Statues and 'Oases. 



223 



as a necessity, as like that last touch of colour in a picture 

 which sets the whole canvas in a flame." Figures look 

 well in wall niches, as in the garden, designed by Mr. 

 A. Winter Rose, which appears in Fig. 319. The kneeling 

 Boy with Dolphin, which serves as a fountain in the pool 

 at Wych Cross Place (Fig. 329) has beauty in its own right, 

 for it was modelled by Puech, an artist who has added no 

 little to the beauty of Paris by his monuments. None the 

 less, it is in the reflections it casts on the still water, and 

 in its judicious placing by Mr. Thomas Mawson in relation 

 to the terrace steps, that no little of its charm resides. 

 A like fancy is the Cupid and Swan of Fig. 328, which 

 makes an ideal ornament for a pool. 



Among the many subjects with which the old 

 designers chose to people their gardens there is none 

 which is so steadily successful as Pan. The Romans used 

 his bust chiefly as a Term set on a diminishing pedestal, 

 and it is in this form and from a modern model that 

 Fig. 327 shows him. Lead holds indisputably first place as 

 the material for garden ornaments in England ; but it 

 is apt to be expensive, and cement, if rightly used and 

 coloured, makes a satisfactory substitute. There remains 

 terra-cotta, which can be admirable if of quiet colouring 

 and attractive texture ; but the shiny red of some clays 

 is hard and unpleasant. Some delightful garden pottery 

 ^.^„^ ^____^ -.- ^- of subdued reds 



'• " and greys is made 



i by the Potter's 



Arts Guild at 

 Compton, Surrey, 

 the enterprise of 

 Mrs. G. F. Watts. 



FIG. 327. — A TERMINAL PAN. 



FIG. 328. — CUPin AND SWAN RISING FROM POOL. 



The bird bath, illustrated 

 in another chapter, is a good example of the 

 service ceramics can do to the garden, and 

 there are many satisfactory bowls to be had 

 in the same ^ material, modelled on simple 

 lines and sparingly decorated with swags of 

 fruit and the like simple devices. 



The right placing of statues and vases is 

 of as much importance as their intrinsic 

 merit. What, for example, could be 

 pleasanter than the flower-pot on an old 

 millstone which ends a stone-flagged path 

 (Fig. 330). In the background is seen the 

 always welcome figure of Gian di Bologna's 

 Flying Mercury, who seems here to have 

 alighted on a sea of bloom. Both vases and 

 statues are very well employed in adorning 

 balustrades and stairways, as in the example 

 illustrated in Fig. 331. at Sandhouse Witley, 



