Out-Door Monuments 



cer, glass in hand, is placed on the edge of 

 an abrupt, lo^', rocky hill, without any base 

 except the necessary thin plate of bronze be- 

 neath the feet. To persons looking from 

 below it may wxll appear, at the first glance, 

 the figure of a living man. But this is not a 

 worthy aim in the making of a work of art. 

 Even a very good statue could not fail to 

 seem cheap and trivial thus deprived of 

 proper station and emphasis. 



But right placing is as important with re- 

 gard to out-door monuments as intrinsic ex- 

 cellence. A beautiful statue may be shorn 

 of half its effect if badly stationed ; a good 

 substructure can rarely be designed unless 

 the destined station is exactly known ; and, 

 on the other hand, a fine bit of landscape 

 or a dignified open space in a city street 

 may be seriously injured by the inappropri- 

 ateness even of a work that is meritorious in 

 itself. 



It should be remembered, first of all, that, 

 as a monument is a palpably artificial thing, 

 the best place for it is where other artifi- 

 cial objects are conspicuous. In a park, it 

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