the Italian Renaissance and Baroque villas, 39-The style of Le

Nôtre, 42- The Romantic landscape style, 45-The English formal

style of the Tudors, 47- The English cottage style, 49- The New

England colonial style, 50 —The modern German formal style, 51

The Japanese styles, 54- The modern American landscape style, 57

- Study of styles, 59 - Choice of style, 60.

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PAGES

CHAPTER V

LANDSCAPE CHARACTERS

The physical origin of landscape characters, 62- Characters as

parallel to styles, 63 — Examples of landscape characters, 64 — The

prairie, 64-The barren or tundra, 65-Sand dunes, 66-The Se-

quoia grove, 66 - The Sierra mountain meadow, 67- The bushy

pasture, 68-English pastoral landscape, 69-Design in landscape

characters, 70- Landscape characters in relation to economic use and

maintenance, 72-Value and preservation of characteristic scenery,

74- Man's need of free landscape, 75.

62-75

CHAPTER VI

LANDSCAPE EFFECTS

Taste in landscape effects, 76-Variety of landscape effects, 77

- Literary discussions of landscape effects, 77- The "beautiful" and

the "picturesque," 77 - Their fundamental difference, 77— Their

application in design, 78 - Examples of other effects, 79- Sublimity,

79- Desolation, 81-Melancholy, 81- Gayety, 82-Mystery, 82

-Effects from transitory conditions, 83- Harmony and contrast in

effects, 83-Effects in landscape characters, 84 - Effects in styles, 85

- Design in effects, 86.

76-87

CHAPTER VII

LANDSCAPE COMPOSITION

Composition in landscape and in painting, 88-Order in composi-

tion, objective and subjective, 89- Segregation of the composition, 90

-Unity and attention, 90-Attention and training, 91- Emphasis,

contrast, climax, dominance, 91-Landscape composition within the

visual angle, 92 - Unity of larger landscape compositions, 92 - The

forms of order in composition, 93- Repetition, 94 Harmony,

monotony, and variety, 94-Sequence, 94-Sequence of continua-

tion or repetition, 94 — Rhythm, 95- Progression, 96 — Balance, 96

-Symmetrical, 97-Occult, 97- Intensification of emotion from

88-129

repetition, sequence, and balance, 97 Characteristics of objects in

landscape composition, 98- Shape, 98 — Individuality through shape

in landscape composition, 99- Value of shapes and their arrangement

in composition, 100-Size, scale, and distance, 101 - Absolute and

relative scale, 101-Indication of scale in landscape composition, 101

- Effects of perspective, 102-Texture, 103-Scale relation of tex-

ture to size and shape, 103 - Color, 104- Color and light, 105-

Hue, intensity, and value in color composition, 106 — Emotional effect

of colors, 107- Color harmony, 107-Color in landscape composi-

tion, 110- Light and shade, III - Light and shade unity in landscape

composition, III. Variability of light and shade, 112 - Atmosphere

and atmospheric perspective, 113-As a consideration in landscape

composition, 115-Illusions in composition, 116 — Of material, 118

-Of shape, 119-Of size, 120-Of character, 121 - Associa-

tional illusions, 121-Landscape compositions, 122-Typical kinds

of pictorial compositions, 123 - The vista as a typical example, 124

— Pictorial enframement, foregrounds, backgrounds, and planes of dis-

tance, 126 — Objects in landscape composition according to their

design value, 128- Temporary elements, 129.

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CHAPTER VIII

PAGES

NATURAL FORMS OF GROUND, Rock, and Water AS ELEMENTS IN DESIGN 130-150

The value in design of a knowledge of natural forms, 130 - Hills

and mountains: typical forms, 131 - Hill and mountain forms in

landscape composition, 132 - Modification of effect of hill by treat-

ment of local details, 133- Valleys: typical forms, 134 - Choice of

viewpoint for completeness of effect of valley, 135-Plains: typical

forms and effects, 136- Bodies of water: their effects, 136 — Lakes,

137 Islands, 138-Shores and beaches, 138-Streams and stream

banks, 140-Waterfalls, 142 - Rocks in naturalistic design, 143-

Bowlders, 144-Ledges, 145-Color and texture of rocks, 146-Rock

planting, 147 Minor modeling of ground surface, 147 — Banks, 148.

