PARK AND CEMETERY. 
or improvement purposes almost any- 
where. 
Box elders found in the forest or on 
the mountain sides transplant easily 
when one year old, but for the best re- 
sults two or three-year-old trees should 
be chosen and the tops severely cut 
back. They need stakes for the first 
year in their new quarters. The box 
elder is a beautiful tree and a commoti 
one in the Texas Panhandle, where 
driving winds and droughts are com- 
mon as in the northwest. In a word, it 
is a quick-growing, hardy and beautiful 
shade tree and is also valuable for fuel. 
The Oregon Grape, which is the 
handsomest specimen of the beautiful 
Berberis or Mahonia class, is a hardy 
evergreen, growing naturally from Brit- 
ish Columbia to Oregon, extending to 
high and low lands and to dry as well as 
to swampy districts. There is a full 
dozen of these beautiful shrubs, in pleas- 
ing variety, but the Oregon Grape or 
Berberis aqtiifoUnm, adopted as the 
State Flower of Oregon, is the best. 
The foliage is compound, five to nine 
dark leaflets, spiny toothed, of dark 
lustrous green. The 'flowers, in dense 
clusters, are bright yellow, and are 
'succeeded by blue-black seed berries or 
grapes that hang in clusters from au- 
tumn to spring. The Berberis or Ma- 
honia plants are drought resisting, 
though the foliage suffers in brightness. 
Sunflowers — There are three peren- 
nials, all of them single-flowered. 
Helianthus orgyalis, the State Flozver of 
Kansas, and H.. decaptalis maximum 
are almost the same. The disk flower 
or chaff}' circular part measures eight 
inches across, and the sterile yellow 
rays are broad, long, and of a deep 
orange-yellow. The plants grow seven 
It is likely that there are still a good 
many people engaged in practising or 
paying for what is called landscape gar- 
dening to whom it will be news that 
this most popular and misunderstood 
style of art was not invented, or rather 
discovered, until less than two hundred 
years ago. Then certain people, mostl}' 
writers like Addison, Pope, and' Horace 
Walpole began to see that not only were 
there many beauties in rural scenery, 
whether wild or modified by man and 
his works, but that these beauties would 
be used as motives for inspiration or 
imitation in the creation of artificial 
scenery, or gardens large and small. 
Up to that time, no one had thought 
of making artificial scenery excepting 
along formal or architectural lines, with 
and eight feet high, with numerous 
branches, free flowering. They are of 
very easy culture, naturally resistant of 
severe cold up to the Rocky Mountain 
regions, and equally as impervious to 
drought. The seeds of sunflowers are 
much valued for poultry, and especially 
for parrots. 
The third perennial variety is Helian- 
thus tuber osa. the Jerusalem artichoke. 
It forms tubers that are favorites for 
swine, and is extensively grown for that 
purpose. The flowers are medium- 
sized and of a beautiful deep yellow, in 
bloom from May until frost. 
The Crimson Rambler Rose stands at 
the head of beautiful vines. Reliable in 
all climates, it never wilts a leaf nor 
ceases to flourish under long-continued 
heat and persistent winds. It climbs 
high, spreads out on all sides, twenty 
feet at a time, and blooms for some six 
weeks with the greatest profusion and 
brilliancy of red roses of any vine, 
Vitis aestivaticus or Summer Grape 
is the original of the popular Clinton 
grape. Vitis Labrusca, the northern Fox 
Grape, is the parent of Catawba and 
Isabella. Both vines have bold, con- 
spicuous, lively green foliage immune 
from diseases or attacks of insects. 
The Montana Verbena, also called 
Rocky Mountain Verbena in pink and 
purple form, is the hardiest, the freest, 
and the earliest to bloom of an}' of the 
class. It is probably the same as V. 
c.ubletia, the type of all our elegant 
garden verbenas. Its botanical name is 
confused with several. However, the 
plant is well knowm everywhere. Our 
forbears planted it a century ago, north 
and south, east and west. 
G. T. Drennan. 
axes and symmetry and geometrical 
forms ; a style of composition in part 
identical with that of a building. The 
first practitioner of the so-called “Land- 
scape” school was probably Kent, who 
was said by one of his admirers to have 
“leaped the fence and found that all Na- 
ture was a garden.” He was succeeded by 
a crowd of imitators, of whom the most 
notable was the much abused — though 
not always deservedly — Capability 
Brown. This style was smooth, bare 
and uninteresting; the house usually 
rose from a great unbroken lawn, and 
many a fine terrace or other architect- 
ural base was destroyed to make way for 
the smugness of the new style. These 
men talked continually of “imitating 
Nature,” when, as a matter of fact, they 
'were generally imitating themselves ; 
and it does not appear to have occurred 
to any of them that what they imitated 
was not nature at all, but an artificial 
thing, a creation of man, the lawn or 
meadows surrounded by foliage, the ser- 
pentine road and perhaps the piece of 
water of an irregular but plainly arti- 
ficial shape. It took two or three gen- 
erations of experiment — too often costly 
and reckless — before anyone was able to 
see the true value and the true genius 
of the informal style, which does not 
necessarily imitate nature at all, but 
takes certain principles and motives 
found in natural or semi-natural scen- 
ery — irregular surfaces of ground, foli- 
age masses, etc. — and blends them into 
a coherent design. Humphrey Repton 
saw the situation from his own point 
of view, and, refusing to be misled by 
the errors or the prejudices of his 
predecessors, used his wonderfully keen 
perceptions and sublimated common 
sense in the solving of each problem in 
his own way. He never tried to impose 
biis pet theories on any set of con- 
ditions, but always to find what solu- 
tion each set of conditions suggested. 
His solutions were always ingenious and 
nearly always apt and artistic; his dis- 
cussions of them are lucid and instruc- 
tive and his writings are perhaps the 
most valuable we b.ave to those who 
would know how to reason on the vary- 
ing outdoor problem. He saw and con- 
demned the mistakes of his predeces- 
sors, the road uselessly winding, the 
bareness and monotony, the confusing 
of greatness of extent with greatness of 
effect and so or. ; he saw that garden- 
ing and architecture were not hostile, 
but mutually dependent ; and in spite of 
different conditions and lapse of time 
tur modern practice of landscape archi- 
tecture is, in essentials, the same as that 
of Repton. 
The new: edition of his “Art of Land- 
scape Gardening,” just published, is 
edited by Mr. John Nolen and published 
with the co-operation of the American 
Society of Landscape Architects. Most 
of Repton’s writings of value are in- 
cluded and many reproductions of his 
sketches, some of them with the flaps 
or slides he invented to show the effect 
of his proposed improvements. The 
book is handsomely printed and bound 
in an appropriately old-fashioned style. 
It is the first of a series of classics on 
Landscape Design to be issued at in- 
tervals under similar conditions. 
Harold A. Caparn. 
“The Art of Landscape Gardening,” 
by Humphrey Repton ; Houghton, Miff- 
lin & Co.; price $.3.30 postpaid; orders 
may be sent to P,\rk .\nd Cemetery. 
REPTON’S LANDSCAPE GARDENING 
