Art Out-of-Doors 
soirs are of irregular shapes and unequal 
lengths, so that they appear less to be bra- 
cing up than to be sliding past each other ? 
Richardson’s idea of the way in which a 
bridge in a naturalistically treated pleasure- 
ground ought to be built is shown by the 
one that carries Boylston Street across the 
Fens in Boston. It is a large bridge and 
entirely devoid of ornament — perfectly plain 
and simple above and below. But the wide, 
graceful, sinewy sweep of its arch, its beau- 
tifully modelled buttresses and coping, and 
the well-regulated shape and carefully fin- 
ished surface of all its stones, make it as 
true and refined and as noteworthy a work 
of art as any of the more elaborate things 
that Richardson ever built. Indeed, if I 
were asked to point out a quite perfect 
piece of Richardson’s handiwork, I think I 
should point to this bridge. Not far away 
from it stands another bridge, with three 
arches, built in the now prevalent “rustic ” 
manner. In general design it is very good, 
and were its fabric as architectural and its 
finish as perfect as its neighbor’s, the two 
would form a most happy contrast. But 
200 
