in the shadow of the valley. He is no longer as fresh as when he started, he pays less attention to the little interesting things or the greater beauties along the way, but he comes to the rock wall of the peak with the concentration of energy with which a wrestler meets a worthy foe. Perhaps for hours, putting all his strength into each calculated cautious motion, he climbs from one chosen hand-hold and foot-hold to another until he reaches the summit, and is rewarded by a stupendous sweep of view over rocky peak and snowfield, below which the hills that hemmed in the valley of his last night's stay are mere undulations in the vast expanse dominated by the peak on which he stands. In landscape compositions created by man, sequence and mutual Effects in enhancement of effects may also be found, as the calculated results of Styles design. When the chateau of Versailles was built, with its surrounding broad terraces, its elaborate pools and statuary, its great fountains, its mile-long reach of artificial water, it was intentionally the expression of the pride and power of the King of France.* Nothing else but enormous size could have conveyed this effect. Nothing but this strict and pompous formality, this centering of a gigantic scheme on a great palace, exactly in the heart of which was the private room of the King, could have so well expressed what the design was intended to express, the concentration of the wealth and power of seventeenth century France in Le Roi Soleil. (See Drawing IX, opp. p. 78.) The Grand Trianon, originally a retreat, was rebuilt as a residence for Louis XIV, who even in his private life could not put aside his kingly state. The scale of the buildings is smaller, their main arrangement somewhat less rigidly axial, but they expressed merely another phase of the royal magnificence which created the Chateau. (See Drawing X, opp. p. 80.) The Petit Trianon was built a century later, intentionally as a place for escape from the overpowering conventions and restrictions of the court. In its design, as in its decoration, it is dainty, delicate, intimate, almost a play-house rather than a dwelling, but still a queen's play-house, built without consideration of cost but only of the effect desired. (See Drawing XI, opp. p. 82.) The Hameau - in the midst of the "English Garden" which was itself a * Cf. Chapter IV, p. 42. Design in Effects reaction against the formalized grounds of the Chateau and the Grand Trianon expressed still more definitely an attempt to seek relief from the etiquette and repression of court life. Here, in peasant dress, Marie Antoinette forgot, or played she forgot, that she was queen of France. The theatrical farm buildings suggested as far as might be a totally different life; their irregular forms, ivy-covered walls and thatched roofs, their informal setting of tree and pond, were intentionally created to produce through their rustic style, their naturalistic character, an effect as different as possible from the formal setting of the rest of the life of the court. (See Drawing XII, opp. p. 84.) In planning his work, particularly in its larger outlines, the landscape architect has need to remind himself that it is these effects, and not physical characteristics as such, which are ultimate units in his design. An appreciation of this fact will sometimes enable him to escape from a difficulty which otherwise might seem insurmountable. It usually happens that a client expresses his desires in concrete terms, often in very uncompromising terms indeed; he tells the landscape architect that he wishes certain definite objects in certain definite arrangements. The landscape architect may know that such arrangements of objects would be inevitably ugly. He should have the power to look back of the definite objects proposed by the client and to appreciate the large fundamental effect for which they stand in the client's mind. This effect may well be worthy, and the designer may hope to work out some other arrangement of objects which will produce the same desired effect, and so satisfy the client, - an arrangement which shall be desirable also in other respects, and not open to the objections which the designer finds in the client's original suggestion. A client may, for instance, say that he desires to build, on the exposed summit of a rocky and pine-clad New England hill, a replica of a certain long, low, flat-roofed, stucco Italian villa. The designer may know that such a structure would be ugly in the given setting, and he may find that what really appeals to the client in that particular villa is not its form, but perhaps a certain effect of refined magnificence of living. The designer may then be able to persuade the client that this effect which he desires may be more cheaply, more beautifully, more appropriately expressed by a structure built of the local stone, suggesting perhaps an English country house of refinement and importance, conveniently related in an informal way to the topography, and harmoniously crowning with its irregular mass the rugged summit of the hill. Composition in Landscape and in Painting CHAPTER VII LANDSCAPE COMPOSITION COMPOSITION IN LANDSCAPE AND IN PAINTING ORDER IN COMPOSITION, OBJECTIVE AND SUBJECTIVE SEGREGATION OF THE COMPOSITION UNITY AND ATTENTION Attention and training — Emphasis, contrast, climax, dominance — Landscape composition within the visual angle - Unity of larger landscape compositions THE FORMS OF ORDER IN COMPOSITION REPETITION Harmony, monotony, and variety-SEQUENCE-Sequence of continuation or repetition - RhythmProgression BALANCE-Symmetrical - Occult Intensification of emotion from repetition, sequence, and balance- CHARACTERISTICS OF OBJECTS IN LANDSCAPE COMPOSITION-SHAPE - Individuality through shape in landscape composition — Value of shapes and their arrangement in composition — SIZE, SCALE, AND DISTANCE Absolute and relative scale Indication of scale in landscape composition - Effects of perspective - TEXTURE - Scale relation of texture to size and shape-COLOR- Color and light-Hue, intensity, and value in color composition - Emotional effect of colors - Color harmony-Color in landscape composition - LIGHT AND SHADE - Light and shade unity in landscape composition — Variability of light and shade ATMOSPHERE AND ATMOSAs a consideration in landscape composition - ILLUSIONS IN COMPOSITION Of material — Of shape — Of size - Of character Associational illusions LANDSCAPE COMPOSITIONS Typical kinds of pictorial compositions—The vista as a typical example — Pictorial enframement, foregrounds, backgrounds, and planes of distance - OBJECTS IN LANDSCAPE COMPOSITION ACCORDING TO THEIR DESIGN VALUE - Temporary elements. PHERIC PERSPECTIVE -- Landscape composition is to the landscape architect, as it is to the landscape painter, the arrangement of the elements of his design. into an ordered whole. The painter, however, is making a composition in pigments on a flat canvas which represents his subject as seen from one point of view only; and he is therefore chiefly concerned with the two-dimensional relations of his elements, in the plane of his canvas, as seen from that point of view. The three-dimensional relations of things which he represents he can only suggest by the way he handles |