STATUARY IN GARDENS AND PLEASURE GROUNDS. 



such objects are wholly at variance with the situation ; and it is impossible to intro- 

 duce them in such positions, without injury to that consistency of purpose which is a 

 primary consideration in artistic arrangement. 



There are two modes of placing statuary in grounds. One is, to connect it with 

 architectural structures — either the house, or some of the subsidiary edifices, such as 

 a conservatory or other building, (and this is generally deemed the most desirable 

 situation for it) ; or else to place it in the vicinity of avenues or walks, in the midst 

 of the rural scenery of the place. In connection with the house, or with any impor- 

 tant subsidiary edifice, it is considered admissable to introduce almost any species of 

 sculpture; because, where it is supported by a mass of building, the character of art 

 in both maintains that " unity of purpose" which should be apparent in all attempts 

 at tasteful arrangement. But where it is contemplated to introduce statuary into 

 rural scenery, without its being in view of architecture of any description, two circum- 

 stances require attention ; the one, the kind of scenery ; and the other, the subject the 

 sculpture is intended to represent. 



In scenery now styled Gardenesque in character, in which the "beauty of repose" is 

 the prevailing feature, provided rustic ornaments (such as alcoves constructed of rough 

 wood) are not present, statuary of suitable subjects may be introduced with perfect 

 good taste. In reference to statuary placed in such scenes, those are best adapted to 

 the purpose which embody some rural conception — as Flora, shepherds, or some idea 

 which is usually associated in the mind with the relation of country life. But if the 

 statuary introduced into rural scenes is in considerable quantity — as, for instance, a 

 series of statues, busts, or vases on pedestals, within sight of each other on either side 

 of a long wide walk or avenue — the subjects may be as varied and as diverse as may 

 be wished : because, in the latter case, by their number they become an important 

 feature of themselves, indicative of an intention that they shall command the attention 

 of the spectator independently of the surrounding scenes, in the same manner as would 

 be the case in a sculpture gallery ; whereas, in the instance of simple sjyecwicns of 

 statuary placed in the midst of rural scenery, it is evidently proposed that it shall be 

 viewed rather as an additional ornament, to add eftect to the surrounding beauties, 

 and a propriety of subject is therefore required. 



In scenery of the grand and picturesque character, such as Salvator Rosa por- 

 trayed, whether this is derived from the presence of rocky or barren scenery, or from 

 the general disposition of the natural features of the place, statuary must be introduced 

 with great caution ; for in such situations it is very difficult to select subjects which 

 are not in themselves repulsive to the ideas suggested to the mind by the ruling char- 

 acter of the scene. In such positions, I should hesitate much to recommend the intro- 

 duction of statuary at all, that represented living objects, except equestrian statues, or 

 statues embodying some mythological composition associated with the brute creation. 

 Vases and architectural fountains or fragments are among the most successful embel- 

 lishments for which the picturesque can be indebted to the chisel of the sculptor. 



In whatever situation statuary is placed, therefore, in the open air, it becomes neces- 

 sary to well consider the appropriateness of subject and of situation ; and this is the 



