Variety In Materials, Color, and Texture

Very few people have any conception of the multitudinous species and varieties of trees, shrubs, climbers, flowering and foliage plants at the command of the horticultural architect. With twenty sorts of maples, and as many oaks; with poplars in all shapes and sizes; with dozens of varieties of lilacs, scores of spiraeas and hundreds of roses; with evergreens and deciduous trees; fastigiate and weeping trees; dark-colored and yellow trees; broad-leaved and cut-leaved trees; big trees and little trees; with other trees, shrubs, climbers and hardy plants literally "too numerous to mention," the gardener need never want for variety of material. To know these resources and to understand the possibilities of each species and variety is to master the landscape gardener's useful alphabet.

"From the artistic point of view, trees have three characteristics which may be separately studied,— form, texture and color."* We have already noticed the general variety in forms available to the landscape gardener; but it is worth while, in the present connection, to emphasize the attractive variety of forms which meet the admiration of the tree lover. The form of a tree is its first and most evident characteristic. Its outline is always beautiful, either in its symmetry or its irregularity, as the case may be; and the man who does not notice the difference between the form of a Sugar maple and a Mossy Cup oak is one to whom l'Angelus might as well have been a chromo.

There are considerable contrasts of color among trees. One may cite as examples the Red oak, the Silver poplar and the Golden willow. But the most pleasing and numerous varieties of color in trees and shrubs are separated from each other as barely distinguishable tints. The proper combination of these tints is delicate work for a sympathetic and artistic mind; but there is, nevertheless, a wide difference between good combinations and bad ones.

The difference between a strip of mosquito netting and a piece of sail cloth is chiefly one of texture. We speak of texture oftenest in connection with woven fabrics, and in that connection we best understand what it means. But it is not a difficult matter to transfer this notion of texture to the apparent solidity, or lack of solidity, in the mass of green which the foliage of any tree may present. A plane tree is not greatly different in form from a Kentucky coffee tree, and yet what a difference in the effect they have on the observer! Compare a catalpa with a honey locust; a tulip tree with a willow. What a difference in the whole aspect of the trees contrasted! These examples may, perhaps, suggest the meaning of Mrs. Van Rensselaer's definition: "By texture of a tree I mean the character of its masses of foliage as determined by the manner of growth of the lighter spray, and the number, shape, disposition and tissue of its leaves." In no other quality of a tree is variety more effective than in the texture. Some striking differences of texture in foliage are shown in Fig. 16.

_{*Mrs. Schuyler Van Rensselaer, "Art Out of Doors."}

Contents

• Surface - In seeking to vary the surface on which our gardening is to be done, our attention falls first upon the three simplest forms of ground, viz., the plane, the concave and the convex surfaces.
• Form - In the natural style it is always admissible to group the trees so as to hide, partially or totally, the buildings from most situations, and to give a really complete view from only a few specially favorable points. If a group is so placed as to afford a partial view of the buildings from one standpoint, a totally different view is seen from a second standpoint. In this way the buildings are seen in an endless variety of forms.
• Materials, Color, and Texture - We have already noticed the general variety in forms available to the landscape gardener; but it is worth while, in the present connection, to emphasize the attractive variety of forms which meet the admiration of the tree lover. To know these resources and to understand the possibilities of each species and variety is to master the landscape gardener's useful alphabet.
• Season - The question is, shall we attempt to intermingle the perfections of all the year so as to have somewhat of attractiveness in each several group at all times? Or shall we rather follow the dictum of Lord Bacon, and group together those plants suitable to each successive season? Doubtless each method is at times expedient.
• Composition - There is some danger that the beginner in plant grouping will make all his groups alike. This is a very easy thing to do. To avoid it, it first becomes necessary that the operator shall see the sameness into which he is falling. This he can best do in his own work by directing his imagination to construct before him the various finished groups.
• Position - There are, of course, some objects which are seen both near by and at a distance. But in the majority of instances an object, — for instance, a tree, — will be most often seen from the same distance. If it stand at the back of a wood belt, with numerous smaller trees between it and the distant roadway, it may be fairly considered in the background.
• Variety - There should be variety with unity. Unity does not demand sameness. The two are not really opposed to each other, though either one would be easier to accomplish could the other be disregarded. Perfect unity with satisfying variety need not be even a compromise; but both tests must always be applied by the gardener.

See Also

• Next Page: Variety In Season
• Return from Variety In Materials, Color, and Texture to: Landscape-Guide Home

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