This principal feature or focal point must dominate the scheme. It must be the most important thing in it, the highest point of development. Towards this the rest of the design and the planting lead. When there is no focal point, or when there are several equal ones fighting for attention, unity or harmony is lost and the serenity of the garden destroyed. When there is one point of climax, an orderly sense of design results.

The mere placing of a feature on the axis is not enough. It must be treated so that it does in truth become the focus, the natural center of attention. It must have adequate background and flanking plantings of the choicest material, and the area around it must be designed so that it represents a pleasing picture.

The widening of paths around the focal point and the treat ment of the adjacent area so that it has form-circle, oval, square, or oblong-does much to increase the importance of the feature. If it is located at the far end of the scheme, a good background planting, a bit of wall, fence, lattice, or hedge, will block the view beyond and throw the feature into higher relief, thus capturing the attention. To emphasize and strengthen the focal point the area around it can be raised or lowered a step or so from the main level of the garden. Such an open area creates a foreground for the feature and gives a feeling of openness, and dignity. (Plate 3.)

Terminal Motive

Where the focal point occurs at or near the end of the cen tral axis, the garden design is called the terminal-motive type. It is simple, straightforward, pleasing, easy to accomplish. It is best suited to long, narrow garden sites.

The simplest of all patterns is then a balanced arrangement on a central axis, strongly terminated at the farther end, and of course adequately enclosed. The lines of such a scheme are usually straight, parallel to the axis, and the result is a simple formal pattern-two wide borders flanking a path. If the area is large enough to accommodate a more complex pattern and still remain in scale, a cross axis may be developed halfway or two-thirds way down the main axis, and running at right angles to it. (Plate 4.)

Central Motive

When the principal feature is located at the crossing of the major and minor axes, a central-motive design is created.