186 Esthetic Forestry 
than trees, whose idea of a forest is a mass of trees like a 
massed army, straight, tall, stripped of all unnecessary 
branches, cannot close his eyes entirely to the beauties of 
the object of his industrial activity. Hence the foresters of 
Europe who manage forest properties mainly or merely for 
the mone, revenue that may be derived from the sale of 
timber have in many instances had an eye toward the utiliza- 
tion of the artistic elements at their disposal, at least in some 
corner of their districts. 
In England, the artistic aspects of forestry have probably 
become more prominent than on the Continent, the rich 
landed proprietors holding their woodlands mainly for 
game preserves and pleasure grounds; their forest manage- 
ment becoming more and more park management. But 
it has been reserved for our people, even before industrial 
forestry has become an established art, to set aside for park 
purposes immense woodland areas, where the practice of 
esthetic forestry is called for. 
The various national parks belong to this class; into which 
has also fallen the forest preserve of the State of New York, 
although originally designed for quite a different purpose. 
The Metropolitan Park system of Boston also comprises 
large areas of native woodlands which it is intended to leave 
as such for pleasure purposes, so that we may speak of them 
as forests in which esthetic forestry is to be practised. Here 
perhaps for the first time we find a conscious attempt at 
making the esthetic side in forest areas paramount on a 
large scale. 
In other large parks, like Central and Bronx Parks in 
New York, Forest Park in St. Louis, and Soldiers’ Home in 
Washington, small areas of forest growth are left to natural 
development, or at least they are natural woodlands, in- 
tended so to remain as far as the park managers may permit. 
