PARK AND CEMETERY. 
Let us-considejj'now only texture as determined by tree 
life. To begi^i with, it is needed to get out of the mind 
a tree as a treq,;: with branches and leaves; forget leaves 
as such,,a,nd see them only as mass; every tree or collec- 
tion of trees always differ with each other and with 
themselves. At first we may see it only by outline, but 
look more carefully; there are light spots where the sky 
is seen through, there are dark spots filled with shadows 
as we look into the woods or trees, there is the variation 
of sky line, the advancing and retreating between the 
wood line and the meadows, the uneven trailing out of 
the woods into bushes and bushes into grass; these are 
the great texture features of the landscape. The lesser 
features come from the different ways trees divide them- 
selves into branches, limbs and twigs, the arrangement 
of the leaves, the shape and the size of the leaf blades 
and their petioles. The petiole is a most important 
factor in the leaf motion — it may be long or short, or 
none at all, round or angular, vertical or horizontal, 
oblong, upright or drooping, and at the end of any of 
these leaf-stems may be a leaf-blade of any size or 
shape; there is not a composition possible to conceive 
of but somewhere a plant has it. The variation in the 
little unseen, unthought of leaf-stem produces great 
landscape effect sharing equally with its larger brother 
the branches, and its sister the leaf blade, the glory of 
the beauty of the trees. 
There are rocking trees and swaying trees; there are 
bending trees and trembling trees; there are drooping 
trees and stiff, upright trees; there are trees like the elm 
with feathered trunks and trees with tall, smooth trunks 
like the tulip, with smooth bark like the birch and rough 
bark like the hickory. Trees may express any or all 
the emotions by their leaf-blades, petioles, twigs and 
branches. 
j[fusic . — Who has not heard the sooing of the white 
pines, the higher notes of the hemlock and spruce, or 
the rustling of the leaves, yet has it occurred to us that 
each tree has its own melody, differing from all other 
trees, changing as it increases in age, soft and low as a 
baby cooing, in the spring when the young leaves start, 
growing stronger and fuller as the season advances, be- 
coming quiet yet more penetrating as it gathers the 
autumnal tints, sounding almost harsh as the leaves be- 
come dry and lifeless, then the leafless branches like the 
aeolian harp seem mourning its departed glory until the 
frost and the ice give vigor to the tones. 
Some have listened for and thought they heard the 
music of the spheres. If all will listen they surely may 
hear the music of the trees, and when is added the 
, songs of birds, the chirping of insects, nature has pro- 
vided a concert worthy of man and angels, with a pro- 
gram varying with every breeze, changing every hour as 
the sun passes over, and every day different as the 
season advances. 
Color.— are the books which have been writ- 
ten about colors, yet in the study of the landscape the 
most subtle changes of color are seen. If it takes a 
trained ear to hear the music of the trees it will take an 
equally well trained eye to absorb the melody of 
nature’s coloring. Nature is a master workman, and all 
and more that painter’s have said of tones, value, lights 
and shades, and aerial prospectiori is here seen in per- 
fection. Color is the symbol of life, its absence seems 
like death to us. In the study of colors in nature I 
have been helped most by the two books of John C. 
VanDyke, “Art for Art’s Sake,” and “Nature for Na- 
ture’s Sake,” and to the student I would advise adding 
another book, “The Principles of Beauty,” by Mary 
Anne Schimmelpenninck. These three books seem to 
lead one down into the foundation principle of land- 
scape beauty. 
Composition . — Composition in landscape is the pro- 
portioning, arranging and unifying the different features 
of a picture or more specially in park work the propor- 
tioning and arranging and harmonizing different pictures 
on one piece of ground. It requires judgment as to the 
features selected and their position in the park as a 
whole, of the tone and value of colors and light, and 
skillful uniting all the parks into a perfect whole. The 
power of the park should depend on some leading 
characteristic supported by subordinate features which 
must often sacrifice some of its possible beauty that the 
leading character may take its proper position. A 
double-headed park is as uncalled for as a double- 
headed calf. 
Composition and correspondence not only are 
needed for designing parks but are necessary for a clear 
understanding of landscape beauty. 
Conclusion . — In the study of a landscape with these 
principles as a guide, we see why the introduction of 
roads and structures are an offense, — they introduce a 
hard, continuous line, a smooth compact surface, a 
dead object in the midst of a living scene, and like a 
glass eye, they are expressionless, motionless and life- 
less. It is like patching a dark velvet dress with light 
colored satin, for they often come into the scene as 
patches and tears, yet there is such a thing as a velvet 
dress trimmed with satin, or a silk dress trimmed with 
velvet, and when filled with the living woman the crea- 
tion may become beautiful and artistic, so statues may 
become the pearl of the landscape and walks the string 
course which binds and defines the whole. 
NOTES, CHIEFLY HISTORICAL. ON LONDON BURIAL 
PLACES.— IV. 
( Continued froyn pa^ i // 7. ) 
It was not until 1835 that a genuine agitation 
of the subject began. Dr. George Alfred Walker, 
a surgeon practicing among the poor of the Drury 
Lane district, decided that the prevalence of fatal 
typhoid fevers in his practice was due in great 
measure to the large number of overcrowded burial 
places in the neighborhood. He made a 'thorough 
personal investigation, wrote pamphlets apd leaders 
for the public press, lectured upon the subject, and 
finally, actuated by purely philanthropic motives, 
published a book, entitled “Gatherings from 
Graveyards, particularly those of London, with 
