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The province of landscape architecture is to guide mans modification of the landscape so that he may get the greatest possible esthetic satisfaction of one or both of these two quite diflF erent kinds. The resulting beauty might be, at one end of the scale, that of the formal surroundings of a palace architecture in natural materials to show mans magnificence or, at the other extreme, that of a woodland solitude apparently an age-long natural growth a place of rest from all the works of man. In this new province, there must be a new type of designer. In producing the formal setting of a palace, the landscape architects equipment may indeed diflF er from that of the architect only in his knowledge of plants and what effects can be secured with them; in reproducing or in intelligently preserving a natural woodland, however, the landscape architect must have a knowledge of natures processes, a familiarity with natures materials, a sensitiveness to the natural beauty of rock and wood and water, which does not form the professional equipment of any other artist. Development of When a new profession has come to be recognized, or when an old A trkiuctire asP separated into several branches, the fundamental aS eparate cause for this subdivision of field has always been the same: the disP rofession covery of so many new facts, or the increase in importance of so many known facts, that one man cannot master them all. With the handling of a newly segregated field of fact will come the acquisition of a new technique, the elaboration of theory in some new direction, even the growth of a new technical language, which also take time to master. This iswhat has happened in the case of landscape architecture. Within comparatively recent years, there has come a general recognition of the value to the public of designed and organized cities, and of parks, reservations, and othe
(Typographical errors above are due to OCR software and don't occur in the book.)