CHAPTER IX

PLANTING DESIGN

Plants as material in landscape design, 151- The time element

in planting design, 152 - Relation of planting design and maintenance,

153 - Plant characteristics in landscape design, 153 - Plant forms, 153

-Classes of tree forms and their uses in design, 154
Form the ex-

pression of mode of growth, 155 - Winter tree form, 156-Form in

topiary work, 156- Plant texture, 157 - Plant color, 159 - Effect of

character of leaves on foliage color, 159 — Range of foliage color, 159

-

-

- Restricted use of other colors than green, 159-Effects of foliage

color, 160-Contrast of color in differentiation of units in design, 160

Foliage color and aërial perspective, 161-Use of "colored foliage,"

161 - Autumn foliage, 161 — Winter color, bark, and fruit, 162 —

Color of flower, 162 — Practical difficulties of design in flower color,

162-Circumstances harmonizing flower colors, 163-Mass relation

in flower color, 163- Plant character, 164 - Species and character,

164 - Individual plant character, 165- Character and environment,

165- Relation of plant character and landscape character, 165 –

"Expression" and character, 166- Association and symbolism, 166

-Plantations, 167 - Inclosing plantations, 167- Outline, modeling,

and treatment of informal inclosing plantations, 168-Hedges, 170

-Low hedges and edgings, 171-Specimen trees and shrubs, 171 —

Tree and shrub groups, 173-Composition of groups, 174-Shrub

beds, 175- Herbaceous beds and borders, 176-Flower beds as parts

of a garden inclosed, 177— Arrangement of plants in relation to form

of bed and form of plants, 177 -— Arrangement of plants in relation to

time of bloom, 178 — Arrangement of plants in relation to color, 179

Grouping of plants according to character, 179- Planting as surface

decoration, 179- Carpet bedding and parterres, 180-Ground cover,

182-Turf, 182 - Planting in relation to topography, 183- Water-

side planting, 185-Planting in relation to architectural structures,

186 Planting as enframement, 186- Planting as transition between

ground and structure, 187 — Planting as decoration of structures, 188.

PAGES

Buildings in relation to landscape, 189 - Buildings subordinate to

natural character, 189- Buildings dominating landscape, 190- Form

relations of buildings and landscape surroundings, 192- Building

groups, 194-Texture relations, 194-Color relations, 195- Shel-

ters and pavilions, 196 - Terraces, 198- Parapets, 199- Retaining

walls, 200- Terrace banks, 200-Steps, 201-In formal design,

201-In naturalistic design, 203 -Walls and fences, 204 - Walls:

materials and decoration, 205-Fences, lattices, and grilles, 207-

Gateways and gates, 209-Statuary, 210-Its value among decora-

tive objects in design, 211-Its setting in landscape composition, 212

Architectural and sculptural water features, 213-Grottoes and

wall fountains, 213-Cascades, 214- Water-ramps, 214-Free-

standing fountains, 215- Pools and basins, 215 - Bridges, 216

Their forms and materials, 217- Roads and paths, 218- Roads in

naturalistic landscape, 219- Form of roads, 220- Road intersections,

221 - Views of and from roads, 222- Planting and roads, 223—

189-230

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Paths in naturalistic design, 224-Form of paths, 224 — Roads in

formal design, 225 - Paths in formal design, 226 - Materials of roads

and paths, 227.

CHAPTER XI

PAGES

A

Landscape designs according to typical uses, 231.

PART I. THE GARDEN, 233-246- Definition and use of the

word "garden," 233- Esthetic characteristics of a garden, 234-

Inclosure, 234- Plants in the garden, 235 - Unity of effect of whole

garden, 236— A garden recognizably a work of design, 236 — Formal

and non-formal arrangements, 237-Ways of giving a garden dis-

tinctiveness, 237-Choice of style, 239-Composition of the gar-

den, 239-Its compositional elements, 239- Inclosure materials, 240

-Retaining walls and banks, 240-High boundaries: their compo-

sition and decoration, 241 - The house as part of the garden bound-

ary, 242 Garden "floor" materials, 242-Typical compositional

arrangements of the garden floor, 243-Objects marking points of

interest in the garden composition, 244-Suitability of different ob-

jects to this purpose, 245.

