June, 1920 
29 
in the garden of 
Thomas Hunt at Tiv¬ 
oli, N. Y., a dryad 
stands under the 
shadow of old trees 
by the pathside. The 
thatched summer 
house and stone path 
contribjite to its gar¬ 
den setting. Lord & 
Hewlitt, architects: 
Vitale, BrinkerhoJ & 
Geiffert, landscape 
architects 
One can see how in¬ 
tensely alive a garden 
will become when , 
looking tip from the 
pool, the view is sud¬ 
denly animated by 
this lad with his water 
jars. It is in the gar¬ 
den of Francis E. 
Drury, Cleveland, 
Ohio. Vitale, Brink- 
erhoff & Geiffert , 
landscape architects 
entirely informal, if there are no places con¬ 
trived for sculi)ture to fill. Statuary in such 
surroundings is apt to look as though it had 
strayed in by mistake or had been casually 
dropped, as it does in most of our parks. 
The important fact underlying this problem 
of finding the right statue for the right place, 
whether in an architectural garden or a com¬ 
muter’s }ard, is that the setting ought to Ije 
designed as well as the statue. It is not suffi¬ 
cient to give thought to the sculpture; it is 
necessary to give serious thought to the place 
where it is to go. If there is no fit and proper 
place for it, no niche in which it wall naturally 
belong, no scene of inevitable fitness, one must 
be made. The statue should seem as much at 
home as a dr}’ad step])ing out of the tree in 
which she lived, or the spirit of the cave or 
of the waterfall. 
Just how this is to be done, no one can 
prescribe, for no two sets of conditions are 
just alike. No rules can be formulated, 
and general principles tend to be vague so 
that the designer can but reh’ on that sec¬ 
ond sight which is called instinct or in¬ 
spiration. This comes, first, from native 
wit, then from the study of a large number 
of instances, plus a certain amount of 
artistic sense. It is hoped that the pictures 
may give an idea of the varied nature of 
this suljject, and suggest solutions for other 
problems of a similar kind. 
\Mien the (juestion of putting statuar}’ in 
a small ])lace arises, tlie first consideration 
should be, not ‘Ts it good sculpture in it¬ 
self, that I happen to like for its own sake?’’ 
but, 'Ts it the kind that harmonizes with 
(Continued on page 88) 
