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Plant forms which express vertical Unas tend to. produce the strongest accent, 

 though the exact degree of accent depends upon other characteristics which 

 render more or less definite the vertical Unes of the plant. For example, the well- 

 known Lombardy poplar expresses vertical lines in its general outline, and also, 

 as every twig and branch of the tree conforms to the same lines, the total effect 

 of the tree is markedly vertical. The foliage of the poplar, however, is somewhat 

 coarse and not very dense, and therefore the mass of the tree is not as effective 

 as it would be if its foliage were very fine and dense as well as very dark green, 

 similar to some of the evergreen trees. While the Italian cypress is not sufficiently 

 hardy to grow in the north of this country, it is an interesting example of a tree 

 expressing, perhaps, the strongest accent. This cypress is very narrow in propor- 

 tion to its height, is very dense, and is very sharply pointed at the top ; and its fine 

 texture, density, and dark green foliage, all taken together, give it a very definite 

 outline. In short, its every detail or characteristic unites to produre a strong accent 

 and a sharp contrast with other vegetation. The well-known red cedar is perhaps 

 more like the Italian cypress than any other tree native to this country, but 

 the habit of the cedar is variable, and its foliage is less dense, although equally 

 dark in value of green. Also, the red cedar is a smaller tree than either the 

 cypress or the Lombardy poplar. A very slender cedar would probably make a 

 stronger accent than a Lombardy poplar of the same size, because of the mass 

 effect of the cedar and because of its relatively darker value; but at maturity, 

 the considerably greater size of the poplar would unquestionably give it the 

 greater prominence. Vertical Unes in the foliage for a certainty, make for a very 

 strong accent; but size, mass effect, and value of green, are all important contribut- 

 ing factors. 



Vertical lines are more unusual both in plant habits and in scenery, but dis- 

 tinctly-horizontal branching is likewise uncommon and also creates a sharp con- 

 trast with the variable branching habit common to' most plants. This horizontal 

 branching, characteristic of some field thornes, pines, and a few other trte and 

 shrubs, is not so apt to occur when the plant is young and is making rapid upward 

 growth, as when it is older. If the growth habit of a plant is open like that of an 

 old white pine, so that the branches and the lines thereby expressed are evident, 

 the accent produced is very distinct. Also, a similar degree of horizontality is 

 expressed if the growth habit of a plant is dense and if the resulting effect is 

 primarily that of a flatly rounded outline. Under these circumstances, as well as 

 in some others, evergrefen foliage, fine texture, and dark foMfcge value contribute 

 to the degree of accent. An interesting example of this is another Italian tree, 

 the stone pine. As a young tree it is much like other pines, but when its rapid 

 growth is accomplished, a flatly rounded and dense head of dark green foliage is 

 formed, and, to make the tree still more striking in appearance, the lower branches 

 fall, leaving this top raised high upon a tall, straight trunk. 



Contrasts resulting from colors other than green, due to flowers, fruit, or un- 

 usual foliage, are dependent partly upon the color itself and partly upon the 

 colors or values of color of the foliage immediately adjacent. It is generally 

 inadvisable to resort to the use of much strong color, for reasons aiiea dy mentioned. 

 Strong contrasts are not necessary for pleasing effects, and to manipulate these 

 contrasts successfully requires skill and experience. Dominant colors, such as 

 all shades of red, and yellows except in the light shades, result in foreshortening. 



