PARK AND CEMETERY. 
216 
a straight line it makes some differ- 
ence, and in such an instance I like 
to rest my eye on a seat or fountain, 
or something that would impress up- 
on my mind with the possibilities of 
resting or cooling off after a long 
contemporaries on the lines that have 
been illustrated by Mr. Grossman. 
“According to the way the premi- 
ums were disposed of you will also 
notice that this last plan was pur- 
chased, but did not bring any prize. 
FORMAL BASIN FOR PARK. 
Part of Grossman Design. 
“I will not exactly say that I like 
this style; at the same time some of 
the paintings I have seen have been 
wonderfully beautiful, and I have ad- 
mired them very much. Yet, if you 
want to represent modern art in 
Germany you cannot get better il- 
lustrations than the gate entrance, the 
formal basin, and the lagoon. 
“I do not like the gate entrance at 
all, still it is modern German art. 
“The large formal basin has its 
merits ; still I would not like to see it 
in any of our parks exactly as it is 
shown here. There is a little too 
much German, one, two, three, right 
about, in it; in other words, the mil- 
itarism, as I told Prof. Heide some 
time ago, could be distinctly seen in 
modern German landscape art. He 
questions this and thinks I am 
wrong, yet I still feel that the posi- 
tion I have taken is correct. 
“These two illustrations are both 
very good from a German stand- 
point. 
“The design showing the lagoon is 
also a good one. This picture I rath- 
er like if the shores had been a lit- 
tle better taken care of with shrub- 
bery vegetation. It seems that the 
modern German artists have entirely 
taken up the position of the old Ital- 
ian renaissance or the Moors, of hav- 
ing their eyes rest on an object in a 
distance. Whether it be a building 
or fountain or bridge, it is there. On 
SECOND PRIZE DESIGN FOR CITY PARK AT SCHOENEBERG. 
Frederick Encke, Cologne, Landscape Architect, 
COMPETITIVE DESIGN FOR CITY PARK AT SCHOENEBERG. 
J. P. Grossman, Leipsic, Landscape Architect. 
DESIGN FOR »ARK GATEWAY. 
Part of Grossman Plan. 
ENTRANCE TO UNDERGROUND RAILWAY STATION IN A PARK. 
Part of Encke Plans. 
walk, which by the way always 
seems longer on a straight path than 
otherwise. Generally speaking I pre- 
fer to look into the mysticism of the 
forests, valley or mountains, just as 
life itself is nothing but mystic tours, 
and I do not agree with my German 
Evidently this new art has not yet 
gotten hold of the German park au- 
thorities. The one receiving the first 
prize is the best plan, and shows 
pretty good judgment by those hav- 
ing this matter in hand.” 
Jens Jensen. 
