Out-Door Monuments 
cer, glass in hand, is placed on the edge of 
an abrupt, low, rocky hill, without any base 
except the necessary thin plate of bronze be- 
neath the feet. To persons looking from 
below it may well 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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