in the woods, assume in the ppen a decidedly dense habit of growth and con- 

 siderable symmetry of form. However, loosely spreading branches tend to dis- 

 tribute the foliage unevenly, creating masses in one place and leaving voids in 

 another; and this manner of branching results in foliage of varying density, and 

 makes for high lights where light is reflected and for variable shadows where 

 there are recesses. Further, the generally rounded outlines characteristic of 

 many native plants, and which are in themselves less noticeable than pointed 

 outlines, become less evident if the habit of the plant is spreading and free rather 

 than dense and compact. 



The leaves of most native plants do not differ greatly in size or in tone of green, 

 and for this reason, in a mixture of them, the individuals are not clearly discern- 

 ible. The spreading habits of the plants also cause their branches to interweave, 

 and this results in further blending. However, the slight variation in texture 

 and in tone makes for a play of light and shade, thereby preventing monotony 

 and contributing to the indefinite character of the mass. Thus, vagueness of 

 outline, generally roimded but interrupted, and surfaces of similar texture and 

 tone but inconspicuously varied, — in other words, surfaces which are receptive 

 and indefinite rather than hard and repellant, are the characteristics and the 

 effects of vegetation of this class. We greatly admire and prize these plants in 

 our country scenay, and their importance generally, as well as their usefulness for 

 the scenery of our yards, should be evident. , 



In yards, the planting should imquestionably be more horticultural and arti- 

 ficial than in country scenery; and yet the beauty and the appeal of any scene 

 which consists entirely of very subtle variety rather than of strong contrasts 

 should teach us a lesson in principle which is applicable to small or large yards, 

 to parks, and, in fact, to all plant design. The individual trees, outstanding from the 

 woodland edges and assuming fine proportions, are of the same species that make 

 up the mass of their background; but in their more perfect development lies the 

 secret of the contrast between the individuals and their background. Most per- 

 sons would do well to cultivate an appreciation of this subtle beauty contrast. 

 Contrast and variety of characteristics in plants are useful, but these principles 

 must be so ordered as to produce the desired scenes. In brief, the plant which 

 lends itself readily to combination is essential, while the showy plant is good if 

 well used but is not absolutely necessary. 



What, then, are %e characteristics in plants which make for contrary effects, 

 such as definition, accent, or contrast, and therefore render them suitable for 

 purposes of focalization? To begin with, if one can closely observe conditions 

 about him, or even sketches of scenery, he will realize that the hnes prevailing 

 in country scenery, and also in cities, are horizontal lines. Most trees and shrubs 

 grow into forms of which the tops are broadly rounded, and masses of this vege- 

 tation produce the effect of an undulating, but generally horizontal, hne. If to 

 this the similar lines of the topography itself are added, the prevalence of horizon- 

 tal lines becomes very evident. In very hilly or even mountainous sections, the 

 effects are similar if seen from a distance. In built-up sections of cities, the 

 horizontal lines of streets, fences, and ground lines, are longer than are the vertical 

 lines of buildings. With this predominance of horizontality, any expression of 

 verticalness becomes very evident by reason of the contrast. 



