THE GENERAL PLAN OR THEORY OF THE PLACE 51 
strands of vines or deft bits of planting. He soon comes to 
feel that flowers are most expressive of the best emotions 
when they are dain- 
tily dropped in here 
and there against a 
background of foli- 
age, or else made a 
side-piece in the 
place. There is no 
limit to the adapta- 
tions; Figs. 51 to : 4 
58 suggest some of iss 
the backyard possi- 
bilities. 
Presently he rebels at the bold, harsh, and impudent de- 
signs of some of the gardeners, 
and grows into a resourceful 
love of plant forms and verdure. 
He may still like the weeping 
and cut-leaved and party-colored 
trees of the horticulturist, but 
he sees that their best effects 
are to be had when they are 
planted sparingly, as borders or 
promontories of the structural 
masses. 
The best planting, as the best 
painting and the best music, is 
possible only with the best and 
tenderest feeling and the closest 
a 
> 
> 
vale 
he 
51. A back-yard cabin. 
52. A garden path with hedgerows, wae . ; 
trellis, and bench, in formal treat- living with nature. One’s place 
ent: grows to be a reflection of him- 
self, changing as he changes, and expressing his life and sym- 
pathies to the last. 
