CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 FINE ARTS LIBRARY 
 
Cornell University Library 
 NB 1800.B64 
 Memorial art, ancient and modern; illustr 
 
 3 1924 020 550 681 
 
 
 DATE DUE 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 GAYLOBD 
 
 
 
 PRIMIED IN U.SA 
 
(^. (M£.J^,^ 
 
MEMORIAL ART, ANCIENT 
 AND MODERN 
 
 ILLUSTRATIONS 
 
 AND DESCRIPTIONS OF THE WORLD'S 
 
 MOST NOTABLE EXAMPLES OF 
 
 CEMETERY MEMORIALS 
 
 AHKANGEU A ^' D i'lBIISllKD BY 
 
 HARRY A. BLISS 
 
 MONUMENT PHOTOGRAPHER 
 
 BUFFALO, N. Y. 
 
 1912 
 
A„:.Vc 
 
 
 .-iVJc-'^^'/ ^ ■ 
 
 ■^' 
 
 
 Copyright, 1912, 
 By harry a. bliss 
 
INDEX 
 
 ( HAP^l ER I 
 
 Famous Axr i?;xt Memorials ^'^ 
 
 CHAPTER II 
 
 The ^NIalsoleums of the World. ~-^ 
 
 CHAPTER III 
 
 The Sarcophagus, 59 
 
 CHAPTER IV 
 
 The Exedha ev Memorlvl Desigx 95 
 
 CHAPTER V 
 
 The Cross. 115 
 
 CHAPTER VI 
 
 The Tablet, 137 
 
 CHAPTER VII 
 
 Sculpture axd rrs Relatiox to the Presext 163 
 
 CHAPTER VIII 
 
 The Obelisk axd Square Moxi .mext 179 
 
 CHAPTER IX 
 
 Architectural Orders ix' ^NIoxumextal Work 187 
 
 CHAPTER X 
 
 SuGGESTioxs ON Letterixg '207 
 
 CHAPTER XI 
 
 Moi ldixgs axd Ccjmparisox of Architectural Orders -225 
 
 CHAPTER XII 
 
 Glossary, 235 
 
INTRODUCTION 
 
 THE aim of this book is to show the development of memorials 
 both ancient and modern; and, where possible, to trace back 
 modern ideas concerninffform, ornamentation, lettering-, etc., 
 to their classic source. The book is designed especially as a text- 
 book of suggestions and comparative illustrations for monument 
 dealers and architects, but the illustrations are (f general interest. 
 They show that, although some of the world's greatest structures 
 were built by the Egyptians, Greeks, and Romans, to whom we 
 owe much for our present-day memorials^ nevertheless, modern 
 monumental architects deserve the highest praise for the wonderful 
 achievements made during late years in cemetery work. 
 
 I wish, also, to pay a tribute to Monument Photography for the 
 important part it has taken in this forward movement. It has been 
 the means of a general advancement , furnishing an exchange of 
 ideas and inspiration to the designer and educating the public to 
 higher ideals in memorials. 
 
 The two hundred and thirty modern illustrations of memorials 
 and over three hundred illustrations (f names have been care- 
 fully selected from negatives made by the publisher during the 
 past twenty years. By a consensus of opinion they represent the 
 best examples (f each type of memorial erected, forming a collection 
 that has never been surpassed. 
 
 I wish especially to thank, for their courtesies, McDonnell ^ Sons, 
 of Buffalo; George IV. Stevens, director, Toledo Museum (f Art; 
 Prof. A. H. Griffith, director, Detroit Museum <f Art; William 
 J. Crawford, Buffalo; McKim, Mead S^ White, New York; L. E. 
 Merry, Buffcdo; Rev. Albert L. Grein, Buffcdo; Franklin L. 
 Naylor, Arlington, N. J.; L. A. Whitehnise, Boston; John R. 
 Lowe, Indianapolis ; John R. Gould, New York; W. Eiance 
 Cottrell, New York; Joseph Carabelli Company, Cleveland ; 
 Frank Chouteau Brown, Boston; Eduard Blum, Chicago; John 
 F. Stanley, New York; William W. Browne, Buffalo; William 
 D. Kenneth, New York; Ora Coltman, Cleveland ; Metropolitan 
 Museum of Art, New York, for permission to use copyrighted 
 photographs and to photograph casts; Dodd, Mead ^ Co., for 
 permission to reproduce two illustrations of temples from Inter- 
 natio nal Encyclopaedia. 
 
FAMOUS ANCIENT MEMORIALS 
 
o = 
 H g 
 
 [ 1-2 1 
 
-^nKiwi 
 
 THE ACKOI'OLIS AT ATHENS 
 
 FAMOUS ANCIENT MEMORIALS 
 
 ^ THEXS was favored by Na- 
 /\ ture witli building mate- 
 X \. rial. Only a few miles 
 away, I\It. Pentelicus furnished 
 white marble, while the Island 
 of Paros, and other places easily 
 reached, furnished other kinds 
 of stone. 
 
 In the Parthenon at Athens, 
 sculpture and architecture 
 reached the highest point of 
 development and perfection. 
 
 THE PARTHENON 
 
 The Parthenon was com- 
 menced in 447 B. C. and dedi- 
 cated in 438 B. C, at which time 
 was held the Pan-Athenaic festival in honor of the (loddess Athena, and her statue 
 placed in the cella of the Parthenon. The architects were Ictinus and Callicrates. 
 
 The building was of the Doric order and built of white Pentelic marble. Clamps 
 were used instead of mortar in constructing it. The dimensions were ''22StVV 
 feet X 101-njV feet and, not including the base on which it stood, it was fifty-nine 
 feet high. 
 
 In every Greek temple was an enclosed rectangular court, for the statue of the 
 divinity in whose honor the temple was built. This was called the "cella." The 
 two side walls of the cella were extendefl toward the east, or l)oth east and west, 
 forming a portico at one or both ends of the tem])le. Across the outer side of 
 the portico extended a single or double row of columns. In some temples, as 
 in the Parthenon, the row of columns extended all around the cella, in which 
 case the temple was called peripteral. 
 
 There were forty-six columns aromid the cella of the Parthenon — eight across 
 each end and seventeen on each side (counting the corner columns twice). The 
 columns were of the Doric order and did not taper uniformly but had a slight out- 
 ward bulging, to avoid straight lines. 
 
 One of the most remarkal)le pieces of sculpture in the Parthenon was the frieze 
 in low relief, which extended around the external wall of the cella and its two 
 adjacent porticoes. This frieze contained over ,'3.50 human figures in addition to 
 the animals. There was not the slightest repetition of either pose or draperv in 
 these figures. The frieze was three feet four inches high and the depth of the 
 relief was greater at the top than at the bottom. It re])resented the Pan-Athenaic 
 procession — one of the chief features of the great festival in honor of Athena, held 
 every four years; a festival in which the whole body of Athenians took part. 
 
 The procession was made up of maidens carrying on their heads baskets of 
 
 f 13 1 
 
[ 14 
 
Memorial Art — A n c i e n t and M o d e r n 
 
 sacrificial instruments; aged Athenians with olive branches; young women, 
 weavers of the sacred robe; animals, such as cows and sheep and their care-takers; 
 young cadets, infantry, and cavalrv. 
 
 The frieze began at the southwest corner of the Parthenon and passed around 
 in two companies, meeting in a grand assembly over the east portico. Here all 
 the twelve great divinities of Greece were assembled in two groups, six in each 
 group. Between the two groups were rejn-esented a priest and a young bo}' with 
 the sacred rol)e. 
 
 At the front and rear ends of the Parthenon, above the cornice, was a triangular 
 pediment filled wdth statuary. Pansanius tells us that the eastern pediment rep- 
 resented the birth of Athena; while the strife of Poseidon and Athena, for the 
 land of Attica, was represented 
 on the western pediment. 
 
 On the eastern pediment the 
 two central figures were prob- 
 ably Zeus and Athena. On the 
 extreme left, Helios, the sun, 
 was represented rising from 
 the sea. Next, came a male 
 figure representing Olympus, 
 the place of Athena's birth. 
 Next to Olympus were the 
 "Three Fates." At the extreme 
 right, Selene, the moon, was 
 represented sinking into the 
 sea. 
 
 The masterpiece of Phidias, 
 the chief scul])tor of the Par- 
 thenon, was the statue of 
 Athena, to whom the temple 
 was sacred. It was thirty- 
 eight feet high, including the 
 base. Nearly a million dol- 
 lars' worth of gold was used for the dress and draperv- The face, hands, and feet 
 were of ivory; the pupils of the eyes of precious stones. 
 
 Sometime during the fifth or sixth century A. D. the Parthenon became a church, 
 and, as a result, quite a portion of the eastern pediment was removed to make 
 room for statues of saints. Later, the Parthenon became a mosfpie. 
 
 In 1687, the beautiful structure which had cost more than sixty-three million 
 dollars had become a powder magazine for the Turks, who were beino- assailed 
 by Venetians. A Venetian bomb struck the building, and the whole inside, as 
 well as much of the exterior, was destroved. 
 
 In 1801, Lord Elgin received permission to "remove a few })locks of stone with 
 inscriptions and figures." He carried away nearly a shipload, which became the 
 property of the British [Museum, and is to-day of inestimable value. 
 
 A REPRODUCTION OF THE STATUE OF ATHPINA IN THE PARTHEN-QN 
 BY PHIDIAS 
 
 Pro[)ert.\' nf the Metropolilan Musuuin of Art 
 
 [ 1-5 
 
CIIORA(;ir MOXOIKNT OF LYSICRATKS 
 
 From a ('ast in (lie Metroiiolilaii JSIiiseuiii of All 
 
 [ I'i 
 
Memorial Art — Ancient and M o d e r n 
 
 THE CIIORAC;iC :\I()Xl':\IEXT OF LVSICRATES, ATHENS 
 
 THE Cliorag'ic Monument of Lvsicr;ite.s. or tlic ■"Lantern of Demostlienes," 
 as it used to he called, because of the tratlition that Demosthenes used to 
 study here, is one of the most lieautiful examjjies of a circular (ireek teniple. 
 This monument was erected Ijy Lysicrates, at his own expense, al)out 3.'>4 B. i.. 
 on the Street of tlie Tri])ods in Athens. It was put up to support the ti'ipod 
 awarded to him as director of the West musical entertainment given at Athens 
 that year. The monument is of the Corinthian order, and consists of a pedestal, 
 a circular temple, and a roof. Its total height is thirty-four feet. 
 
