s a returning one from the rear of the entire campus,--where
stands the institution's only other building, a large tall-towered
gymnasium, also of red brick,--these superlative effects show out across
an open grassy distance of from two hundred to three hundred feet.

Wherefore--and here at last we venture to bring names of things and
their places together--at the fronts of the northernmost and
southernmost of these three "Halls" we set favorite varieties of
white-flowering spireas (_Thunbergia, sorbifolia_, _arguta_, _Van
Houttei_), the pearl-bush (_exochorda_), pink diervillas, and
flowering-almonds. After these, on the southern side of the southernmost
building, for example, followed lilacs, white and purple, against the
masonry,--the white against the red brick, the lilac tint well away from
it,--with tamarisk and kerria outside, abreast of them, and then pink
and red spireas (_Bumaldi_ and its dwarf variety, _Anthony Waterer_). On
the other side of the same house we set deutzias (_scabra_ against the
brick-work and _Lemoynei_ and _gracilis_ outside). In a wing corner,
where melting snows crash down from a roof-valley, we placed the
purple-flowered _Lespedeza penduliflorum_, which each year dies to the
ground before the snow-slides come, yet each September blooms from three
to four feet high in drooping profusion. Then from that angle to the
rear corner we put in a mass of pink wild roses. Lastly, on the tall,
doorless, windowless rear end, we planted the crimson-rambler rose, and
under it a good hundred of the red rugosas.

In the arrangement of these plantings we found ourselves called upon to
deal with a very attractive and, to us, new phase of our question. The
rising progression from front to rear was a matter of course, but how
about the progression at right angles to it; from building to building,
that is, of these three so nearly alike in size and dignity? To the
passer-by along their Main Street front--the admiring passer-by, as we
hope--should there be no augmentation of charm in the direction of his
steps? And if there should be, then where and how ought it to show
forth so as to avoid an anticlimax to one passing along the same front
from the opposite direction? We promptly saw,--as the reader sees, no
doubt, before we can tell it,--that what we wanted was two crescendos
meeting somewhere near the middle; a crescendo passing into a diminuendo
from whichever end you moved to the other--a swell. We saw tha