178 



GARDENS IN THE MAKING 



Fig. 49. — A Stone Bridge. 



endow those garden enclosures wherein he weds 

 nature to art. The sculptured vase, the urn, the 

 •figure in lead or stone, — each is beautiful in its 

 contrast with the folijige and bloom of the garden, 

 and yet it has a secret kinship and sympathy with 

 its surroundings. It is a symbol, a sign of man's 

 interest in nature as a whole, and an indication of 

 his appreciation of the fact that the unity in the 

 isolated work of art is a reflection, however imperfect, 

 of the greater unity in Universal Nature herself. 

 This at least is the mood in which we contemplate 

 these silent inhabitants of the garden, and for this 

 reason we hold that they should be as perfect in 