 The pedestal on which the temjjje rests is a rectangular prism twelve feet high 
 and nine feet square. 
 
 The temple itself consists of a closed cyliiulrical wall, from which six Corin- 
 thian colunms project more than half their diameter. These columns are ahout 
 eleven and one-half feet high. The U|)per part of the cylindi'ical wall, between the 
 columns, is decorated with tripods, carved in relief. Al)Ove this is the entablature, 
 cut out of a single bhjck. An unusual feature of this monument is the ornamenta- 
 tion of the bands of the architrave, the middle liaud having a form of (ireek fret 
 around it. On the frieze, which is ten and one-half inches high, is ])ortraved an 
 adventure of Dionysius with Tyrrhenian ])irates. ']"he ])irates attacked Dionvsius, 
 not knowing who he was, and are being ])unished bv his satvrs, bv being changed 
 to dolphins; while other satyrs are breaking off switches from trees with which 
 to ])unish them. Dionysius sits caressing his panther, and on each side of him 
 sits a satyr, each with his staff or "thrysus."" Farther on are satvrs giviny- orders 
 about the wine bowls. Above the frieze is a course of dentils. 
 
 I'he roof of the monument consists of a single block decorated with laurel leaves. 
 On top of the roof is a finial from which extend three ornaments decorated with 
 acanthus and volutes. Probably, the hnial held the missing tripod, the dedica- 
 tion of which is recorded in the inscription. The edge of the roof is decorated 
 with a cresting of small acroteria. just inside of which an nuriu'lit "I'unnino- do<'-" 
 ornament encu'cles the roof. 
 
 While the Choragic ^lonument is comp:irativel\- small, it is one of the mosl 
 perfect examples of the Greek use of Corinthian columns still in existence. 
 
 [ 1- ] 
 
THE CARYATID PORTICO OF THE KRECTHEUM, ACROPOLIS AT ATHENS 
 
 From Cast in llic Metropolitan Museum of Art. 
 
 [ 18 1 
 
Memorial A r t ~ A n c i e n t and Modern 
 
 THE CARYATID PORTICO OF THE ERECTHEUM 
 
 ACROPOLIS AT ATHENS 
 
 Tin-: Erectheiim. now mostly ruins, was one of the famous temples on the 
 Acropolis at Athens. The southern porch of this temi)le, known as the 
 ■'Caryatid Portico." or "porch of the maiflens." is of particular interest 
 from an architectural standpoint, l.iecause it is one of the ):iest examples of the 
 successful use of the human form as a column. 
 
 There are six of these "maiden" columns sup])orting the roof — four in front 
 and one at each side just behind the two end figures of the front row, and facing 
 the same direction. One of the original six figures is in the British Museum, its 
 place being taken by a cast. 
 
 Each maiden bears on her head a Ijasket. and on these baskets rests the roof. 
 To prevent the eff'ect of the maidens appearing crushed unfler the weight they 
 are carrying, the entablature has been lightened l)y omitting the frieze; and to 
 compensate for this, the uppermost of the three bands of the architrave is decorated 
 with discs. 
 
 As one faces the portico, the three figures on the left side stand, each witli the 
 weight of the bodv on the rio-ht limlj and the left knee slightlv bent, while the 
 three on the right Ijear the weight of the body on the left limb and the right knee 
 bent. This arrangement produces the same appearance of strength as does the 
 slight inward inclination of columns in Doric teni|)les. An a])pearance of strength 
 is also produced by the arrangement of the hair of the maidens in plaits on each 
 side of the neck. 
 
 Xo two of the maidens are exactly alike, although in the same pose. Differences 
 occur in the drapery, the folds of which, on the side of the limb bearing the weight 
 of the body, are vertical, suggesting the fluting of a column. It is supposed that 
 the arms of each hung straight do\\"n at the side, one hand grasping a corner of 
 the mantle. The figures are all somewhat mutilated. 
 
 The idea of using human figures for colunms has been carried out on some of 
 the modern monuments, as, for example, the Burke Mausoleum (shown in Mauso- 
 leum cha])ter) ; and, also, on the West [Memorial at C'incinnati, where the figures of 
 maidens are used. 
 
 [ 10 
 
THE MAUSOLEUMS OF THE WORLD 
 
 AS EXPRESSED IN 
 
 THE ORDERS OF ARCHITECTURE 
 
 BY 
 
 W. LIANTK COT'l'RELL. AKdinECT 
 
 XKW ^■<)RK 
 
PLAM 
 
 1 J J, k { .1 i I .1 A .H ,t i I ! 1 ! 1 i M Mi 
 5CALE FORPLAJ^IS 
 
 5a\LE FOR DETAILS 
 
 TUSCAN ORDER 
 I'laTis for nine Sc'|iulchrps anil eight Niches for Cinerary Urns. 
 
 [ '^-' ] 
 
T 
 
 'n:.\IPI,F. OF MKF, APTKliOS 0\ TH F AfHOPf )LIS. ATIFFX-^ 
 
 THE MAUSOLEUMS OF THE WORLD 
 
 ^Hi': finest creations of tlie 
 constructive artist's mind, 
 and the most noted and 
 beautiful of tlie restorations of 
 anticjuity, are mostly of a mortu- 
 ary character, and have well 
 preservefl the memory of those 
 in whose honor they were 
 erected. The mausoleum is one 
 ^ '■'^fSiM'™-Wr ^immmi ^^^ ^ ^ rtj ^T " "? ^M (jf the most ap|)ro])riate and 
 B ' mJ^ ■ ' ^mmmmmSSSSSm^^^SSSSS^aS^'^m stately forms of out-door memo- 
 rials, either as an ex])ression i^f 
 family remend)rance or public 
 acknowledgment of the virtues 
 and achievements of a distinguished citizen. (See Grant and ^IcKinley ^lemo- 
 rials.) 
 
 A mausoleum is a tomb of large proportions, standing al)Ove the ground. It 
 should l)e of unusual architectural pretensions. Its exterior is generally oblong, 
 and in the ancient examples we find it fronted with a peristyle or colonnade of 
 marble, plain stone, or granite. In the matter of ornamentation, there is ])racti- 
 cally no limit except that set by good taste and a due regai'd for the ])ur])Ose of 
 the structure. Statues, carvings, and sculpture mav enrich the interior and exterior, 
 wliile inside are j)laced sarcophagi or sepulchres for an entire family, and. as a rule, 
 arranged upon the two sides in tiers. 
 
 The old Roman exam])les furnish us 
 with suggestions of impressive ai'chi- 
 tecture for these structures — for in- 
 stance, the mausoleum with a dome, 
 or lantern roof, or second story — a fea- 
 ture permitting a rich decorative treat- 
 ment of the interior. A marble cornice 
 may be run aroinid ami siu'mounted ])\ 
 a cove with arches, penetrating lunettes 
 or panels and pendentives supporting 
 a cfome ceiling, which mav be half 
 round or low in shape. Such surfaces 
 give the artist unlimited o])|)ortunitv 
 to enrich in marble or glass mosaic, 
 or Ijoth — these materials being most 
 durable. 
 
 Perha]>s the most nearly perfect de- 
 sign for a mausoleum is that in w Inch 
 the floor space takes the form of a Latin gfxfral f. s. chant mfmiiriaf., xkw yohk 
 
 [ '^'i 
 
M e VI r i a I Art — A n c i e n t and Modern 
 
 ^"SS^ 
 
 or a (ireek cross; vet it will l^e noticed by reference to the illnstrations in the 
 Followhio- ])a<;es that the design most pof)uIar in onr time takes the shape of the 
 letter T, or the simpler ohlong form. 
 
 The colnmharium, a cinerary tomb at first found only in Rome, is of late being 
 
 copied, and the combination of 
 mansolenm and colnmbarinm is 
 also being extensively ado])te(l, 
 the structure being of sufficient 
 size to accommo<late cinerary 
 urns as well as sepulchres. 
 While sim|)licity is always most 
 ilesirable in such a structure, the 
 interior may readily be made the 
 object of rich and elaborate art 
 work. The floors may be either 
 of gr;initc or marble, and the 
 face of e.ach sepulchre, carved, 
 inlaid, or inscribed with the 
 name of its occupant. Tlie let- 
 tering may be incised, and the 
 sepulchre mav be banded with 
 WILLIAM MCKINLEY MEMORIAL, CANTON. OHIO marblc or glass mosaics. The 
 
 walls and the rest of the interior should be of marble or granite, ^^•hich may be 
 inlaid in bands or panels. Leaded-glass windows with inscriptions suitable to the 
 memory of the deceased are appropriate. 
 
 Ventilation of the vestibide is a matter of great importance, since in the greater 
 number of mausoleums there is no artificial heat, and ventilation is depended 
 upt)n to dry moisture which may accumulate from outsifle dampness. It is also 
 advisable to have a good circulation of air between sepulchres and the outside 
 walls. 
 
 In the matter of ornamentation, marble pedestals and vases for flowers are 
 appropriate. Bronze may be used for the door frames, locks, and handles. The 
 door and windows may have leaded-glass panels and a bronze grille. Beauty and 
 durabilitv, combined with dignity and stateliness, are the first and last essentials. 
 A point ever to be borne in mind is, that the mausoleum should be in harmony 
 with its environment, and, so far as possible, with the character of the deceased. 
 
 Color and harmony of materials should not be neglected, and artists in every 
 form of decorative art will find in the designing of this form of memorial a work 
 worthv of their Ijest efforts. 
 
 i4 
 
Memorial A r t — A n c i e n f a n d M o d e r n 
 MATTSOLT^FM AT IIALK'ARXASSIS 
 
 TOMB ()l' MAISOMS, KIN(; OF < ARIA 
 
 AMAisoLEL.M is a toiiil)— iiot iiH Ordinary sepulchre for the reception of liuman 
 remains, hut sometliino- more stately, ranging- from a dignified strueture o) 
 '^ simple architecture to the most mao-iiificent restino-place of royal dead. ^^ e 
 oet an idea of what the structure called mausoleum may he when we refer to the 
 ori<dn of the word. Artemisia, wife of Kino- Mausolus of ('aria, erected, in memory 
 of her hushand, the superh structure which lias heen famed throuo-h the ages as the 
 "Mausoleum at Ilalicaruassus." The kin<^' died in ;5.5.S 15. ('., and it is considered 
 likelv that I he tomh was heoun hefore the king's death. However, from the fore- 
 o-oino-. the derivation of the word "mausoleum"" is i)lain. 
 
