In the late seventeenth century, garden statues, obelisks, dials, and other ‘unvegetative’ ornaments seemed to take the place of flowers. 
Rose Standish Nichols was a landscape architect by trade. She designed dozens of gardens on large plots of land, including her parents’ estate in Cornish, New Hampshire, but she never had much of a garden at her home at 55 Mount Vernon Street.
In her article, How to Make a Small Garden she classifies a “small” garden as one that “covers from about 1200 to 2500 square feet of ground.” Since her Beacon Hill garden is little more than a stretch of grass that frames her brick walkway, she needed to be creative when bringing her passion for gardens home. Her house is richly furnished with floral and horticultural imagery, from tapestries, to prints, to small needlework pictures. However, it is an object in the entrance of her home that references the style and scale of gardens she loved to visit and design.
A nearly life-size sandstone statue of a young woman adorned with an empire revival dress and a brimmed hat stands in the portico between the house’s two front doors. The statue is English and dates to the 19th century but Rose understood the history of outdoor sculpture dating back much further. In her first book, English Pleasure Gardens, published in 1902, she explores garden design dating back to the classic tradition of ancient Italy and Greece to modern English gardens (at this point “modern gardens” refers to late 19th century). Rose suggests that some of the most successful gardens are those that blend a range of styles.
In some of the best modern English gardens there is a combination of classic statuary, Renaissance fountains, French perspectives, Dutch topiary work and flowers from all over the world. But in such a garden, when there is breadth given to the masses of colour and a proper regard to scale and proportion, the effect is not always incongruous.
While Rose was not displaying “classic statuary,” she placed her statue in the portico, which not only referenced the outdoors, but also connected it to classic architecture, as the entry hall is the only part of the Federal townhouse that was designed in the Greek Revival style.
Throughout her garden design and scholarship Rose suggested that outdoor sculpture was at its best in the Baroque period in Italy. She even utilized Baroque Italian figurative statues in one of her Illinois garden commissions.
In her 1925 article, Rhythm and Punctuation in Design, she argued that when the original foliage of Baroque gardens has faded, there is still beauty in the skeleton of the garden’s architecture and ornamentation,
Badly kept up as are many of these 17th and 18th century gardens they might have appealed to us less in their palmy days than in their present decadence. Still, however, walls, balustrades, fountains, and statuary of stone, mellowed by age, pattern an ancient pleasuance. And even if the former flowers have disappeared, clipped laurels, oleanders and potted orange trees accent the parapets and the parterre. Here poets will again and again find inspiration and garden-lovers delight. 
This sentiment suggests that even without a full, lush garden behind them, the sculptures that are associated with pleasure grounds can still inspire a “garden-lover” like Rose.
 Nichols, Rose Standish. “Gardens of the Stuarts.” English Pleasure Gardens. Boston: David R. Godine, 2003. 163.
 Nichols, Rose Standish. “How to Make a Small Garden.” House Beautiful 1912: 88.
 Nichols, Rose Standish. “Modern Gardens.” English Pleasure Gardens. Boston: David R. Godine, 2003. 252.
Nichols, Rose Standish. “Rhythm and Punctuation in Design.” Horticulture Feb. 1925: 49.
By Emma Welty, Curatorial and Administrative Specialist