5? 



The Garden Magazine, September, 1919 



WITH the very different scene and group shown at page 

 (53) what do we discover? Again, we study the land- 

 scape first with the figures eliminated. Placid repose 1 think 

 you will agree it expresses, with the blue (or gray) of sky 

 reflected in a little lake, clouds lending movement on occasion 

 as they float across, and the foliage of trees and shrubs on the 

 banks, as well as the water's surface, moving also under the 

 rippling wind. There is life in abundance in this repose in- 

 deed; but always in its gentlest aspect. Therefore any figure 

 or group that is to be introduced here must express just this 

 and all of this — no more and no less. 



The models are placed under this conception — a figure at 

 rest and a figure in mild action— and their pose is modified 

 until all lines are harmonious and the group and its reflection 

 become a reasonable and perfectly logical part of a landscape 

 that, by their presence, is lifted actually from the common- 

 place and colorless on to a plane of real distinction. 



HISTORY reveals to us that only those nations which 

 have produced richly in the arts — literature, music, 

 painting, architecture and sculpture — have ranked high, or 

 held supremacy even though they may briefly have attained 

 to it. Which is at once a proof and an argument — a proof 

 that the arts are a necessity in the development of man, and 

 that without them he cannot hope to arrive at the enjoyment 

 and mastery of his full powers ; and (hence) an argument for 

 a profounder consideration of all matters pertaining to the 

 arts than has perhaps been commonly given in the present 

 age. 



My opinion is that America with her splendid energy, 

 freshly personified it seems to me in every individual with 

 whom 1 come in contact here, has in this respect — as in all 

 else! — an opportunity of surpassing character. For there 

 is so much that has not yet been done in America ! 1 1 is well 

 that there shall be beautiful buildings of all kinds, of course, 

 but this is not enough — not half enough, even! For beautiful 

 gardens, both private and public, mean vastly more. Do you 

 know I wonder, America, what you can do for the world just 

 by the development of pure garden beauty in your magnifi- 

 cent outdoors — by the recognition of your garden oppor- 

 tunities? And your garden obligations, I am tempted to 

 add! 



Of the great number of beautiful structures and monuments 

 and works of art that there are, how few, comparatively, 

 linger in the memory! This is because of some failure of the 

 art sense somewhere in relation to them. Either they are 

 treated insufferably so that they altogether lack a suitable 

 and fit background, or they are so badly disposed with regard 

 to the spirit of their conception! Take a common instance 

 such as the Central Park in New York City; here is the group 

 presented by Mr. G. W. Burnham, for example — the subject, 

 two eagles battling over the body of a mountain goat — 

 disposed on a gracious hit of greensward between deciduous 

 trees! 



What an outrage to the imagination and the sensibilities! 

 Why not the proper site — a high and rocky ledge, with a back- 

 ground of sky — where such sites abound? Why not the Pine, 

 if there must be trees? Why the spirit of furious strife unless 

 a similar spirit lurks in the landscape? In other words, why 

 this subject at all, if it cannot be appropriately treated and 

 the same spirit cannot pervade its setting? Why not a some- 



thing in keeping with smiling lawn and shade of peaceful 

 trees instead? Here for example — page (51 ) — is a garden vista 

 devoid of distractions or suggestions — a vista of intimate 

 appeal, dreamy, conducive to reverie and introspection. Yet 

 it is not grave nor solitary nor aloof! On the contrary 

 it is distinctly gracious and appealing, even social. Hence 

 we assemble a group (symbolizing what you will of the triune 

 aspect common to all things) that expresses in posture and 

 position just these elements. 



At the fountain on page (51), however, we have 

 something so altogether different from this that I may 

 say it is its very antithesis. As a beginning, for example, 

 water in contrary motion — the jet — is the most vivid 

 expression of positive force that there is. We must 

 have here therefore a subject embodying this feeling, con- 

 veying vividly the sense of springing movement and lively 

 force; and yet we must have lines that flow rhythmically and 

 are in harmony with the general composition. 



It may be permissible to say that I regard this sort of thing 

 as at once one of the most difficult and interesting of pro- 

 blems, since the danger of introducing a jarring element into 

 a garden design of such refinement is very great. With this 

 in mind, the subject has been made what I may call fugitive 

 in character. That is, a sense of instant flight pervades the 

 figure. Dryad, nymph, wood sprite, god or goddess as the 

 case may be, there is haste in every line — haste in arrival, 

 tension and haste in the rest, and eager haste, waiting but 

 the signal alertly watched for, to be on. Whether pursued 

 or pursuing, this is but an instant's pause; and of course 

 even the pause may express springing movement and lively 

 force. 



IT IS all very simple; but to inculcate in the fiber of a race 

 any great abstraction such as genuine love for and appre- 

 ciation of the Fine Arts it is of course well known that the 

 foundations must be laid deep. I ndeed I question whether we 

 actually suspect how deep; but in any event, I may say that 

 I think appreciation must be quickened at its source. And 

 the source of appreciation is perception, naturally. The eye 

 beholds — perceives; the message is carried to the within, and 

 the man — in his soul, spirit, heart, or what you will of him- 

 self — appreciates, according to the degree of his awakening. 

 If perception is directed to the beautiful only, especially in the 

 beginning (by an absence altogether if this might be, of the 

 ugly!) appreciation soon becomes developed to a high degree. 

 But if there is a long interval of accustomedness to ugly 

 things or things inharmonious — which is to the artist identi- 

 cal — appreciation will be correspondingly dulled and there 

 will be much to undo before any real progress toward the 

 response to pure beauty can be aroused. 



FOR this reason — partly — I look with keen anticipation 

 at the opportunities before America. It is a land in its 

 youth — the time of alert and eager perception and unfolding 

 appreciation. Also it is a land where all is yet to be done, 

 and so may be done in the very most perfect fashion, under 

 the guidance of old world (and new) enlightenment. 

 Hence it is here that the art of the sculptor as utilized in 

 the garden shall once again come into its superlative 

 dignity and be accorded the honor and consideration that 

 are its due. 