 Prohahly. of ;dl the examples of the m;irvelous ai't of the (ireeks none has 
 exciled more curiosilv and admii'ation than this splendid Mausoleum at Ilalicai'- 
 nassus. One of the "seven wonders of the world." the ancients regarded it as tlie 
 most superh ami striking specimen of architectural art their people had produced. 
 Its arcliilects were Satvrus and Pytheus. whose descri])tion of their work passed 
 into the liauds of Pliuv tlie Latin writer, hut was. unfortunately, not preserved. 
 
 Brieflv descrihed, the tomh of Mausohis consisted internally of two chaml>ers 
 fiftv-two and one-half feet hy forty-two feet, the lower one being the vestihule to the 
 tomh. The upper hody, sixty-three hy fifty-two feet six inches, exterior, was 
 surrounded hy a peristyle of thirty-six eokunns. one hundred hy eighty feet in out- 
 line; tlie stylohate, (jr ground outline, being one hundred and twenty-six liy one 
 hundred and five feet. Externally, the height was divided into three equal parts, 
 one for the basement, one foi- the pyramidal roof ste])s, and one for the Ionic 
 coliunns and oi'der between, all reaching an altitude of one hundred and twenty- 
 six feet, which, with the addition of fourteen feet for the quadriga, gave the tomb a 
 total altitude of one hundred and forty feet. Ihuulreds of pieces of statuary, 
 including figures of lions, horsemen, etc., added to the rich beauty of the structure. 
 
 Under the floor, and enclosed within vaults with sarcophagus-like covers, reposed 
 the bodies of Mausohis and his queen. ^Yondel■ful pieces of scul])tural art were 
 the two frieze hands depicting scenes of war, in which were Amazonian figures 
 fighting against the Greeks and warriors of other nationalities. The presence of 
 these Amazonian hgures is easily understood when it is known the Queen Arte- 
 misia was a leader in battle with her husliand, Mausolus. Artemisia commanded 
 shi|)s in battle against the (jreeks in -lOl B. ('.. as did Cleopatra centuries later. 
 
 Scopas, Bryaxis, Timotheus, and Leochares, all (ireek artists, were the sculptors. 
 They executed the east, north, south, and west friezes, respectivelv. and, witliouf 
 (loul)t, many of the statues. Pythis (or, according to some, Pvtheus) nuule the 
 quadriga group. In '■20(1 B. C. the Romans con(|uered the Carians, and, won<ler- 
 stricken by the entrancing l^eauty of the tomb, thereafter called their most magnifi- 
 cent places of sepulchres "maTisolea."" 
 
 (^ueen Artemisia died in 3.51 B. (".. l)ut the sculptors contimied their work on 
 the tomb, as a labor of love. The material was Parian marble of the finest qualitv 
 and extremely costly. Green rock was also used, and some authorities say the 
 
 [ i-^ ] 
 
c 
 
 K 
 O 
 H 
 
 « 
 
 'I, 
 
 hJ a 
 
 
 o 
 
_ V^ y^s : -. 1 . t V V( V V V V V V, , v:r V V' V V,' V v: \ \ v v v v,- v; fw 
 
 MArs()Li:r>r at iialkarxassfs 
 
 Half Section. Half I'.levation 
 
 East Fronl of Mausoleum. 
 
 [ i' ] 
 
Memorial Art — Ancient and M o d e r 
 
 n 
 
 marble was shiny, iiiflicatiiio- tliat at least some |)arts of the tomb had been polished. 
 It was situated in the center of a curve formed by the town, back of it beino; Theatre 
 Hill, with palisades into which hundreds of rock-faced tombs and se])ulchres 
 were cut. 
 
 Al)out 1840, and later, explorinc; expeditions were sent, by private parties in 
 Enoland, to examine the ruins of this luausoleum. In the British Museum are 
 many fragments which these expeditions found, and copies are in the Metro])olitan 
 Museuin of Art, New York. These relics of a fpieen's devotion to her king inchide 
 a colossal statue of Mausolus, slabs from the Amazon frieze, figure of a charioteer, 
 figure of a lion, and fraginents of steps and mouldings from which architects of 
 this later day have been able to construct reproductions, of which there are more 
 than forty. It is a noteworthy fact, however, that no two of these re|)ro(hictions 
 are alike. 
 
 In the period 14()'-2-1.5''2'-2 the Knights of St. John of Jerusalejii erected the present 
 Castle of Budruni, which guardefl the coast between Rhodes arul Smyrnn, near 
 the ruins of the mauscjlcum. The fallen stones and lime of the mausoleum were 
 used for this building. In the walls of this castle, about half a century ago, bas- 
 relief sections of the mausoleum frieze were found, extracted, and j)laced in the 
 British Museum. Earlier, in the fifteenth centurv, the Turks had con<|uered this 
 territory and found numy of the fragments of the tomb, which thev carried off, 
 so that in later years, when search was made for the mausoleum, almost every 
 trace of it had disappeared from above ground. 
 
 [ '^« ] 
 
M e m r i a I A r t — A n c i e n t a n d M o d e r n 
 
 T 
 
 TdMB OF THEODIIHIC TlIK IIKKAT. 
 AT HAVEWA, ITAL1 
 
 MAl'SOLEUM OF THEODORK THE GREAT 
 
 KIXC; OF TIIK (iOTIlS AM) ROMANS IN IIAIA 
 
 aiKODOHic was horn in tlie year 4.54 A. I)., and 
 (lied ill .V^Mi A. 1). Tlie mausolemn in w liich liis 
 remains were plaeed was ereeted about .j.'JO 
 A. D. Outside of the walls of Ravenna. Italy, still 
 stands this magnifieeiit architeetural memorial, 
 known to modern visitors as the "'Santa INIaria Ro- 
 tunda," and considered to he a pul)lie monument. It 
 helonus to the same elass of sepulchres as the mauso- 
 leum of Hadrian at Rome, and it is not iinprohahle 
 tliat Theodoric's place of se])ulchre was modeled 
 after Hadrian's tomh. \\hich the kino- of the Ostro- 
 ydths saw. However, Theodoric's mausoleum most 
 reseml)les the huildini;- at Ximes, P'rance, known to 
 th(.' ancient world as the "Tour Magne."" It is 
 liuilt of Istrian marl)le and is two stories liig-li. 
 Idle lower storv is a decagon having an external 
 diameter of forty-five feet and enclosing a cruci- 
 form crypt witi) arched ojjcnings and niches. Upon 
 tliis is a platform, from the hac-k line of whicli tlie second story rises in circular 
 form, with an external diameter of thirty-five feet and an interna! diameter of thirty. 
 Fraginents found indicate that this \\as faced with coupled columns, with sipiare 
 openings and recesses. 
 
 Aliove comes a frieze indented with small arches or windows ; next is the 
 cornice; and then comes the singularly designed roof, forming a flat dome about 
 thirl\-five feet in fliameter and three feet high. Xear the edge are tweKe hut- 
 tresses reserahling false dormer windows, and it is helieved that these formed 
 enormous handles hy means of a\ liieh the monolith, from which the roof \\as cut, 
 was raised into position. Each buttress is marked on its face with the names of 
 eight Apostles and four Evangelists, a c-ircumstance which leads archa'ologists 
 to believe that these dormers (mce su|:»portefl statues of the Apostles and Evangelists. 
 In the center of the dome is a small scpiare pedestal, upon which it is said there 
 once stood a large urn containing the ashes of Theodoric. Other histcjrians. how- 
 ever, claim that his remains were de|)osited in a ])orphvrv vase, within the upper 
 sttjrv, but there is now no vestige of a sepulchre there. 
 
 It is a source of wonderment and mystery how in that age, with eom]:)arativelv 
 crude engineering a])plianees. so ponderous a mass as the dome of this mausoleum 
 could have been transported so great a distance as it must have been, and raised to 
 its ])laee. The largest stones in the last temple of King Solomon weighed about 
 fifty tons; the largest in the great pyramids weighed some 100 tons, but this great 
 dome of Theodoric's tomb must have weighed at least '•230 tons, and some writers 
 
 sa}- 
 
 500 tons. 
 
 [ ■-'!> ] 
 
M e m r i a I Art — A n c i e n t and Mode r n 
 
 -5_.^v.;ff.^f^.— -■ 
 
 ' -. «i-;1'.-j|.irni8i '-k-^ 
 
 Till-; (JKEA'r PYRAMID XKAR ClZEIl (DESKRT SIDE) 
 
 7(i(l feet S(|iiai'e at base by -tSO feel hv^h. 
 
 TOMBS OF THE EARLIEST DAYS 
 
 SOME of the most remarkable monuments ever erecterl by man were those built 
 in Eo'vpt, in the time of King Lampares, '2380 B. C, and called "labyrinths." 
 lliev were built in the shajie of a U, with square angles, the interior containing 
 hundreds of sej)ulclires. Just back of the court or opening in the U was a pyramid 
 under which the king's remains were placed. 
 
 The tombs of Beni Hassan (No. 0), in Middle Egypt, are the oldest rock toml)s 
 in the world. Classic proto-Doric colunms guard the entrance, with Egyptian 
 columns in the interior of the cliamber, and the u.sual sarcophagi. These tombs 
 date l)ack to about 300 B. C. 
 
 In the tomb of Cyrus at Passargada> is a stone coj)y of the Chaldean temples. It is 
 very small and can hardly l)e ccmsidered more than a model of the temj)les. (No. 10.) 
 
 The toml) of Darius at Naksh-i-Rustam is an exact duplicate of this famous 
 king's j)alace, being a reproduction in rock as an "eternal dwelling" for himself 
 after death. (No. 11.) 
 
