194 
PARK AND CEMETERY 
NO. 2. GROTTO, VILETTA DINEGRO, GENOA. 
Nos. 1 and 2 are examples of artificial rockwork, not intended 
to simulate but to suggest natural formation. 
designer has always tried to make it as beautiful 
as he could, but has generally made deplorable 
mistakes with bad lines of composition, or excres- 
cences, or the jig-saw, or his color treatment or some- 
thing else. The fault is in the designer ; not in his ambi- 
tion but in his ability. So with rockwork : there is noth- 
NO. 3. GARIBALDI MONUMENT AT VENICE. 
ing the matter with it in the abstract, but often a good 
deal in the concrete. On the continent of Europe it is used 
freely in all directions, by itself or in combination with 
dressed masonry. Often it is used to make grottoes, 
waterfalls or other seemingly natural objects, yet if one 
examines it, it usually turns out that the builder has 
made no attempt to conceal the cement between the 
joints; an elaborate instance of this is the grottoes 
and cascades of the Villetta Dinegro at Genoa. 
Often it is used in combination with formal architec- 
ture, as in innumerable instances in Italy, and often 
in France and elsewhere; take for instance the cascades 
at Fontainebleau, where a wall of beautifully designed 
and finely squared stones is paneled with rough stones 
NO. 1. THE CASCADE, VILETTA DINEGRO, GENOA. 
which are nothing but rockwork. Often it is actually 
used as a base for statuary or architecture, as at Schon- 
brunn, or the Garibaldi monument at Venice. 
If we consider all these structures, we shall find that 
their makers have used their rough stones much as they 
have used their dressed ones. They have not pre- 
tended that their rockeries were anything that they 
were not. They have built them into forms and places 
that seemed most rational and decorative, and usually 
because they appeared more fit than formal architec- 
ture. They have made something definite of them, a 
retaining wall, a grotto or a monument, and generally 
found the secret of making it look appropriate and orna- 
mental — not always, by any means, but generally. We 
cannot do quite the same things because we have not 
the same materials nor the same feeling ; but we have 
better opportunities. We can (and do) shore up a 
