Page:An Encyclopædia of Cottage, Farm, and Villa Architecture and Furniture.djvu/1018

994 produced an interesting article on this subject, in Jameson's Journal, vol. xiv. p. 364. Messrs. Cottam and Hallen have also lately had vases of a great variety of sizes, with and without ornaments, cast in iron in one piece, so as to sell at very low prices.

1981. The Disposition of Statues, in Architectural Gardens, is a matter that requires much taste and feeling; and it would occupy too much space to lay down either principles or rules for it. As a general guide, we would suggest that no statue ought ever to be placed where it may not be viewed in connection with some architectural production; such as placed on the piers of a balustrade, on the side walls of a stair, or simply on pedestals among flowers; but so as always to have a spreading architectural base, and to be seen backed by a wall, or some part of a building. Statues may also be placed where they are seen in connection with each other; though even this will not be entirely satisfactory without some mural appendages. Statues placed in woods, in green arbours, verdant alcoves, in the midst of naked grass lawns; or, in short, in any place where they are surrounded only by vegetation, are, from their want of harmony with the scene, decidedly objectionable. The streets, squares, and market-places of cities are indeed the true situations for statues; next to them, the exterior elevations of edifices of any kind; and, next to these, architectural gardens. The subject of indoor sculptures is not here under consideration.

1982. Busts, Therms, Vases, Urns, Sundials, and similar architectural and sculptural objects, are subject to the same laws as statues. Busts alone are more adapted for decorating the walls of an edifice, than for being placed on the walls or piers of a garden; but, when they are placed on therms, they then approach more nearly to statues, and may be treated like them. latter is always a covered vessel. The difference between a vase and an urn is, that the The vase, being an open one, has frequently soil and a

plant placed in it; but this, in the great majority of cases, and at all events in the case of all sculptured vases, we consider to be in 1776 bad taste. It is re- ducing a work of art to the level of a mere garden flower-pot, and dividing the attention between the beauty of the form of the vase, and of its seulptured

ornaments, and that of the plant which it con- tains. Two kinds of beauty so different cannot be felt, examined, and enjoyed by the mind at the same time; for unity is the essential principle of every work, the end of which is to please. It is seldom, therefore, that vases, when used architecturally, can, with propriety, be made to serve as flower-pots. The Italians sometimes employ them in this manner,

but not always with a proper effect. The least objectionable cases are those in which, on the pier of a gate, a vase contains that stiff architectural-looking plant, the American aloe; and so sensible are the artists of Italy of the superiority of this plant to most others in such