 Among the oldest remains yet found in Asia Minor is the tumulus of Tantalais 
 (No. 12). on the northern shores of the (iulf of Smyrna, and no less interesting is 
 the tumulus of Alyattes, near Sardis. (Sec section of tomb No. 13.) The funereal 
 chamber rests on the rock about 160 feet from the center of the mound. 
 
 The Lycian tomb shown in No. 14 indicates thai up to the period of the con- 
 quest of C}'rus and IIar])agus the architecture was of wooden origin. From the 
 
 [ :!" ] 
 
^^■^^^^f^if^f^gigg^-y-- 
 
 rty 
 
 Tf 7%^-' 
 
 ^:^^::^p-i. 
 
 13 
 
 e^t^ 
 
 Sim 
 
 — r' n — rr 
 
 IH 
 
 [ -'ii ] 
 
,23 
 
 '- '1*^5^- -'-- 26 
 
 ■•^M^' - 29 
 
 ^.^s^-" 
 
 
 32 
 
 [ ;>2 ] 
 
Memorial A r t — A n c i e n t and Modern 
 
 Eo-vptians and dreeks. verv likelv, the Lvcians leanie<l to make their structures of 
 more substantial material, as shown in Xo. 1.5, pieturing- a rock-cut tomb. Illus- 
 trations 1(). 17, and LS, which are all I>ycian rcjck-cut designs, prove tlie wooden 
 origin from wliich they were designed. 
 
 About the only remains of Pelasgic art which we have left are the tombs, the 
 city walls, and works of civil engineering. Among the most striking of these 
 remains are the tombs of the kings of [Nlycena?. 'J'he Dorians described these as 
 treasuries, because of the number of precious objects found in them. The most 
 nearly perfect of any of these tombs is that of Atreus at Mycenae. (Xo. 19.) 
 
 The Lion Tomb at Cnidus is a very beautiful example of mortuary architecture. 
 Its scheme is that of a peristyle on a ])lain base, and surmounted by a roof of a 
 pyramid of steps, cap])ed by a pedestal on which is a reclining lion. (Xo. '■20.) 
 
 In illu.stratiou '■21 we have two rock-cut and structural tombs at Cyrene. They 
 are interesting because many details of the architecture retain the color in which 
 thev were originallv jjainted. The triglyjjhs of the Doric order are blue and the 
 pillars are red. On top is the mausoleum. 
 
 The general apjjearance of the rock-cut tombs of the Etruscans may be gathered 
 from a glance at Xo. '2'2, jncturing two memorials at Castel d'Asso. They are 
 not complete, but they have l)een restored by anticjuaries, in the form of rectilinear 
 jjyramids, for which, however, there is no a]:>]iarent authority. The foi'm of their 
 mouldings differs from anything found elsewhere in Europe. 
 
 As an example of the cenotaph form of memorial, the tomb at St. Remi, in the 
 Sovith of France, is remarkable. It was erected by Sextus and Marcus, of the 
 family of the Julii, in honor of their ])arents. The statues of those to whom it 
 was dedicated apjiear under the dome. Taken as a whole, there is nothing sug- 
 gestive of the fact that the structure is a tomb. (Xo. 2.'3.) 
 
 In the ancient lands of the East there were tombs without numl)er in direct 
 contrast to the western ])art of the Roman empire. For instance, in the vallev of 
 Petra, so numerous and magnificent were the tombs, that the place had the appear- 
 ance of a city of the deafl. The Kliasne. or Treasury of Pharaoh, was the most 
 beautiful of all these resting places for the dead. Xo. '24 shows us that it con- 
 sisted of a square l)asement from which arose four very stately Corinthian pillars 
 surmounted by a pediment of low Grecian pitch. Three turrets of singular appear- 
 ance rest on this foundation, the central one being circidar and of sepulchral form. 
 The side turrets are for- a purpose not understood. While the Khasne is of Roman 
 architecture, it is suspected, from the beauty of execution and design, that Greek 
 influence had something to do with the work. Among these tombs, or memorials, 
 is an object which has caused more or less conjecture and discussion. It is the flat, 
 three-storied facade which is apparent at the left in the Corinthian tomb shown in 
 Xo. '2.5. This is considered by authorities to be a most complete misapplication 
 of (ireek art, the design being like the proscenium of certain Greek theatres. 
 
 There is also at Petra a tomb richly ornamented in its interior, in marked con- 
 trast to the ])lainness of most of them. This is shown in Xo. '20. 
 
 Turning from Petra to Jerusalem, we come to many exam])les of ancient toml)s or 
 sepulchres, most of them wholly devoid of architectural ornamentation. The Tomb of 
 
 [ ■■'■■5 ] 
 
Memorial Art — Ancient and M o d e r 
 
 n 
 
 Zechariah, which was cut from the rock, but which stands free, should, perhaps, l)e 
 called a cenota])h i-ather than a toml». It is solid, and no vault for the dead has 
 })een found beneath it. Behind iL, however, is a tomb with an architectural fa9ade, 
 and it is considered possible that the monolitli was left to mark this. (No. ST.) 
 
 With a marked similarity in its base to that of the Tomb of Zechariah, but 
 with the pyramidal top replaced with a spire, is the Tomb of Absalom, which 
 stands close to the tomb just mentioned. (No. 28.) 
 
 Passino- to Asia Minor, we find among the structural toml)s which were known 
 to have Ijeen biult there the stately memorial at Mylassa. (No. 29.) In design, it 
 consists of a square ))ase supporting twelve columns. Upon the eight inner columns 
 rests a dome. The four outer ones complete the square. 
 
 Somewhat similar in style, though far distant in location, is the tomb at Dugga, 
 near Tunis, Africa. In this, Ionic columns surmount a square base, the columns 
 being merely ornaments. (No. 30.) 
 
 In Aloeria we find a remarkaljle tomb called the INIadracen. It is of most 
 
 TEMPLK OF HORl'S 
 
 TEMPLE AT PHILAR 
 
 unusual appearance and design. (No. .'31.) It has a peristyle of Doric order, 
 without bases, and is surmoimted by a cornice suggestive of Egyptian style as 
 much as anything. It is a fine example of the tumulus design. 
 
 When we turn from the Pyramids, Temples of the Fourth Dynasty, the Laby- 
 rinths of the Twelfth Dynasty, and the rock-cut tombs of Middle Egvpt, we find 
 that it is at Theljes only that the temples are so complete as to ena])le us to study 
 them with advantage. The principal group of temples is at Karnak. These 
 temples, although of enormous dimensions, furnish us with the motif for many of 
 our modern mausoleums. The detail of carvings and outline of columns, capitals, 
 and moiddings of temples shown above, enter extensively into modern mausoleums 
 of Egyptian design. (See Avery, Arents, Erb, and Lockhart memorials, pages 
 35 and 36.) 
 
 [ ;!+ ] 
 
AVERY MEMORIAI> iEgyptiaxi, WOODEAWX CEMETERY. DI-:TR0IT. MICH. 
 
 AREXTS MEMORLVL (Egyptian), \Y00DLA\VX CEMETERY, XEW YORK 
 
 [ 3.3 ] 
 
ERB MEMORIAL (Egyptian), SALEM FIEI>DS CEMETERY, RROOKLYN, N. V. 
 
 LOCKHART MEMORLVL (EcnpTiAX), ALLIK ;1IAN Y (;EME'n'.UY. Pri'TSBURGH, I'A. 
 
 [ Sfi ] 
 
BROWN MKMOUIAL iEgyptian), HOMEWOOl) ( KMKTKRY, PII TSIU K(,ll. !'A. 
 
 HOBART MEMORIAL (Grecian Doric), CEDAR EAWX CEMETERY. PATERSOX, N. J. 
 
 [ 37 ] 
 
SWIFT MliMORIAL (Grfxiax Doric), FOREST HILLS CEMKTEUY, B(.)STON, j\IASS. 
 
 FLEISCIIMANN MEMORIAL (Grecian Dork). SPRI\(i GRO\'E CEMETERY, CINCINNATI, OHIO 
 
 [ ■'« ] 
 
STKRLIXC; MKMORIAL iGREriAx Doric !. WOODi.AWN ( KM K'I'KHV, NKW VoliK 
 
 LAMOXT MEMORIAL (<iHi;riAX Dori, i. WOODLAWX ( KMHTKRY. MAY YORK 
 
 f 39 1 
 
WATERS MEMORIAL (Grecian Link ), OAK HILL CEMETEI5Y, GRAND RAl'IDS, MICH. 
 
 CURRIER MEMORIAL (Ghe(ian Iunk ), WOODLAWX CEMETERY, NEW YORK 
 
 [ W ] 
 
FLIXX MEMORIAL (Grkciax Ionic). WOODLAWN CEMETERY, DETROIT, MICH. 
 
 WILLL\MS PRATT (Grehax loxir), FCJREST LAAVX CEMETERY. BUFFALO, X, Y. 
 
 [ ^1 ] 
 
MAYER MEMORIAL (Tumulus), KEXSICO CEMETERY, NEW YORK 
 
 SCOTT MEMORIAL (Tus(an), WOODLAWX CEMETERY, NEW YORK 
 
 [ i'i ] 
 
MOORE MEMORIAL (TtsrAN), RICHMOXD, IXD. 
 
 WEBBER MEMORIAL (Roman Ionic), KENSICO CEMETERY, NEW YORK 
 
 [ i-i ] 
 
PIXGREE MEMORIAL (Roman Corun'thian), WOODLAWN CEMETERY, DETROIT, MICH. 
 
 LEEDS MEMORIAL (Classic), \V(_)0DLA\VN CEMETERY, NEW YORK 
 
 [ a ] 
 
[io 
 
MACLAY MEMORIAL (Classic), WOODLAWX CI-:METERY, NEW YORK 
 
 CLARK MEMORIAL (Classio, RELLEFOXTATXE CEMETERY, ST. I,OITS, MO. 
 
 [ Mi ] 
 
[47 ] 
 
DAVIS MEJIORIAL (Byzantine), \V00DLA\VX ( EMETERY, NEW YORK 
 
 jMARTIX memorial (Romanesquk), WOODLAWN CEMETERY, NEW YORK 
 
 f -tS 1 
 
THYMpiE.MORlAL fRoMANESQUEi. FOREST HILL ( EMETP:RY, BOSTON', MASS. 
 
