STRUCTURES IN LANDSCAPE 2m 



man who sees it must feel some interest of kinship. Having this 



double interest, statuary is bound by a double restriction. It must be 



sufficiently natural and lifelike to suggest the living form and express 



the spirit of the being which it represents ; it must at the same time 



submit itself to the rules of mass, of balance, of solidity and apparent 



permanence, — of the general proportion of any decorative object to 



ip base and to its setting, — which govern its forms as they do the 



forms of the vases and sundials and the steps and buildings in man's 



designs. A statue representing a figure in an unbalanced attitude gives 



a feeling of unrest if one looks at it for long. For similar reasons, many 



persons object to a statue which, though balanced, represents violent 



exertion. 



Because of its greater fineness of workmanship, because it is usually Faluf of 



a more important work of art, because it has, besides its form, such a 5f<*^tt<»Of <imong 



, , - . . . . •11 1 . 11 Decorative 



wealth of attraction m association, a statue in landscape design usually Objects in 



takes the more important place among the minor decorative objects.* Design 

 The general rules of its mass relations in landscape design are the same 

 which govern the use of other minor decorative objects. It is interest- 

 ing to note that statuary, on account of its added value through repre- 

 sentation, is worthy to occupy the most important place as an object 

 in the most formal designs, although it is not itself, in any restricted 

 sense, formal ; and so it may at the same time accent and relieve a 

 rigidly architectural scheme. 



The signification, the expression, the association, of statuary should 

 also be studied if it is to play its part to the fullest degree. This goes 

 without saying in the case of commemorative statues : one might ex- 

 pect to find the figure of a warrior or of Victory as a monument in a 

 battle-field. Almost as surely should one expect that a statue in an 

 orchard should be of Pomona or some of her mythologic kin ; a statue 

 in a grove, a dryad ; a statue in a flower garden might well represent 

 Flora or Vertumnus ; and we are not surprised to see Peter Pan playing 

 his pipes in Kensington Gardens. Such a statue of the genius of the 

 place may express and give life and personality to the eifect which the 

 landscape architect Is striving to produce by his whole design. But 

 besides such obvious appropriateness as this of the statue to its sur- 

 * See discussion of statuary in the garden, Chapter XI, p. 245. 



