Art Out-of-Doors 
if not corrupting, the popular love of art, 
can hardly be over-estimated. It is worth 
while, therefore, to try to discover some of 
the reasons why our monuments are so sel- 
dom good. 
They might, as a rule, be much more suc- 
cessful but for a common mistake in their 
first conception— a mistake against which 
intelligent sculptors have long protested in 
vain. Nine times out of ten a full-length 
figure is insisted upon when a bust, or an 
architectural monument with a fitting in- 
scription and, perhaps, a portrait-head in 
relief, would be all-sufficient and, indeed, 
distinctly more appropriate. This perpet- 
ual demand for full-length figures works in 
two ways against the sculptor’s success. 
In the first place, the average of physical 
dignity and beauty in our race is not very 
high ; many men since St. Paul have been 
weak in their bodily presence, although 
giants in intellectual and moral ways ; and 
since the time of St. Paul there has been a 
great change for the worse in masculine cos- 
tume, judged from the artist’s point of view. 
The modern portrait-sculptor has fallen upon 
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