Very few people have any idea 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; fastigiatc and weeping trees; dark colored and yellow trees; broad-leaved and cut-leaved trees; big trees and little trees, which can be used in garden planters.

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 the Sistine Madonna 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 most often 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 presents.

A plane tree is not greatly different in form from a Kentucky coffee tree, and yet what a vast 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! To no other quality of a tree is variety more effective than in the texture.

The horticultural calendar has certain well-marked divisions to which the exhibitor of growing plants may well have thoughtful regard. The first essay that was ever written in the English language on the subject of ornamental gardening opened with an extreme prescription for this arrangement. “There ought to be gardens for all the months of the year, in which, severally, things of beauty may be then in season."

The essayist proceeds immediately to give a catalogue of the plants seasonable to each month of the year, "for the climate of London." We may doubt whether ten or twelve classes of plants can practicably be made on this basis; but we distinguish in our own feelings with great differences between spring greens, June roses, midsummer's wealth of foliage, autumn colors and winter scenes.

Any particular plant is not likely to figure in its perfection through more than one or two of these seasons; and this opens to the landscape gardener a serious problem. The question is: shall we attempt to intermingle the perfections of all the year so as to have somewhat of attractiveness in each group at all times? Or shall we group together those plants suitable to each successive season?