THE LANDSCAPE BEAUTIFUL 



of almost any popular or classic writer, 

 and to know what his entire output has 

 been. The experienced art critic has seen 

 practically all the works of the masters; 

 and before he writes about Dewing's paint- 

 ings, or of St. Gaudens' sculpture, he will 

 have seen a majority of the artist's pro- 

 ductions. Now it is practically impossible 

 for any critic to know the work of any 

 landscape architect in this complete fashion. 

 Mr. Warren Manning — to use a specific 

 example — has undertaken over 750 pieces 

 of work in his professional career. These 

 are scattered all over the continent, from 

 coast to coast, and from Canada almost 

 to the Gulf. And the work of every other 

 landscape architect is only more or less 

 scattered and inaccessible. 



Nor is this all. Perhaps it is not even 

 the worst. Nearly all of this work exists 

 anonymously. Alfred Henry Lewis and 

 Edith Wharton put their names on their 

 books; and 200,000 copies of "Coniston" 

 repeat the name of Winston Churchill 

 200,000 times. But when Frederick Law 

 Olmsted works with equal skill and devo- 

 tion to make Franklin Park a place of 

 beauty and of joy forever, there remains 



146 



