THE USE OF PLANTS 
>ay State Nurseries 
IN COR-POfAATED 
The Artist paints his landscapes on a surface of two dimensions—height and breadth— 
but by the proper use of the rules of art simulates a feeling of the third dimension—depth. 
He is careful to embody a principal point of interest and usually lesser points of interest 
also. He gives due consideration to balance—seldom symmetrical balance, but bulk bal¬ 
anced by point of interest or by a total of several smaller bulks. He prevents any possible 
feeling of segregation of the parts of his picture by employing continuity of line, so that the 
eye follows from one part to another without any irritating feeling of interruption. He 
develops entrancing skylines, variations of texture; he plays with perspective and contrast, 
and gives his vistas the intrigue of half-concealed mystery. Above all, he preserves a unity 
of harmonious composition. 
The Home Gardener develops his landscapes in a field of three dimensions—height, 
breadth, and depth—provided for him within the limits of his own home-grounds. He can 
work most simply with that third dimension while the artist must force a feeling of it being 
there. This simplifies the gardener’s problem. 
There is nothing formidable about Home Landscaping. A little observation, coupled 
with these simple brief suggestions, will show you wherein lie the secrets of those Home 
Landscapes you have most envied and enable you to do likewise with yours—not in un¬ 
imaginative imitation, but in individual self-expression. 
Abstract discussion is illuminated by a study of concrete application, so we give here a 
typical planting plan for a typical home-grounds. On it are marked the three chief divisions 
of plantings—Major Structural or Accents, Minor Structural or Fillers, and Decorative—- 
respectively designated by the 
letters A, F, and D. 
Just as no house consists of one 
large room surrounded by the four 
outer walls, but rather is divided 
into rooms of convenient and pleas¬ 
ing size and shape, so no home- 
grounds should be left in one large 
unbroken area. It should be divided 
into useful, beautiful, and pleasingly 
proportioned areas of varying sizes. 
But don’t be extreme. Don’t break 
up small areas; rather make them 
feel larger by planting around them. 
But by all means break up or divide 
the large areas and make them seem 
of better size and proportion. 
To do this first calls for the careful 
placing of the Major Structural or 
Accent Plants—those large-growing 
sorts which give form to plan and 
skyline, which give height to the 
picture and positiveness to the 
composition. 
Then are needed the Minor 
Structural or Filler Plants—the 
lesser-sized sorts which have posi¬ 
tive form of a lesser character. 
These are used like boards on tim¬ 
bers, to tie the Major elements 
together and to give solidarity to 
the framewoik of the walls. 
And, last of all, the purely Deco¬ 
rative Plants—those plants which 
have little of permanent form, but 
whose positiveness lies in their 
bright spots and splashes of color. 
v* v f > r r>'=vY"I aS 
if * . I A-, A- A. A |y } *CV 
i A 
Typical Planting Plan 
A Accent Plants F Fillers D Decoratives 
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