road is pleasing. 
About the house the suggestions from nature’s models may 
be freely applied. The lawn may furnish the broad, restful, 
level stretch of green verdure; over its recesses shapely trees 
