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application of art to inanimate nature, as in architectural objects, and 

 by festive decorations of the outlines of the drive itself, should dis- 

 tinctly invite attention, and aid to produce a general suggestion of 

 sympathy with human gaiety and playfulness. 



It is unnecessary to show here how the same general principles 

 need to be regarded in the rides, the walks, the seats, the playing 

 grounds, the skating fields, the places of refreshment, and in whatever 

 other accommodations are proposed to be occupied by those who use 

 the park. We would only remind you that no park has yet been 

 made for the people of a large civilized town which has not been 

 much more used than its designers had anticipated ; and that all 

 danger of damage, misuse and wasteful destruction of public property 

 practically amounts to nothing, except as it results from insufficient 

 extent of the means of communication and of rest within the park, 

 or from an appearance of slovenliness, or want of completeness and 

 finish in its arrangements for gratifying the eye, which adjoin these 

 accommodations. 



THE ARTISTIC ELEMENTS IN THE DESIGN OF A PARK. 



The general principles in regard to scenery, which have governed 

 us in our study, remain to be indicated ; and inasmuch as some mis- 

 apprehension in our judgment generally prevails concerning the 

 province of art in the formation of scenery, and especially of scenery 

 in the natural style, we propose to briefly express our views upon 

 that subject. 



A mere imitation of nature, however successful, is not art, and 

 the purpose to imitate nature, or to produce an effect which shall 

 seem to be natural and interesting, is not sufficient for the duty 

 before us. 



A scene in nature is made up of various parts ; each part has its 

 individual character and its possible ideal. It is unlikely that acci- 

 dent should bring together the best possible ideals of each separate 

 part, merely considering them as isolated facts, and it is still more 

 unlikely that accident should group a number of these possible ideals 

 in such a way that not only one or two but that all should be harmo- 

 niously related one to the other. It is evident, however, that an 

 attempt to accomplish this artificially is not impossible, and that a 

 proper study of the circumstances relating to the perfect develop- 

 ment of each particular detail will at least enable the designer to 

 reckon surely on a certain success of a high character in that detail, 

 and a comprehensive bringing together of the results of his study 

 in regard to the harmonious relations of one, two or more details 



