There is perhaps no branch of Landscape Gardening in which the correct principles of taste are so frequently violated as in the introduction of statuary into ornamental grounds, and yet there is none in which the rules by which it should be regulated have been better defined. It is not unusual, for instance, to see rustic alcoves and bridges, or summer-houses in the Swiss style, ornamented with statuary in marble or white stone. Nothing can be a greater mistake. However beautiful in themsleves such objects are wholly at variance with the situation; and it is impossible to introduce them in such positions, without injury to that consistency of purpose which is a primary consideration in artistic arrangement.

There are two modes of placing statuary in grounds. One is, to connect it with architectural structures - either the house, or some of the subsidiary edifices, such as a conservatory or other building, (and this is generally deemed the most desirable situation for it); or else to place it in the vicinity of avenues or walks, in the midst of the rural scenery of the place. In connection with the house, or with any important subsidiary edifice, it is considered admissable to introduce almost any species of sculpture; because, where it is supported by a mass of building, the character of art in both maintains that "unity of purpose" which should be apparent in all attempts at tasteful arrangement But where it is contemplated to introduce statuary into rural scenery, without its being in view of architecture of any description, two circumstances require attention; the one, the kind of scenery; and the other, the subject the sculpture is intended to represent.

In scenery now styled Gardenesqtts in character, in which the "beauty of repose" is the prevailing feature, provided rustic ornaments (such as alcoves constructed of rough wood) are not present, statuary of suitable subjects may be introduced with perfect good taste. In reference to statuary placed in such scenes, those are best adapted to the purpose which embody some rural conception - as Flora, shepherds, or some idea which is usually associated in the mind with the relation of country life. But if the statuary introduced into rural scenes is in considerable quantity - as, for instance, a series of statues, busts, or vases on pedestals, within sight of each other on either side of a long wide walk or avenue - the subjects may be as varied and as diverse as may be wished: because, in the latter case, by their number they become an important feature of themselves, indicative of an intention that they shall command the attention of the spectator independently of the surrounding scenes, in the same manner as would be the case in a sculpture gallery; whereas, in the instance of simple Specimens of statuary placed in the midst of rural scenery, it is evidently proposed that it shall be viewed rather as an additional ornament, to add effect to the surrounding beauties, and a propriety of subject is therefore required.

In scenery of the grand and picturesque character, such as Salvator Rosa portrayed, whether this is derived from the presence of rocky or barren scenery, or from the general disposition of the natural features of the place, statuary must be introduced with great caution; for in such situations it is very difficult to select subjects which are not in themselves repulsive to the ideas suggested to the mind by the ruling character of the scene. In such positions, I should hesitate much to recommend the introduction of statuary at all, that represented living objects, except equestrian statues, or statues embodying some mythological composition associated with the brute creation. Vases and architectural fountains or fragments are among the most successful embellishments for which the picturesque can be indebted to the chisel of the sculptor.

In whatever situation statuary is placed, therefore, in the open air, it becomes necesmore imperative in proportion as the desire exists to place statuary in single specimens alone.

The foreground of a large vinery affords a most appropriate situation for the formation of a flower-garden in the Italian style, in which statuary is necessarily the predominant feature; but it only admits of adoption in two situations - the one immediately adjoining the house, and the other in connection with a conservatory of sufficient extent to support the general design. The low terrace wall is an indispensable adjunct to the introduction of this style. It serves the double purpose of isolating from the adjoining plantation the geometrical character of the flower-beds which the adjacent architecture renders it necessary to employ; and it forms, as it were, a general base for the assemblage of sculpture distributed through it; for when the statuary is placed, and the low terrace wall with its wide coping of stone is erected, to the eye of a spectator viewing the whole from a short distance, the top of the terrace wall will appear to form a common base for the whole of the statuary.

In the form of the flower-beds, in this style of garden, angular and straight lines alone should be made use of as being most in keeping with the architectural character of the whole. Vases or urns should be placed at the several corners of the terrace wall. Plants may be placed in the vases in the summer, but they should be confined to those species which are of a formal, stiff outline, as being most consistent with architectural decoration - such as the Agave Americana, the Yucca, the Cacti family, Hydrangea, Orange trees, and some others.