 DEXTER MEM0RL\L i Gothic}, SPRLXG GROVE CEMETERY, CTXCLNXATI, OHIO 
 
 [ -t!t 1 
 
WILSON ME:\I0RIAL (Gothic), WOODLAWX (•E:\IETERY, NEW YORK 
 
 BCKKE MEMORIAL i Renaissance;, LAKE \IE\V CEMETERY, rLE\'ELAXD, OHIO 
 
 [ JO ] 
 
,b:W 
 
 [ .Ji J 
 

 
 MACKF.V MEMORIAL iRexaissan. i;), GHKFAWOOI) CEMETKRY. RROOKLYX, X. Y. 
 
 [ ■■''■^ ] 
 
KHRET JIKMORIAL (Renaissance), WOOUIAWX CKMKTKRV, NEW YORK 
 
 WHITNEY MEMORIAL iL'Art Xouveau), WOODLAWX CEMETERY. DE'I'ROIT, MI( II. 
 
EDWARDS MEMORIAL (L'Aht XorvKAU). WOCJDLAWX CEMETERY, XEW YCJRK 
 
 WIGCJIXS MEMORIAE EAkt Xijiveaii, WOODLAWX CEMETERY, DETROIT, MI( H. 
 
M e m r i a I A r t ~ A n c i e n t and M o d e r n 
 
 MODERN MAUSOLEUMS 
 
 REPRESEXTIXG DIFFERENT STYLES OF ARC IIITECTURE 
 
 EGYPTL\X ARCHITECTURE 
 
 The Ei^yptiaas iliil not use tlie arch or ta[»eriiii^ coluin[i-S 
 in their architecture. Their temples were characterized by 
 huije dimensions, colossal columns, and outer wail thai 
 slanted inward at an angle of aVjout se\"enty decrees and 
 terminated in a cavetto cornice. Size and ^e\"ere simplicity 
 combined to make E;^}"ptian temples massi\X' an<i awe 
 inspiring. iSee .Vvery, Arents, Erb, Lockhart, ami Brown 
 memorials, jiage? 3.5, 3t), and 37.1 
 
 GRECIAN DORIC ARCHITECTTRE 
 
 Tlie Grecian Drjric Temple was cliaracterized l)y mas- 
 siveness of parts and simplicity of detail. The hea^w 
 although tapering fluted coluuuis ^o^e directly from the 
 stylobate an<i were crowned with [ilain capitals on which rested 
 the entablature. 
 
 Swift Memori.il 
 
 Greek Temples "in Antis" usualh' had two columns 
 between the e.xtended side 
 walls, forming a portico in 
 front of them. Such was the 
 Temple of Diana Propylfea 
 at Eleusis. This temple 
 was the motif of the Swift 
 ^lausoleum, which contains 
 a single sarcophagus on 
 each side of the front vesti- 
 bule, wdiile in the rear is 
 an altar mth four cata- 
 comljs on each side, one 
 aljove another. Above 
 each of tiie [wo sarcophagi 
 The interior is of Italian marble. 
 
 aic^ 
 
 -( ■— p-^Tirl^ 
 
 
 
 
 
 ~ 
 
 — *' 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 f-~^ — ^ 
 
 ^ r- -A 
 
 TEMPLE OF DI.iXA 
 
 PROPYL.E.V 
 
 is an art-glass window-. 
 'See page 38.) 
 
 I-'LEISCH.M.iXX MEiIORI.\L 
 
 The Peripteral temf)le having a colonnade all arouufl it 
 was the motif used in designing the e.xterior of the Fleisch- 
 rnann Mausoleum. The interior lias a double sarcophagus 
 and twenty sepulchres or catacombs. The chajjel is liglited 
 by art-glass windows and is furnished with an altar and two 
 benches in Vermont rnarlile. In the lower chamber pro- 
 \Tsion is made for other interments. (See page 38.' 
 
 HOB.iRT ME-M0RI.\L 
 
 The Mausoleum here illustrated is an .Aauphiprostvle of 
 the Grecian Doric order. The mouldings have been care- 
 fully detailed. The frieze ornamentation has been treateil 
 similar to that of the Charlottenhof Villa, near Potsdam, 
 also of the monument of Thrasyllus at Athens, i See paae 
 
 L.\iIOXT Memorh.l 
 Distyle in antis, mth omission of the triglyph metope, 
 mutnles, and regulas. The Lamont Mausoleum is similar 
 to illustration No. 3-2 — tempJe at Rhammus. ' See pjage 39. i 
 
 Sterlkvg Me-Mori.\.l 
 The Sterling Memorial resemliles the Temple of Diana 
 Propylaea in its form — a temple in Antis with two columns 
 
 3 
 
 between the .Vnta?. A modern idea is dionn in the use of 
 discs on the metopes, a u.se which may have been .>ugge--ted 
 by tlie ancient ro>ette. See page 39.1 
 
 GRECIAN IONIC ARCHITECTURE 
 
 The Grecian Ionic Tempjles were characterized by rather 
 slender fluted columns which rested on moulded circular 
 bases and which were surmounted by the characteristic 
 \-olute capital on which rented tiie entablature. 
 
 WiLLEiil.S Pr.^TT ME-MORIAL 
 
 The Williams Pratt Mau?uleuni is Ionic, its mouldings 
 and detail conforming to those of the Erectheum. Its most 
 striking feature is the roof, which is in one piece, weighing 
 about fifty tons. The interior is white marble and contain^ 
 eight cr}-pts. The mausoleum has one beautiful stained- 
 glass windr)W. Its bronze floors are decorated the entire 
 length ^^ith the lotus plant. See page 41.1 
 
 Waters Memore\l 
 An Amphiprostyle in the Grecian Ionic Order with the 
 corner column caps cut Imxta jmsition. The motif for the 
 design was the temple of Nike Apteros at Athens. (See 
 pages '23 and 40. i 
 
 Cubrier Meiioeeal 
 
 Mausoleum in Antis, inth tw-o columns between extended 
 side walls, forming a jxirtico. (See page 4IJ. ) 
 
 Flixx ^Memorial 
 The Prostyle ^Mausoleum with portico 0{jen in front and 
 on the sides. (See yjage 41. i 
 
 ETRUSCAN ARCHITECTURE 
 
 The Tuniuhis was a form of Etruscan architecture and 
 consisted of one or more conical elevations on a foundation 
 of masonry. It containetl one or more chambers for the 
 reception of the dead. ( See ^Nlayer Memorial, page 4(1: also 
 rcx-k-cut tombs, pjages 31 and 3-2. j 
 
 TUSCAN ARCHITECTURE 
 T\iscan .\rchitecture was characterized by an absence of 
 ornamentation, an unfluted. lengthened Doric column, and 
 a simple wooden entalilature without triglyphs. mutules, or 
 deutUs. 
 
 StOTT ilE.MOREAL 
 
 The Scott Mausoleum is based upon the ijroportions given 
 by \ ignola. The interior lias a vestiljule running from 
 front to rear, with an art-glass window- in rear and four cata- 
 combs on each side, one over the other. The interior is of 
 Italian marble. (See p>age 4-2.' 
 
 Moore Memoreal 
 \ simple treatment of outline -\-\Ttli verv 
 and Tuscan columns in antis. Tiie interior 1 
 
 massive walls 
 las four sepul- 
 chres on each side and an art-glass w-indow in rear with 
 See page 43.) 
 
 verted T-shaped vestibule. 
 
 ui- 
 
 [ 55 
 
Memorial Art — Ancient and Modern 
 
 ROMAN IONIC ARCHITECTURE 
 
 Roman Ionic architeohire was characterized bv an Ionic 
 column of nine diameters, with a less refined volute than the 
 Grecian Ionic ; a more elaborate cornice and a base of larger 
 mouldings. 
 
 Webber Me-morhl 
 
 The illustration shown on page 43 is a mausoleum with a 
 colonnade all around it. While the outline has been care- 
 fully carried o\it, the ornamentation has been restricted to 
 the columns, capitals, and bases, the fluting of the columns 
 being omitted. This simijlicity seems to enhance ami 
 impart more dignity and beauty of outline to so small a 
 building. The interior is of Italian marble and contains 
 twenty sepulchres — ten on eacli side — with an art-glass 
 window in rear. 
 
 ROMAN CORINTHIAN ARCHITECTrRE 
 
 Roman (.'orinthian architecture was characterizeil by a 
 decoration of Acanthus on [he ca])ital, which was not as 
 conventional nor refinefl as that of the Greek Corinthian, 
 and which was more like the natural plant. The Roman 
 Corinthian was more highly developed than the Greek and 
 used more generally. Minor differences between Greek 
 and Roman occur in the base ami cornice. 
 
 PiXGREE MeMORI.\L 
 
 The Pingree ^lausoleum is a i)rostyle of the Roman 
 Corinthian order without elaboration of the entablature. 
 The interior is of white Italian marble with se[)ulchres on 
 each side. .\ marljle bust of the late Governor Pingree is 
 placed in the vestiljule. The lighting is through colored 
 glass. (See page 44.) 
 
 CLASSIC ARCHITECTURE 
 
 Classic .Architecture. The term "classic" is applied to 
 that which has attained the highest standard of e.xcellence. 
 stateliness, elegance, a careful co-ordination of all its parts. 
 (See Leeds, Sherry, Maclay, Rich, am! Clark memorials, 
 pages 44, 4.5, and 46.) 
 
 Rich Memori.vl 
 The Rich Memorial is a columbarium with three cinerary 
 niches. 
 
 BYZ.ANTINE ARCHITECTURE 
 
 Bvzantine architecture is characterized by the use of 
 domes and pendentives, almost no projecting cornices and 
 a Ijare exterior appearance. Ryzantine Temples were often 
 built in the shape of a (ireek cross with a large cupola rising 
 from the center, ami four vaulted .side spaces. The decora- 
 tions of interiors were mosaics of colored glass upon gold 
 Groundwork. 'See Davis, Fossati, and Molina memorials, 
 pages 47 and 48.) 
 