-

PART II. THE ESTATE, 247-274-The estate as expressing

the owner's desires, 247- Physical elements of the estate, 249- The

house, 250-Effect of interior arrangements on house form, 251 —

House form as affected by choice of style, 253 - Location and orien-

tation of house, 253-The house terrace, 257-The forecourt, 258

-The garden as a unit of the estate, 259- Pleasure buildings, 261

House service areas, 263-Estate service buildings and areas, 263

The greenhouse, 264 — Reserve and vegetable gardens, 265 — Tennis

courts and areas for other recreations, 266-The open lawn, 267 —

Tree-shaded areas, 268- Natural character units, 268-Access, 269

-Approach roads, 269- Paths, 271- The design of the whole

estate, 272 - Choice of site for an estate, 273-Apportionment of

estate area into the units required, 274.

PART III. LAND SUBDIVISION FOR RESIDENTIAL PURPOSES, 275-

294-Land subdivision as a business venture, 275

Items of ex-

pense to the developer, 275 - Salable assets produced by development,

276— Room, 276- Proximity to town, 277-Convenience, 277-

Social desirability, 277 - Amenity, 277 - Beauty, 277-"Low-cost "

and "high-cost" developments, 278-Professional advice in land sub-

division, 280 - Procedure in design, 280 - Choice of type of develop-

ment in relation to development of city, 280-The street system: its

relation to the city plan, 282-Alleys, 282 — Characteristic effects

of street systems, 283-Streets in relation to topography, 283-Sub-

surface utilities, 284-Street widths, 284 — Roadways and planting

-

strips, 285-Sidewalks, 285 - Lots: sizes, 286 — Width and depth,

286-Shape, 287 — Orientation, 288 — Reserved areas, 289- Re-

strictions, 291 Districting, 293.

-

PART IV. LANDSCAPE PARKS AND RESERVATIONS, 295-323—

Man's need of recreation, 295 - Classification of outdoor recreation

areas, 296 Their relation to the city plan: park systems, 297-

The large landscape park, 298-Site and available landscape char-

acter units, 299 — Extent and seclusion, 300- Park use and landscape

units, 301-Landscape characters best fitted to park use, 301-Pas-

toral landscape, 301-Wooded landscape, 302 - Rocks and ledges,

303- Brooks and ponds, 303-Uses properly served by a landscape

pork, 375 Access and entrances, 308-Circulation, 309- Roads,
zeg B paths, 311-Footpaths, 311-Inter-relation of roads.
and p. 13-Buildings properly serving park uses, 314 — Build-
-
retion to the park landscape, 316— Minor structures: park

furniture, 316-Park boundaries and gates, 318- Landscape reser-

vations: Municipal and Metropolitan, 318-Combination with other

uses, 320- State and National parks and reservations, 321 - National

planning, 323.

PAGES

APPENDIX

PART I

Notes on the Professional Practice OF LANDSCApe Architecture in

AMERICA

-

Professional conduct, 325 - Professional charges, 326 - Profes-

sional reputation, 328- Advertising and publicity, 329 Professional

announcements, 331- Public exhibitions, 331-Competitions, 332

-Landscape architect, client, and contractor, 332- Coöperation of

landscape architect with other practitioners, 333-Coöperation in city

planning, 334-Organization and equipment of a landscape architect's

office, 334-Clerical force, 334-Technical office and field force,

335-Office reference material, 336.

325-337

The client, 338-Topographic data, 339— Design, 340-Rep-

resentation of design, 342-Models, 342 - Pictures and plans, 343

- Written statements, 343 - Verbal directions and explanations, 345

-Series of drawings for a landscape job, 345 - An example of repre-
sentation of design: presentation of landscape plans, 346 — Superin-

338-353