“WHEN TWO ARTS MINGLE” 
Enchanted by his own reflection in the still, bright pool, this bronze boy seems to have laid over all 
the garden the spell of his own rapture drawn from the quiet beauty of a summer day. Garden of Mr. 
Arthur H. Marks,Yorktown Heights, N. Y., designed by Messrs. Andrews, Rantoul & Jones, Architects 
GARDENS AND SCULPTURE CHARM TOGETHER 
ESTELLE H. RIES 
Two Arts in Happy Fellowship That Lends Distinction to Even the Smallest Garden 
®|P^||HERE is sometimes a mistaken conception in people’s 
mjM minds as to the real meaning of sculpture. It is so 
Iffpit often identified with tombstones and other “mortuary 
trlfHP'” art” that the idea of its being vital and alive has not 
thoroughly penetrated the average consciousness. I know of 
folk who go so far as to nurse superstition against portrait busts 
of the living! 
This, of course, is foolish, and cannot last under the influence 
of such an exhibition as that of the National Sculpture Society 
open since April fourteenth on the historic ground of Washington 
Heights, New York City. Never in America has there been a 
similar exhibition of such magnitude. The exhibits number 
over seven hundred, representing practically every important 
American sculptor, and a fitting setting has been expressly 
prepared for this impressive assemblage. The terraces and 
courts about which are grouped the five museums—American 
Academy of Arts and Letters, Hispanic Museum, National 
Geographical Society, Numismatic Society, Museum of the 
American Indian—hospitably housing the exhibition, have been 
laid out and planted in the most delightful manner. The result 
is important and significant to the devotees of both arts, land¬ 
scape and sculpture, which so happily supplement one another. 
Probably one of the reasons for people’s aversion to sculpture 
is the ghostlike whiteness of the usual marbles. But it will be 
a revelation to those who visit the National Sculpture Society’s 
exhibition to see the diversity of color in the figures. Bronzes 
with their green and gold patina; terra-cotta toned figures; 
some in gray, others in black, many in white or gold, a few in 
blue—indeed there is no possible sense of monotone. With 
this exhibition as a stimulating starting point, let us consider 
the possibilities of sculpture as a garden adornment, and its 
correct usage. 
G ARDEN sculpture need not imply lavish expenditure. 
It is to-day quite possible to secure in cement, tinted as 
desired, excellent reproductions of fountains, garden seats, urns. 