 ROMANESQUE ARCHITECTURE 
 
 Romanesque architecture was characterizeil by the use of 
 .semi-circular arches on ])illars. and vault arcades. The 
 carvings were principally on capitals, around doorways, ami 
 on mouldings; and in later years consisted of foliage, human 
 
 faces and figures. The openings in the walls were small and 
 took up little of tfie surface. Piers and columns were used 
 in the same building. In appearance horizontal lines were 
 predominant. (See Martin and Tliym memorials, jjages 48 
 and 49.; 
 
 GOTHIC ARCHITECTURE 
 
 Gothic architecture was characterized by ]iointed arches 
 and pillars extended much beyond clas.sical proportions. 
 Tlie openings in the wall were its principal part; while, 
 unlike the Itomanesque, it showe<l a prominence of vertical 
 lines. This effect was Ijrought about by many small side 
 spaces cajiped with towers and s|jires. Glass windows 
 came into use with this style. (See Uexter and \\ilson 
 memorials, pages 49 and oil.) 
 
 RENAISSANCE ARCHITECTURE 
 
 Renaissance architecture consi.sted of a rebirth of the 
 Roman forms succeeding the ^Medieval, the same commenc- 
 ing in Italy about the fifteenth century and .spreading over 
 Europe. The chief characteristic is an attempt to return to 
 the classic forms. Michael .\ngelo, who died in 1.51)4, was 
 the great arti.st at the close of the Renaissance. (See 
 Burke, Ehret, Coster, Daly, ami Mackey memorials, pages 
 .50, 51, .5'2, and .53. ) 
 
 ElIRET ^NlEMORI.iL 
 
 The Ehret Mausoleum is built of granite, massive in con- 
 struction, and Ijold in outhne, with a dome of granite. Bronze 
 entrance doors are flanked by reclining lions. A bronze 
 grille transom of St. Andrew's aiid Greek cross design admits 
 light over the doorway. -\. Latin cross with conventional 
 palm branches is carved in the ])ediment. Among the 
 Greeks and Romans the lion was considered a guardian of 
 temples, gates, and springs. .\ fringe ornament of festoons 
 with flowers, or conventional laurel (victory) leaves, w*as a 
 popular decorative motif of the Romans. It was used ex- 
 tensi\'ely in the Renaissance [jeriod and later styles, the 
 festoons hanging in deep curves Ijetween rosettes. (See jmge 
 .53.) 
 
 M.\rKEY Me.MORI.\L 
 
 The interior of the Mackey Mausoleum is a departure 
 from the usual forms emi)loyed in mausoleum construction. 
 The twenty-two Crypts are concealed by marble panels set 
 in frames of heavy Ijronze. ,\n elaborate altar occupies a 
 conspicuous position, facing the entrance, and the tomb is 
 heated and lighted liy electricity. The lights from sLxty 
 incamlescent bulbs, concealed above the cornice, is reflected 
 from the glass mosaic dome, which forms the ceiling. The 
 marble used in the finish was all imported from rare quar- 
 ries of Italy, France, and Belgivim. (See page .5^2.; 
 
 L'ART NOUVEAU ARCHITECTURE 
 
 L'.Art Xouveau is the name of a style Ijecoming well estab- 
 lished and in general use. In its perfection it con.sists of 
 combining forms in a new manner without lo.sing theii 
 structural meaning or usefulness, and enhancing their 
 beauty; a coni|iosition of forms without regard to any period 
 to make a beautiful whole. (See Whitney, F^dwards, and 
 Wiggins memorials, pages .53 and 54.) 
 
 [ m ] 
 
THE SARCOPHAGUS 
 
SARCOPHAGI'S OF ILARIA DRL CARRETTO, CATHEDRAL AT LT CCA 
 
 From a f.'ast in the Metrcjpolitan iluseuin of Art 
 
 THE SARCOPHAGUS 
 
 OF all forms of monu- 
 ments, the so-called 
 "sarcophagus" type is 
 the most common, and, prob- 
 ably, the most ancient. In its 
 extreme simplicity it is the only 
 kind that serves a twofold pur- 
 pose : that of utility and orna- 
 ment. 
 
 The word " sarco])hagns 
 has become a misnomer. It 
 comes from the two Greek 
 words: "sarkos," meaning 
 "flesh," and "phago," which 
 means. "I eat" or "consume." 
 We learn from Theoy)hrastus and Pliny that the name originated with the use 
 of Assius stone from Assos (in Asia ]\[inor) for coffins. When a body was placed 
 in such a coffin the flesh was consumed within a few weeks, because of the caustic 
 property of Assius stone. In time, the word "sarcophagus" came to be applied 
 to all receptacles designed to liold the remains of a human jjeing; and, for want 
 of a better term, we use it in that sense to-day. 
 
 When quick destruction of the ])ody was not desired or considered, sarcophagi 
 were made of marble, granite, porphyry, and sometimes metal. The sarco])ha- 
 
 gus was made to fit the gen- 
 
 eral shape of the l)ody, being 
 low, wide in front, and narrow 
 on the end. The simplest form 
 was a rectangular block, rough 
 hewn, or polished on one or 
 more bases. 
 
 The oldest known sarcoph- 
 agi are those of Egyjit, some 
 of which are as old as the 
 pyramids. The earliest are 
 oblong in form with simple 
 decorations of lotus lilies 
 and leaves. Some, called 
 "mummy cases," are the shape 
 of swathed mummies and bear 
 many hieroglyphics. The finest examples of Egyptian sarcoi)hagi were he\\-n from 
 sandstone and granite. Of these one of the finest and earliest examples known 
 is that of Seti. the Egyptian ruler, who lived 13^20-1300 B. C. 
 
 In the Ba.silica of St. Lorenzo, outside the walls of Rome, stands a verv old 
 
 CHRISTIAN SAHCOPHAGUS, FOrRTH CEXTl RY 
 Basilica of St. I.urenzo, Uutside the Walls of l-iome 
 
 [ .59 ] 
 
Memorial Art — Ancient and Modern 
 
 ANCIEXT ROMAN SARCOPHAGUS 
 Aries Musee 
 
 .sarco]:)hagu,s. It is interesting because it might be called the prototype of some 
 of the later sarco]:)hagi. Possil)ly, the crude claw feet here shown suggested the 
 lifting of the die from the base by this same style of su])port, in later forms, as, 
 for example, in the sarco|jhagus of Bernardino Lonato. It also shows a pilaster 
 
 effect on two of the faces — an 
 effect which becomes more pro- 
 nounced in later sarcophagi. 
 The leaf and dart moulding 
 around the top shows an un- 
 usual treatment, extended as it 
 is below the moulding. The 
 ornamentation on the faces 
 suogests an earlv form of art 
 and represents a grape har- 
 vest. This is a Christian sar- 
 c o p h a g u s of the fourth 
 century. 
 
 Another very old sarcopha- 
 pus is in one of the French 
 
 o 
 
 museums. Rams heads and 
 wreaths are used for its ornamentation ; and carved mouldings are noticeably 
 missing. The j^anel for the inscription is, no doubt, the motive for many ]ianels of 
 the present day. 
 
 As to the style of the later sarcophagi, the most important variation arises from 
 putting a cap or lid over a die of large ])roportions and ];)rojections. This per- 
 mits a great variety of treatment, from simple to ornate. The introduction of 
 columns and pilasters at the 
 corners or along the sides offers 
 verv interesting designs; and, 
 plain or elaborate, the sar- 
 cophagus makes an appropriate 
 pedestal for a cross, vase, or 
 statue. We hnd it serving this 
 [Hirpose back in the days of 
 the Romans, when both burial 
 and cremation were ])racticed. 
 Urns containing the ashes of 
 those cremated were jjlaced 
 on or about the monument. 
 This resulted in all kinds of 
 designs, and finally developed 
 intcj the columbarium, which provided space for the urns of a whole family. So it 
 is from the Romans we get the sarcophagus of large |>roportions, assuming the 
 appearance of a tomb itself. 
 
 Of all the famous sarcophagi of antiquity, the one to Alexander the Great 
 
 THE ROYAL SARCOPHAGUS 
 
Memorial Art — Ancient a n d M o d e r n 
 
 ^J-JtI. 
 
 
 SARCOPHAGIS OF THK MOIKXKRS ( K.N D VIF.W) 
 
 is one of the finest and ricliest. This master- 
 piece is one of a number of beautiful sar- 
 cophagi discovered at Sidon. Tliese show 
 the influence of the greatest sculptors of 
 ancient (ireece — Scopas, Lysip})us, and Praxi- 
 teles — and tlie date assigned to them is tlie 
 latter part of the fourth century li. C. 
 
 Another of these is the Royal sarcophagus 
 which stood near that of Alexander. The 
 ornamentation on this one consists mostly of 
 rich and delicately carved moiddings. The 
 pediments are sculptured and the cornices 
 and ridge decorated with antefix ornaments, 
 which undoubtedly had for their motif some 
 of the ancient steles. Simple in its decora- 
 tion and rich in its architectural lines, its 
 entire compo.sition will stand the test of the 
 most critical eye. 
 
 Still another fine specimen of (ireek art 
 is the sarcophagus known by the name of 
 "The Mourners." The die of this sarcophagus is decorated at the corners 
 with ])ilasters, while the sides are interspaced with Ionic columns, employed in 
 the same manner as on a pseudo-peripteral temple. The s])aces between the 
 columns are decorated wth eighteen graceful and touchingly posed feminine figures; 
 some seated, some standing; but all expressing grief. The line of sculpture below 
 the columns ])ortrays scenes of hunting in low relief. The two pediments show 
 seated figures mourning over the loss of a fi-iend ; while on each side of the 
 pediment, on a sort of balustrade which extends around the top. is a figure repre- 
 sented as breaking the news of the death of a friend to another. On the balustrade, 
 at the side, is shown a funeral 
 procession. The whole sar- 
 cophagus is, ]u-obal)ly, an ex- 
 ))ression of the feeling of Athens 
 over the death of one of the 
 kings of Sidon who was a friend 
 of the Athenians, and its date 
 is about 300 B. ('. 
 
 Another anti(|ue style of sar- 
 cophagus, but of Roman origin, 
 is one simulating the older 
 forms in shape, but placed on 
 a pedestal. The die proper is 
 raised above the pedestal, or 
 sometimes above a series of 
 
 SAHCOPHAGUS OF BFRXARniXO L()\\T( 
 
 bases, by supports, such as church of st. jiana .m Po„ui„, r,,,,,. 
 
