An Informal Thatched Shelter

All this discussion has been profitable to modern garden de sign. Repton and his sons, who continued his practice, verged upon the Victorian period ; thenceforward garden design has been largely divided between architects and landscape gardeners. The outstanding works done by the architects are the gardens at Trent ham, Staffordshire, by Sir Charles Barry, and at Penhurst, Kent, by George Devey. A noted man of the landscape school who practised successfully during the 19th century was J. C. Loudon. Then arose Sir Joseph Paxton, whose fame as a garden designer is a doubtful one, although after constructing the Crystal Palace for the Great Exhibition of 1851 his practice was extensive. Later followed Edward Milner, Robert Marnock, Nasmyth, the artist, Edward Thomas and Edward Kemp, men who could be relied upon to make an effective and beautiful garden, conveniently planned, free from the raw errors of the early landscape men and not devoid of imagination.

There are a few architects of the present day who design the whole garden to the houses they build and many more who limit their planning to the terrace and architectural portion immedi ately surrounding the house. Among the former, mention may be made of Sir Edwin Lutyens, who is usually assisted in the horti cultural branches by Miss Jekyll. He has a versatile and original fancy in garden accessories. Inigo Triggs was an architect by training who specialized in gardens, having written and largely illustrated two indispensable text-books Formal Gardens in Eng land and Scotland and The Art of Garden Design in Italy. The most informative and authoritative book on the formal branch of garden design is Reginald Blomfield's Formal Garden in England. The landscape school is not so well represented pro fessionally in England as it might be if there were a national school for the proper training and equipment of would-be garden and park designers, like those at many of the universities in the United States. In a liberal profession which includes and impinges upon so many sciences, it is of the first importance that its students should grasp the principles of their art and its imagina tive range before they are immersed in office detail.

This article is confined almost entirely to domestic landscape architecture, institutional landscape architecture and park design. Although its scope is intended to cover the United States, Canada and continental Europe, it will apply particularly to the United States and Canada, as very little of note has been accomplished on the Continent since the World War, owing primarily to the economic stress resulting therefrom. In the French Riviera dis

trict and similar resorts for persons of wealth from all over the world, an attempt has been made to apply the art of landscape architecture to the design and embellishment of the hotel grounds —in some cases very successfully. In France and Italy where rehabilitation has been applied, the work has been almost ex clusively utilitarian, with little opportunity afforded for beauty of aspect.

Landscape architecture has made distinct and extraordinary progress during the past 15 or 20 years, particularly in North America. It has met with public favour and patronage, and through the work of instruction in several of the American schools and universities, qualified professional practitioners have increased in numbers.

Like architecture, it is a fine and applied art, dependent for its success upon so planning as not only to afford the utmost beauty of aspect, but to facilitate practical use in its many re quirements. The elements of composition include not only stone, brick, cement and other customary building materials, but organic things—trees and plants—which are subject to constant change in growth and decay. It is necessary to compose these contrasting elements into an expression of beauty, and marked improvement may be noted in contemporary examples of landscape design by evidence of mass composition as the dominant feature and the use of colour, pattern and detail as contributory to the expression of form. More pleasure is afforded from the contemplation of a garden or other feature thus designed than from the inspection of any single element of that garden. This has been made possible through improved technique and wider knowledge in the moving of trees and shrubs of larger size than had heretofore been practicable, thus enabling the use of organic elements which are in immediate scale with the buildings or environment of which they are made a part.

Domestic Landscape Architecture.

This phase of the sub ject is closely allied to domestic architecture. It responds to the same tendencies and requirements; it has to do with the design and development of all of the area outside of the building destined to be used as part of the home. It is, therefore, influenced in its development by the same factors which affect the house design.