26 o 
PARK AND CEMETERY 
southwest, and a tall shellbark Hickory afforded 
grateful shade in late afternoon. When I found it 
late one Saturday evening, it wa's enveloped in 
exquisite bridal flowers. But clearly it, too, was a 
part of the fleeting show, for when I returned on 
Monday to take its portrait in its snowy robe — nil! 
Everything was over, the flowers all fallen, and in 
the central depths of the thorny enclosure of the 
tree, a demure wood dove sat serenely on her frail 
but well guarded nest. It was such a dainty little 
tree, not more than ten feet high, perhaps eight 
in diameter, and clothed to within less than a foot 
of the ground with branches; and when wreathed 
throughout with delicate, snowy blossoms, it was 
too sweet to waste its sweetness alone in the old 
pasture, yet, could never be quite so charming any 
where else. To bring away its picture would not 
have harmed it and I regret that I failed to do so. 
For the evanescent charm of wood and meadow is 
subtle. And while glimpses of shadowy perspect- 
ives, of fence corners overflowing with fascinating 
tangles and roadway borders powdered with wild 
blackberry blossoms; with here the clear note of a 
meadow lark and there a quaker-like quail walking 
with well assumed composure, directly away from 
her hidden nest; and at the turn of the lane a warm 
breath of spring, sweet with the odor of flowering 
grapes, that makes time stand still while memory 
recalls scenes and faces of other days, are all very 
real when one is present in the flesh — a mere ac- 
count of them may seem vainer than the vanities of 
the fleeting show. Fanny Copley Seavey. 
Essential Features of the Park.* 
“We have always used the word (park) to in- 
dicate primarily a place where the mind and body 
are refreshed by rural scenery. Of course, a park 
will also furnish fresh air and sunshine, opportuni- 
ties for bodily exercise and rest, but beyond these, 
and more important than these, is the refreshment 
of mind which comes from the influence of beauti- 
ful natural scenery. The paths and roads are not, 
therefore, merely places to walk in or drive over; 
their fundamental use is to make the scenery of the 
park available to persons on foot or in carriages or 
on horseback, so that they may find that relief and 
repose which natural beauty alone can bring to 
city-wearied senses. The value of a city park, 
therefore, for a city population, is greater or less 
according as the poetic charm of its scenery is pre- 
served and developed.” 
* * * 
‘‘No urban park is safe until public sentiment is 
educated up to a controlling belief that breathing 
’Extracts from a pamphlet issued by O. C Simonds, Landscape Ar- 
chitect, Chicago, III., discussing the Lake Front Park of that city. 
space in a city is quite as essential to the mental, 
moral and physical health of its people as building 
space, and that the very best use to which a certain 
portion of its territory can be puc, is to cover it 
with greensward and keep buildings off of it.” 
* .* 
“Sound art, high art, in our spacious city parks 
means essentially the development of every possible 
poetic charm in their natural scenery and the ex- 
clusion of every element which conflicts with this 
purpose. ” 
‘ ‘It seems to be an admitted fact also that quiet 
pastoral prospects have the greatest intrinsic value 
in enabling us to resist the wearing influence of city 
life and recover wasted mental energy, and it there- 
fore follows, that the best work is not one in which 
the architectural features predominate, or in which 
the planting aims to be highly ornamental or 
decorative. ” 
‘‘Not only is beauty essential to a park; its 
whole value lies in beauty. But it must be that 
serene and enduring beauty which is embodied in 
its essential and permanent features, and not mere- 
ly the transient and superficial beauty of floral 
embroidery. It must have dignity of expression, 
and not mere prettiness .” — Garden and Forest. 
“A landscape park requires more than most 
works of men, continuity of management. Its per- 
fecting is a slow process. Its directors must 
thoroughly apprehend the fact that the beauty of its 
landscape is all that justifies the existence of a large 
public open space in the midst, or even bn the im- 
mediate borders of a town, and they must see to 
it that each newly-appointed member of the govern- 
ing body shall be grounded in this truth. Holding 
to the supreme value of fine scenery, they will take 
pains to subordinate every necessary construction, 
and to perfect the essence of the park, which is its 
landscape, before elaborating details or accessories. ” 
* * * 
“The type ot scenery to be preserved or created 
ought to be that which is developed naturally from 
the local circumstances of each case. Rocky or 
steep slopes suggest tangled thickets or forests. 
Smooth hollows of good soil hint at open or “park- 
like” scenery. Swamps and an abundant water- 
supply suggest ponds, pools or lagoons. If distant 
views or regions outside the park are likely to be 
permanently attractive, the beauty thereof may be 
enhanced by supplying stronger foregrounds; and, 
conversely, all ugly or town- like surroundings 
ought, if possible, to be ‘planted out’ ”. 
^ * 
“Large public buildings, such as museums, 
concert halls, schools and the like, may best find 