 [61 
 
M e m r i a I Art — A n c i e n t and Modern 
 
 l^rackets, or the claws and feet of a beast. Of this type is the Napoleon sar- 
 coi)haons, the sarcophaous of Bernardino Lonato at Rome, and the Crouse and 
 Warder monuments in our own country. 
 
 The intramural monuments date from mediaeval times. Many of them bear 
 on the top an effigy of the body which they are supposed to contain, as, for 
 
 example, the tombs of some 
 of the kings and queens in 
 Westminster Abbey. These 
 monuments are usually a de- 
 velo])ment of the altar or 
 shrine type and show a great 
 complexity of design. The 
 monument suj^porting the re- 
 cumbent figure of Bernardino 
 Lonato, which stands in the 
 church of St. Maria del Populo 
 at Rome is a beautiful example 
 of intramural monument, the 
 face of the effigy being unusu- 
 ally perfect. Another is the 
 monument su[)porting the two 
 children of Charles VIII., which stands in the cathedral at Tours, while still another 
 is that of Ilaria Del Carretto in the cathedral at Lucca. (See page .59.) Very 
 few monuments of this character have been erected in the United States. Proba- 
 l)ly. the finest is the one erected to Father Brown, which stands in the church of 
 St. Mary-the- Virgin, New York City. This is the work of J. Massey Rhind, and 
 its chief suggestion, "peace," is beautifully expressed in the serene face, the folded 
 hands, and the draped vestment. 
 
 Of the sarcophagi which are made of bronze, the casket of Marsuppini, in the 
 church of Santa Croe, Florence, is a very pleasing examj)le. The Benjamin Head 
 Warder monument (page 6.'3) in Rock Creek Cemetery, Washington, D. C, is a 
 copv of this, and is said to be an imjn-ovement over the original both in proportion 
 and detail. 
 
 The Stephens memorial (page (i.S) in Detroit, Mich., is another beautiful example 
 of a bronze sarco])hagus. 
 
 In s])ite of the introduction of all other forms of memorials, the sarcophagus 
 seems destined to remain the most popular. A great variety of combinations of 
 design are possible, and if care is taken that the proportions are right, that is — 
 that the height does not exceed the longer dimension of the l)ase and seldom the 
 shorter — this style of memorial is a very pleasing one. 
 
 Fkaxklix L. Naylor. 
 
 SAHCOPHAGUS OF fHILDRKX OF CHARLES VIII. 
 
 Cathedral at 'I'ouns 
 
 U'2 
 
BKX.JAMIX IIK.VI) WARDER MIOrORIAL. RCMK ( RKEK ( KMKTKRY, \VAS11IX(,T(JX. 1). ( 
 
 STEPHEXS MEMORL\L, ELMWOOD CEMETERY, DETROIT. MICH. 
 
 [ uy ] 
 
Memorial Art — Ancient and Modern 
 
 T 
 
 SARCOPHAGUS OF MYCEKINLiS 
 
 Discovered in Pi'ramid at Oizch 
 
 EGYPTIAN ART AS USED IN FUNERAL DESIGN 
 
 VHE very oldest sarcojihagi 
 that we know anything 
 about are those of Egypt, 
 and as some of their designs 
 are used in monumental work 
 to-day it may be of interest to 
 look into the origin of some of 
 these. 
 
 The sarcophagus of Myceri- 
 nus is a very ancient one, dis- 
 covered in 1837 and lost in a 
 shipwreck shortly after while 
 being transported to England. 
 This old sarcophagus was cut 
 from basalt to imitate the 
 appearance of one of the old Egyptian wood houses, pilasters being used to pro- 
 duce the door and window effect, a style of decoration common at that time. 
 This sarcophagus is ])articularly interesting because it shows the use of the Egyp- 
 tian Gorge or Cavetto cornice — a finish the Egyptians almost always used for 
 the tops of walls and buildings and much used in modern designs. This may 
 have been an imitation of the old Egyptian reed, clay, and straw huts, in which 
 the reeds used in the side walls tended to bend out under the weight of the 
 roof. 
 
 The sarcophagus of Koo-foo-ankh is of about the same date, and of interest 
 chiefly on account of its slia])e. Its decoration is much like that of ^Nlyceri- 
 nus. 
 
 The earlier Egyptian sarcophagi were sealed by means of a rebate and groove 
 which fitted into each other, holding the lid and sarcophagus together. In addi- 
 tion to this, wooden l)olts were 
 attached to the under part of 
 the lid and these fitted into slots 
 on the sarcoj)hagus. The 
 cracks were then filled in with 
 a hard cement to make the 
 whole thing air-tight. In later 
 times, when mummies were 
 made of the bodies, it was not 
 customary to seal the sarcoj^hagi 
 so securely. 
 
 Some of the Egyptian sar- 
 cophagi called "Mummy 
 ca.ses" are cut in the shape of 
 swathed mummies and bear 
 
 r r 
 
 T 
 111 
 
 » Ml 1 1 II U. ii I, , mill (iirii tSlJ* 
 
 SARCOPHAGUS OF KOO-FOO-ANKH 
 
 [ W ] 
 
Memorial Art — Ancient and M o d e r 
 
 n 
 
 IXiVPTIAX .Mr.MMY fASK, XIXKTEEXTH DYNASTY 
 
 many hieroo-lypliic-s. These are (jfteii liuinau bodies with the heads of birds or 
 
 animals and represent o<jds. The vnlture's head often ap|)ears l^ecause as a scav- 
 
 eno-er of the land it was deeply 
 reverenced. 
 
 The two-winged (goddesses 
 who were considered o-uardians 
 of the tomb are often seen 
 carved on sarcojdiagi or painted 
 on the old wooden mummy 
 cases. Sometimes they are 
 standing, sometimes seated; 
 l)ut they always show one wing- 
 raised and one lowered. 
 
 A favorite design with the 
 Egyptians was that of "the 
 Winged-Sun Disk"" or "Disk 
 of Ilorus,'" which had its origin 
 
 in a legend of a conflict between the aged Ra. father of the gods, and some of his 
 
 foes. Ra appealed to the sun-god. IIoi'us. for help; and Ilorus, in the form of a 
 
 winged disk and in company with two goddesses in the form of serpents, constantlv 
 
 warded oft" evil from Ra. It finally became a belief that Horns would do this for 
 
 every one, and so the symbol of Ilorus was placed over doors and other entrances 
 
 as a charm against evil. 
 
 The design as used on memorials to-day (see Trevor and Rice memorials) has a 
 
 signification something as follows: The round disc (sometimes in the form of a 
 
 scarab) means "Creator," because it was su])posed that the hot sun beating on the 
 
 stagnant waters of the receding Nile caused 
 
 the Egyptian beetle or "scarab"" to l)e created. 
 
 The sparrow-hawk wings on each side of the 
 
 disc represent "(iod over all," because the 
 
 sparrow-hawk flew so high that when it flew 
 
 down it was supposed to have come from 
 
 the sun. The two deadly African serpents 
 
 are symbolic of evil and death. The whole 
 
 design, then, is a symbol for "The Creator; 
 
 God over all; Destroyer of evil and death.'" 
 Another decoration that probably had its 
 
 origin in the old reed huts, is known as 
 
 "Egyptian Square Sinkage." The corners of 
 
 the huts had to be reenforced in some way. 
 
 so they were packed with clay and bound 
 
 around with reeds, the reeds sinking into the 
 
 clay. In time, the clay hardened and the 
 
 reed graduallv wore awav or worked out. ' " - ■ ■ ~~ - - 
 
 1 • ," . ■ A MODERN SI'HIXX 
 
 leavnig a depression. Later, when the m A„i,ar„ ce,neter,v, b m.- 
 
 [ <i-^ ] 
 
M e m r i a I Art- — A n c i e n t and Modern 
 
 n 
 
 buildings were made of wood and stone, tliese depressions were carefully sculptured 
 on the edges as an ornamentation. (See Bolton Memorial, page 67.) 
 
 Two Egyptian plants, the Lotus and Papyrus, are almost always seen conven- 
 tionalized on Egyptian designs. The Lotus was symljolic to the Egyptians of 
 the "South," where it grew in the water as do our water lilies, but, unlike our 
 lilies, the stem grew up out of the water to a great height. This large stalk or a 
 series of them fastened together may have suggested to the Egyptians the use of 
 columns; as some of their columns are these stalks with the bud for a capital. 
 
 The Pa])yrus was the syml)ol of the "North " or Delta region, the home of the reed. 
 
 JOSEPH S. THICVOK MEMORIAL, SPHIXCJ GKOVE C'EMETEHY, CIXCIXX ATI, OHIO 
 
 Another design of interest is that of the Sphinx. The early Egyptians were 
 fond of the lion, which represented to them "strength" and protection, and so 
 the form of a lion was often used at the entrances of ))uildings, to guard them. 
 Finally, they began giving the lion a man's face or the head of a bird, and the 
 "Sphinx" was the result. 
 
 The Egyptians were the first to represent animals and luunan beings with wings, 
 an idea which has been used ever since. 
 
 The Egyptian idea of beauty seemed to l)e massiveness and stiffness, and Egyp- 
 tian designs are particularly ])leasing when used on large structures, where their 
 designs tend to increase the massive ap])earance. 
 
 [oe ] 
 
RICE MKMORIAL, LAKE VIEW CEMETERY. CLEVELAND, OHIfJ 
 
 BOLTOX VIEMORLVL, WOODLAWX CEMETERY, NEW YORK 
 
 [67 ] 
 
Memorial Art — A n c i e n t and Modern 
 
 T 
 
 SARCOPHAGrs OF ALEXANDER 
 
 THE SARCOPHAGUS OV ALEXANDER 
 
 ^HE Sarcophagus of Alex- 
 ander stands as one of the 
 great masterpieces of the 
 most Ijrilliant passage m the 
 history of ancient art — a ])as- 
 sage so refined, so direct, so 
 complete, and so luminous as 
 to have almost been inspired 
 by the gods, and having for its 
 theater the wondrous lanrl of 
 the Greeks. 
 
