Art Out-of-Doors 



ues and busts are best fitted for such a place, 

 as it is difficult to give their backs any 

 strong quality of interest. 



This question of desirable points of view 

 is even more suggestive than the question 

 of scale as regards the main truth to 

 which I have been leading up. This is the 

 truth that, when a definite commission is 

 given for a monument, the artist should be 

 told just where it is to stand. He can 

 then decide what must be its size, how 

 strongly he must emphasize its silhouette, 

 and whether he must consider all points of 

 view with equal care or may subordinate 

 some to the one v/hich will be of prima- 

 ry importance. Such subordination, be it 

 noted, even if it amounts to total sacrifice, 

 is a perfectly lawful and laudable method 

 of design when circumstances justify its 

 choice. There is no more reason why the 

 back of a monument should be as beautiful 

 as the front, if the back will never be seen, 

 than why a picture should be painted on 

 both sides of the canvas. And the artist 

 is shorn of his due prerogative when he is 



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