Page:The Poetry of Architecture.djvu/248

236 uppermost pines. There is a deep and shadowy hollow at the base of the cliff, increased by the chisel of the sculptor; and in the darkness of its shade, cut in the living rock, lies a dying lion, with its foot on a shield bearing the fleur-de-lis, and a broken lance in its side. Now, let us imagine the same figure, placed as the editor of the Courant would place it, in the market-place of the town, on a square pedestal just allowing room for its tail. Query, have we not lost a little of the expression? We could multiply instances of the same kind without number. The fountains of Italy, for instance, often break out among foliage and rock, in the most exquisite combinations, bearing upon their fonts lovely vestiges of ancient sculpture; and the rich road-side crosses and shrines of Germany have also noble effect: but, we think, enough has been said, to show that the utmost finish of art is not inappropriate among the nobler scenes of nature, especially where pensiveness is mixed with the pride of the monument, its beauty is altogether lost by its being placed in the noise and tumult of a city.

But it must be allowed, that, however beautiful the combination may be, when well managed, it requires far more taste and skill on the part of the designer, than the mere association of architecture, and therefore, from the want of such taste and skill, there is a far greater chance of our being offended by impropriety in the detached monument, than in that which is surrounded by architectural forms. And it is also to be observed, that