368 
The Garden Magazine f August, 1823 
flowers as iron does. At 
the same time its color 
is soft and blends pleas¬ 
ingly with the green fo¬ 
liage about. 
A garden of large scale 
and considerable dignity 
sometimes finds the sim¬ 
ple garden seat of the in¬ 
formal cottage assume 
the majesty of an exedra. 
This is a raised platform 
with steps, and is pro¬ 
vided with seats that are 
a structural part of it. 
The exedra is ordinarily 
sculptured quite elabo¬ 
rately. It is only appro¬ 
priate in formal gardens, 
overlooking an expanse 
of ground of considerable 
interest—perhaps a pool, 
a tennis court or some 
other important feature. 
(See page 373.) 
N FORMAL es¬ 
tates the pergola 
may have interesting ex¬ 
amples of garden sculp¬ 
ture placed along its 
borders, and a delightful 
setting is so formed. But 
care must be exercised 
in designing a pergola, 
for more oversights of 
architectural harmony 
are committed in this 
branch of garden plan¬ 
ning than with any other 
accessory. Where the 
garden represents a cer¬ 
tain style, as a formal 
Italian arrangement 
would, such garden 
adornments as are se¬ 
lected should be consis¬ 
tent. The pergola of 
classic design cannot feel 
pleasantly disposed toward a rambling, careless little bung¬ 
alow; nor can a rustic pergola rise to the dignity of a 
Georgian mansion. The pergola has for its purpose to 
support vines and to provide a pleasant shady walk, leading 
logically from one place to another. But there is no reason for 
its existence where there is no vine for it to support, or no destin¬ 
ation for it to lead to as a fitting transition. It is only when 
these essential purposes are satisfied that the pergola may be 
used as a subject for sculptural adornment. 
Never place urns, statues, and other garden ornaments in 
the centre of an open lawn, any more than you would place an 
object without reason in the centre of a room. These pieces 
are made to adorn spaces, but not to monopolize them. They 
should be located with a background of solid wall, whether of 
stone, brick, topiary, or something else. Sundials must, of 
course, be in the sun, not under trees or other shady parts; but 
even these do not have to sit in the middle of the lawn. 
A delightful result in hot weather is had by the use of 
fountains, but in winter 
with the water turned off 
they can be extremely 
dismal. Unless they are 
interesting without the 
water, it is better to dis¬ 
pense with them. There 
exist a large number of 
fountains, designed by 
nobody knows whom, 
that unfortunately are as 
grotesque and uglyas can 
be imagined. Figures 
contorted in spasms, and 
ejectingwater out of their 
own mouths we have 
doubtless all seen. Just 
because they have been 
cleverly executed seems 
no good reason why any 
garden should seek to 
exploit them. 
To-day there are avail¬ 
able the most exquisite 
examples of the sculptor’s 
art in the form of foun¬ 
tains. There are few 
sculptors who have not 
been fascinated by the 
problems of fountains, 
some with their leaping, 
dancing water, others 
with their still water mir¬ 
roring the sky, and those 
whose gently dropping 
water quietly overflows 
its basin. 
Many delightful exam¬ 
ples are shown at the 
sculpture exhibition of 
fountains, fountain fig¬ 
ures, wall fountains, and 
all types that are an un¬ 
ending source of joy. It 
is no longer felt that they 
must be reserved for the 
formal estate. The little 
place may have one, too, 
but it should be of a size 
not to oppress or dominate. Often the wall fountain is more 
readily placed, but it seems obvious that, in any case, the 
motion and music of any fountain, and its play of light and 
color, are an asset to a garden even if it be a little one. For 
the tiny place, a bird bath suggests itself, and the loveliest 
figurines with grace and poetry in every line may be had. 
S UBJECTS for garden sculpture should be reposeful or joy- 
giving. Mournful or morbid pieces should be absolutely 
banned. There is no dearth of cheerful, wholesome sculpture to 
encourage and stimulate the beholder, and garden adornment 
serves a two-fold and very valuable purpose when it does this. 
Meaningless “decorations” are only restless and futile. Rather 
let the garden be its own glorification than seek to enhance it 
with something that does not rise to its loveliness and beauty. 
Gardens and sculpture charm together. When two arts 
mingle one with the other, and each is revealed and glorified 
thereby, a great thing has been achieved. 
WATER PUT TO PLEASANT USES 
Smoothly falling from one level to another in an interestingly designed series 
of basins, this water feature has considerable charm. Gardens of Mr. George 
W. Olmstead at Ludlow, Pa., designed by Albert J. Bodker, Architect 
