H ouse and Garden 
HOME AND OFFICE OF FREDERICK LAW OLMSTED, BROOKLINE, 1880-I9O3 
that was > incongruous or inconsistent. “The root 
of all my work,” he said, “has been an early re¬ 
spect for and enjoyment of scenery, and extra¬ 
ordinary opportunities for cultivating susceptibility 
to its powers. I mean not so much grand or sensa¬ 
tional scenery as scenery of a more domestic order—- 
scenery which is to he looked upon contemplatively 
and is productive of musing moods.” 
The present series of articles will describe and 
discuss five designs of Mr. Olmsted’s: (i) Mount 
Royal, Montreal; (2) The terraces and landscape 
work of the United States Capitol; (3) The Schles- 
inger Place, Brookline, Massachusetts; (4) Franklin 
Park, Boston; (5) Biltmore Estate and Biltmore 
village. These five designs are as representative 
as any five that could be selected, and yet they give 
but a partial and inadequate idea of this gifted man’s 
work, for each of his creations is distinctive, each 
presented some new problems to solve or some new 
solutions to old problems. For the sake of clear¬ 
ness and easy comparison, these essays will describe 
first the pre-existing conditions, then the controlling 
purposes of the design, and, finally, the means that 
Mr. Olmsted employed to realize his purposes. 
Frederick Law Olmsted never lost sight of the 
limiting and directing force of existing natural and 
social conditions. His eye was quick to observe, 
and his mind firm to hold them. The sure founda¬ 
tion for this part of his professional practice was laid 
in his close observation during many years of a wide 
range of natural scenery, and in his sympathetic 
study of the habits and needs of men. In innumer¬ 
able ways these conditions modified and affected 
the aims that he set before himself as well as the 
means that he adopted for attaining those aims. 
The purposes that controlled his designs are all 
marked by certain characteristics. They are, first 
of all, definite. His intention is always obvious, 
clear. Secondly, they aim to serve convenience, the 
very practical and, often it might seem, commonplace 
ends for which the design exists. Finally, without 
sacrifice of utility a peculiar charm, an appropriate 
beauty is incorporated, and the great artistic end of 
unity secured. Moreover, the purposes show a 
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