The Garden Magazine, September, 1919 



51 



poetic aspirations. Here is of course a 

 principle that sculpture has always followed 

 and always will follow — the expression of 

 abstract thought — but my point is that 

 this thought should constitute a harmony 

 with all its surroundings and thus become 

 more impressive and emphatic. This is 

 to be done either by bringing these into 

 harmony with the sculptor's conception 

 through the landscape architect's art; or 

 the other way about, by studying the sur- 

 roundings to learn their natural spirit, and 

 then creating a work of art that embodies 

 and sets this forth. In other words, my 

 principle is briefly that either the natural 

 landscape should inspire the sculptor, or 

 the sculptor should, with his creation, in- 

 spire (fix the motif of) a landscape that 

 must then be created. 



FOR the proper study of the landscape 

 and the selection of its appropriate 

 sculpture ornament or adornment, I use 

 the living model — and freely confess 1 do 

 not see how it is possible to make such a 

 :>tudy except in just this way, with a model or models in situ. 

 To make clear my point 1 will invite you to consider for a 

 moment the subject shown in page 50. And as a begin- 

 ning, I will ask you what have we in this view, if the figures 

 are removed? 



It is a very simple view — just a still, formal pool in the 

 foreground, with a flight of steps leading up and away into 

 richest masses of foliage, piled depth on depth. The whole 

 arrangement however creates the sense of mystery; of won- 

 drous mystery enshrined beyond. A sleeping princess, per- 

 haps — Truth, Love, Beauty, — as you will! It matters not 

 whether you name it or not. The thing that matters is that 

 this impression deepens as you wait, until the senses are 



DOLCE FAR NIENTE 



Where insects hum, leaves rustle softly, and summer rests, dreaming away 



the golden days 



steeped in the magic of it, and in the hush of a shrine that 

 pervades the very air. 



There is but one answer to this. Inevitably the figures 

 are disposed in the static attitudes of expectancy and hush; 

 and inevitably they group about the centre, at once bearing 

 out the impression by their respective positions as well as by 

 their posture. 1 will invite you to consider also that, how- 

 ever long they wait here, assuming them to be rendered into 

 marble, the spirit of the scene will only intensify; and at the 

 end of a century — two, three centuries — this will still be a 

 shrine, with its intriguing, hushed mystery richly prom- 

 ising. Which reminds me to say that this test of Time's 

 effect should also be invariably considered. 



.«• 



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ART SUPERLATIVELY REFINED IN SUBJECT AND IN SETTING 

 In a garden conception such as this the delicate charm exhaled by perfection in every line and factor 

 of design demands appreciation as delicate, and a sculpture approach that is nothing short of ethereal 



