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THE SCULPTURES OF 
FAULKNER FARM. 
I I is not enough that a garden should be 
a good composition in line and mass, in 
color and light and shade, that it should be 
a satisfactory combination of bloom and 
verdure and gravel paths, that it should 
serve adequately as a modulation from art to 
nature, solely through the progressive influ¬ 
ence of art on nature, from the frontier of 
wilderness to the dwelling that forms the 
focus of the composition. Contrasts, ac¬ 
cents, are imperatively needful; reflecting 
water, chiseled stone, sculpture, wrought 
metal; all these things are necessary for a 
perfect composition, necessary also to the 
fulfilling of the chief function of a garden as 
a mediator. 
In the Italian garden one hardly knows 
which predominates, man’s handiwork or 
nature’s : statues and fountains, balustrades, 
i 
