30 
PARK AND CEMETERY.: 
A more fitting site for this stately and truly "ele- 
vating expression of art and nature could not be de- 
sired. 
Placed in an environment, where life seems but 
a dream, and amid those free institutions, for wis- 
dom, this noble tribute to the great dead architect 
will rise as a living example to the literate and mas- 
ters in art. To the poor, struggling novitiate it will 
be an example of stateliness, of simplicity, of rever- 
ence, and will help to quicken the imaginative and 
spiritual to purer and higher emotions similar to 
those found in nature, because of its faithfulness to 
beauty. Beauty being the foremost characteristic 
of all great artists, beauty is the very quintessence 
of their genius; beauty, that which keeps them in 
communion with their vision. 
* * Ji- 
lts other duty is to the poor devotee of the 
every day hum-drum duties of life. Tired and weary 
in body and spirit he will stand before this great 
pile, perhaps in no condition to appreciate art, and 
yet this living pile will come out to him. 
Why will it go out to him? Because of the 
fundamental motive? No, but because of the rela- 
tionship it bears to nature; the passivity in it — 
again physical, natural, moral and spiritual beauty, 
the simple motive and self-glorification of color 
(light and shade), the tender rendering of lines, the 
chaste figures and colored marble columns and mo- 
saic floor. 
* * * 
Who cannot find these things in nature? Who, 
with the vision, ever stood on Mount Mansfield and 
viewed in the distance the peaks of the White Moun- 
tains could not see the same white piers and col- 
ored columns and beautiful sweeping curves; or ever 
failed to see flanked by the mountain side reposing 
spiritual figures, or failed to see amid the lights and 
shadows of the plains and the matchless grass that 
spreads away for miles on every side in varied col- 
ors, a grand and beautiful mosaic? 
* * * 
I will admit, Mr. Critic, that some of the masses 
are not perfect. Suppose we do turn again to the 
range of the green peaks below us and remove one 
of them, would it improve the view? It might from 
where we stand, but let us go down in the valley 
and there we will find the reason for their existence. 
In the valley again see the land of the “All 
Wise,” see the vision, everywhere myriads of ex- 
hedras faintly blushing in solitude and grouped to- 
gether in almost ideal beauty welcoming the trav- 
eler to rest under their soothing influence. 
* * * 
Mr. French and Mr. Price have both given us 
again an expression of that which is foremost in 
'"their minds — life, [love, purity; strength and that 
sublime strain of aspiration that runs through their 
work. Augustus Lukeman. 
PLANTING OF ROADS AND AVENUES. 
Mr. William Saunders, in a paper read by him, gives 
the following on the subject of Planting of Roads and 
Avenues: 
“In the planting of straight roads and avenues it is 
essential to preserve regularity of line, as also uniformity 
in the color and shape of the trees. The nearest ap- 
proach to the sublime in landscape gardening is in ef- 
fects produced by extended uniform lines of trees. Con- 
tinuity of line and uniformity of object, when combined 
with great extension, produce sublimity. Objects are 
sublime which possess quantity and simplicity in con 
junction. * * * To produce this effect it is there- 
fore imperative that only one variety of tree should be 
used. Anything that tends to break up the uniform con- 
tinuity will at once destroy it. A straight avenue planted 
with a variety of trees of varied forms, some broad and 
spreading, others tall, pointed and spiry, is as much at 
variance with good taste as would be a Grecian facade 
furnished with columns embracing all the different or- 
ders of architecture. Among the best trees for planting 
wide avenues are the tulip tree, the sugar and the silver 
maple, lindens, sycamore, walnuts, oaks and chestnuts. 
For narrower roads, those from sixteen to twenty feet in 
width, the Norway maple, the black and white ash, the 
horse chestnut and those of kindred habit will be more 
suitable. 
“On long and wide avenues, in positions where a side 
view of the lines is prominent, the wall-like effect may 
be very much softened and toned down by setting a 
double or even triple row of trees, and this will be still 
further increased by planting each opposite row, re- 
spectively, with a distinct kind. An avenue of tulip trees 
will in this arrangement be well supported by an outside 
line of red maples, their forms will blend pleasingly, and 
the contrast of their spring verdure and autumn color- 
ings will be agreeable. In a similar disposition the sugar 
maple, sweet gum and ash-leaved maple may be used. 
Such combinations may be indefinitely varied and 
adapted to the embellishment of avenues as their extent 
and importance may demand or require. 
“In planting curving roads, the disposition of the 
trees will obviously be determined by the general char- 
acter of the grounds through which the road passes. 
“In places of six to ten acres in extent, and in form 
nearly of a square or parallelogram, with the mansion 
placed ioo yards back of the front line, the entrance 
gate may be judiciously set near one of the corners, and 
the road gradually curve to the building. A single con- 
tinuous row of trees on one side of this road would have 
a monotonous effect and a row on each side would de- 
stroy and completely break up any attempt at breadth 
of view. The road should rather appear to curve round 
and pass through masses of trees and shrubbery planta- 
tions. While attention may be given to partially shad- 
ing the road by placing suitable trees mainly on the south 
