The Ornamental Movement of IVater in City Streets 
THE FOUNTAIN OF ST. ANDREW 
AMALFI 
the green more immediately into range. A 
thick hedge, and, outside this, a growth ot 
shrubbery, are also provided. 
Occasionally, it is possible to heighten, by 
the introduction of moving water, the effect¬ 
iveness of a monumental scheme already 
dignified. Of this, an example is found in 
the setting of the Washington Monument, 
at Baltimore, near whose base little fountains 
help to suggest elasticity. One of them, 
with park-like surroundings, is shown here. 
The volume ol water is inconsiderable, but, 
in a quiet way, the fountain is not without 
influence. 
It is none too often, however, that success¬ 
ful treatment of ornamental fountains is to 
be seen in American streets. For a charac¬ 
teristic example of bad placing, note the 
Tyler-Davidson structure in Cincinnati. 
Seen, as in the illustration, from Fountain 
Square, its vertical axis nearly coincides with 
the angle of the tall building on the opposite 
corner, while one arm of the upper figure 
and part of the lower group is silhouetted 
against the sky. No design would retain its 
dignity under such circumstances, and in the 
present case, the fountain is further dwarfed 
by the tall trees that close in upon it. In 
extenuation may be urged the fact that this 
fountain was erected as long ago as 1871, 
from designs of a German, August von 
Kreling ; even the casting was done at the 
Royal Bronze Foundry, Munich. Those 
were the dark days of American municipal 
art. American cities possess as yet few street 
fountains of any importance, so that muni¬ 
cipal art organizations have ample field for 
their efforts. 
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