The Picturesque Style

This chapter is introduced for two purposes: First, to treat of a quality in landscape composition which, if carried out to a considerable extent, produces a style really different from either of those already treated; and, second, to represent any number of additional styles of landscape gardening beyond the two generally recognized. There are no common, well defined and well known styles except the natural and the architectural; but there is no essential reason why there should not be. It may even be regarded as desirable that there shall arise some school of artists with sufficient keenness of invention and purity of feeling to create some really new styles for us. At present it comes best within the range of our study to call attention to the peculiar quality of picturesqueness; and to suggest that it may, in some situations, be emphasized over a considerable space. In such a case the picturesque is essentially a distinct style.

There are many plant forms which are picturesque in themselves, and which may best illustrate the nature of this quality to anyone not clearly understanding what it is. Such forms are those of the gingko tree, Table Mountain pine, Weeping Norway spruce, Weeping larch, Wier's Cut Leaved maple, the leafless Kentucky coffee tree, and many others. No general definition of picturesqueness, as applied thus to plants, can well be given so as to enable an inexperienced eye to select them from the arboretum. But the landscape gardener, in whose mind the ideal is clearly conceived, will have small difficulty in finding the plants suited to its expression.

A broken and uneven surface is especially adapted to the production of picturesque effects. Indeed, it is not improper, though not strictly correct for all cases, to designate the peculiar beauties of mountain scenery as picturesqueness. Mountain scenery is not commonly architectural in style; neither does it have the smooth and flowing outlines of the English ideal garden. Should a landscape gardener sometime find himself with a piece of mountain ground to work upon, he would hardly be excusable should he attempt any other treatment than the picturesque effects usually found in such places.

Dark color masses and monotones have often a weird and picturesque suggestion for the sympathetic mind. This is even the case when expressed in the formal outlines of the architectural style, but it is more strikingly true when the dark monotones appear in masses of black spruces, or similarly dark foliaged plants. The deep, dark shadows of mountain sides add noticeably to the effectiveness of the scene, and to the quality here considered.

A much broken sky line is not always desirable in other styles of gardening, particularly in the natural. It is, indeed, one of the first points of instruction usually given in attempts to teach the natural style, that the sky line should be broken; but this expedient for variety may well have its limits in most naturalistic compositions. In a development of the picturesque it has practically no limit, and the more the sky line may be serried and cut the more emphatic will be the resulting effect.

The scattering specimens of starved and deformed pines which one sees at some places on rugged hill or mountain sides have a charming picturesqueness in themselves which fits well into their surroundings. Solid groups of symmetrically developed trees in such situations would be patent detractions from the general local effect. The scattering individuals have a great advantage, and these are best displayed in middle distances. A single tree is always a middle-ground subject. If it be too close to the observer its composite beauty is unseen; if it be too far, its individuality is blurred. All this is of especial weight in a specimen exhibited for its individual eccentricities. It has even been the practice in some instances to plant dead and blasted trees in pleasure grounds for the picturesqueness of their effect, but the expediency of such a plan is very questionable.

Contents

• The Natural Style - A few simple rules will help to gain naturalness, which is lost more often by thoughtlessness than by intention. Perhaps it is not strictly correct to say that naturalness is gained. As a matter of fact, when a house is built or a park laid out naturalness is lost to some extent. But by thoughtful work we may subtract greatly from the artificiality of the construction, and in that sense it is true that naturalness is gained.
• The Architectural Style - The architectural style is diametrically opposed at all points to the extreme natural style. It is opposite in methods and in effects; though this is no reason why a person of artistic taste may not find full satisfaction in either. The architectural garden is, in a very proper sense, an extension,—a development of the building or buildings in contiguity.
• The Picturesque Style - At present it comes best within the range of our study to call attention to the peculiar quality of picturesqueness; and to suggest that it may, in some situations, be emphasized over a considerable space. In such a case the picturesque is essentially a distinct style.
• Unity - Unity in any landscape composition means that some one idea shall prevail throughout, and that all details shall be subordinate to it. Some particular style of expression must be determined upon and consistently adhered to; and the chosen style must not be varied except within wide limits of space."

See Also

• Next Page: Unity
• Return from The Picturesque Style to: Landscape-Guide Home

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