 Out of the gloom and solem- 
 nity of the past, this passage 
 dawned with the prescience of 
 a (lav in spring. Here was the inspiration of marble everywhere — an imperishable 
 medium, appealing in its beauty of texture and freedom of response. Here, also, 
 was the artist standing in the golden morning of the new day, freed from despot- 
 ism, iml)ued with lil)erty, full of the joy of living, his whole lieing trembling with 
 ecstasv of desire; and so, joyously, he fell to his work. 
 
 All the hesitation and crudity of the art of former ages was to be remedied, and 
 in a short space of time the Greek sculptor was to disengage himself from the 
 trammels of the past and advance his art to that point of excellence which stands 
 to-dav, after a lapse of twenty-five centuries, as the perfection of our present 
 ideals. 
 
 The Dark Ages of Greece, following the downfall of ]\lycenje, endured for 
 five centuries or more before the first faint gleaming of the golden Renaissance 
 was to illumine the world. It is marvelous that such a great development should 
 have been accomplished in the short period following. The archaic statue of 
 Artemus, fa.shioned a})out 620 B. C, is flescril^ed as having the appearance of a pillar 
 or tree trunk, front and back having the flatness of a board. It is lifeless and 
 inert, without form or scarcely promise; yet, within two hundred years, the 
 Greeks were to give to the world the glorious Parthenon and all those other mas- 
 ter])ieces of architecture and sculpture never to be excelled. 
 
 The Sarcophagus of Alexander, discovered in 1887, while men were excavating 
 for Imilding material near Sidon, is so called, not Ijecause it contained the body 
 of Alexander Imt Ijecause the scul])ture on it commemorates some of his exploits 
 and victories. It is constructed from a single block of pure white Pentelic marble, 
 eleven feet long, five and three-fourths feet wide, and four and two-thirds feet high, 
 and is surmounted by a lid nearly three feet high. 
 
 The lid is carverl in a shell pattern ; the ridge and eaves being decorated with 
 rows of heads, surrounded In' a kind of halo. At each corner of the eaves is a 
 sleeping lion. Over the head of the cornice, alternating with the haloed heads on 
 the eaves, are rams' heads forming a kind of gargovle. 
 
 [ tiS ] 
 
WKIDKMAX MKMORIAL. RI\'I-;KSII)E (KMKTKRY. ( LKVKLAM). OIIl 
 
 () 
 
 •lOHX L. ROMKR MKMORIAL. FOREST LAWX < KMKTKHY, HrFFALO. X. Y. 
 
 [ 'i9 ] 
 
Memorial Art — Ancient and Modern 
 
 The relief sculpture on the front represents a victory of Alexander. At the 
 left is Alexander, with the head of a lion's skin in place of a helmet, charging the 
 Persian horse; at the right, his general, Parmenio. A younger officer is near 
 the middle; while Macedonian and Greek foot-soldiers are mingled in battle. 
 The result of the battle is hinted, rather than shown, the Greek faces l)eing calm, 
 while those of the Persians are excited by rage and despair. The Greeks are 
 almost or entirely nude except for their helmets and bucklers. 
 
 At the back of the sarcophagus is shown a lion hunt. A horse ridden by a 
 Persian is being attacked by a lion, and the rider is about to thrust his lance into 
 the lion (the lance, which was of bronze, is missing) ; Alexander is coming up 
 behind the Persian to help him; an archer is about to let fly at the lion, which is 
 being attacked on its flank by a dog. Several other figures are hastening to the 
 rescue. At one end of the re'ar panel a Greek with a lance, and a Persian with 
 an axe, are surrounding a stag. At the two ends of the sarcophagus are shown 
 scenes representing at one end a panther hunt and at the other a battle scene. 
 
 The figures are well arranged and exquisitely wrought and colored. The nude 
 flesh has almost an ivory hue; the garments, armor, etc., are accurately portrayed 
 and tinted in delicate colors; tinted, floating garments fill in the background. 
 The expression of the faces is brought out by the color of the hair and eyes, of 
 which both the iris and ])upil are most naturally colored. Some of the warriors 
 we can recognize, especially Alexander. 
 
 It is not known whose brain conceived these beautiful decorations ; but it is 
 known that it represents all that was best and noblest in Greek art. Its size, 
 when we contemplate that of the Parthenon is insignificant; but its motif and 
 execution are quite inspiring and uplifting. The arranging and modelling of 
 the groups of combatants in relief, on its exterior, have all of the perfection of the 
 Parthenon frieze. The groups in the pedinrents are of a degree of excellence 
 which was presaged in the pediments on the temple of Aphaia at TCgina, and 
 which reached perfection in the pediments of the Parthenon ; conseciuently, this 
 sarcophagus, small as it is, embodies all the grandeur, perfection, and nobility 
 of the p'olden renaissance of Greek art, and stands as one of our areatest heritages 
 from the past. 
 
 The Alexander sarcophagus has been used as a motif for some of our modern 
 monuments with very pleasing results; as, for example, the Weideman memo- 
 rial in Cleveland. This sarcophagus rests on a modern base, but otherwise has 
 the same graceful proportions and outline as the original. ^Yhile lacking the 
 relief sculpture of the panels, all the delicacy of moulding shown in the Alexander 
 sarcophagus is here reproduced. The top is not as ornate as the original, but 
 in perfect keeping with the exquisitely rich but simple decorations on the sides. 
 Seldom has more complete harmony of lines and detail been attained, and we 
 may well call it a work of beauty. 
 
 The John L. Romer memorial also has for its motif the Alexander sarcophagus. 
 Simple in its ornamentation, it depends for its pleasing appearance on its graceful 
 proportions, beautiful mouldings, and delicate lines. 
 
 GKORCiio W. Stevens. 
 
 [70 ] 
 
M e m'n r i a I A r t — A n c i e n t a n d M o d e r n 
 
 sni'IO S TOMB, AI'I'IAX WAY 
 
 THE SARCOPHAGUS OF SCIl'IO 
 
 THK earliest Roman sarcophagus is 
 that found in 178f), on the Appian 
 Way, in a vineyard belonging to 
 the Sassi family, and in a tomh that was 
 known as Scijjio's. 
 
 When found, the Sci])io sarcophagus 
 was taken to the Vatican and placed in 
 tlie square vestibule near the Hall of 
 Meleager. The next year, several thou- 
 sand years after the death of Sci])io, it 
 was opened, and in it uas found the 
 skeleton of Scipio Jiarbatus, one of the 
 ancestors of Scij)io Africanus. His bones 
 were removed to a monument near Padua, 
 the sarcophagus remaining in the Vati- 
 can. 
 
 This sarcophagus, of early Doric de- 
 sign, is cut from coarse grey ])eperino 
 stone. It is in the form of an altar 
 decorated with a frieze of triglyphs and 
 metopes. Each metope is decorated with a rosette in relief, the rosettes varying 
 in pattern. The idea of using triglyj)hs for a decoration may have had its origin 
 in the projection of the ceiling beams in the older wooden temples. If this is 
 true, the guttte probably represent pins. The frieze is surmounted by an Ionic 
 cornice; and the top finishing at l)oth ends with a roll, on which Ionic volutes 
 ai-e c'arved, permits the placing of a Ijust or vase on the space between. 
 
 An inscription giving the titles of the deceased can be traced verv faintiv on 
 the lid of the sarco])hagus. It is not engraved but is painted on, with vermilhon. 
 
 On the front is carved, in 
 Latin, the inscription: "Cor- 
 nelius Lucius Scipio Barbatus, 
 the son of his father, Gna^us; 
 a man brave and wise, whose 
 outward form was matched bv 
 his inward virtues; who was 
 Consul, Censor, and .Edile 
 amongst you; who ca])tured 
 Taurasia and Cisanna in Sam- 
 nium, subdued all Lucania and 
 carried off hostages." These 
 two inscriptions are two of the 
 most ancient Latin inscrip- 
 tions in existence. 
 
 
 ?~ 
 
 
 liffilrW 
 
 
 fe!fe)W«i||M[fWIf|:s)( 
 
 n - nx%^ Ki 
 
 -j-JS- 
 
 
 ^ 
 
 SAHCOl'llACrs OF SCIPIO 
 Val ir:)n, Ildiiie 
 
 [ 71 
 
Memorial Art — A n c i e n t and Modern 
 
 One characteristic of the Scipio sarcophag-us, as well as of all the old sarcophagi, 
 is the absence of a large base, the base projecting only very slightly beyond the 
 rectangular outline of the sarcophagus. In our modern sarco])hagi a large base 
 of one or more steps has })een added to what was the base of the old sarcoj)hagus, 
 tendino- to set it off to better advantaae. 
 
 The Henry (". Payne memorial is a fine example of this innovation. It is a 
 reproduction of the Scipio sarcophagus, fjut, unlike the Scipio, it rests on a very 
 large platform of two bases — a decided improvement over the original. 
 
 The Charles Fletcher sarco])hagus is another that shows how much of dignity 
 the large, modern base adds. This sarcophagus shows an interesting variation 
 of the Scipio cap, and the torus of leaves around the base adds much to its beauty. 
 
 A very unusual base is shown in the George W. Peck memorial ; a sarcophagus 
 of the Renaissance type and with all of its ornamentation in perfect keeping with 
 the general design, excepting the diamond-shaped panels at the ends, which are 
 not in harmony with the rectangular panels on the sides. The form of this sar- 
 cophagus is good and the workmanship excellent. It also shows an innovation 
 in the Sci])io cap. 
 
 A fine example of the use of the Sci])io ornamentation is shown in the Thomson 
 sarcophagus, where the simple decoration, graceful proportions, and the delicate 
 lines all combine to make it a most Ijeautiful memorial. The length of this sar- 
 cophagus, which is built along the lines of the old sarcophagi, together with its 
 i)road exjianse of base, give it an appearance of stately grandeur, lacking in some 
 of the smaller sarcophagi. 
 
 In recent vears the Scipio style of monument has Ijecome quite popular for 
 memorial ])urposes. It can safely l>e said that of all anticjue forms no other 
 monument has been so frequently imitated. It is certainly one of the most dig- 
 nified and beautiful of all the many forms used, recjuiring of the designer and 
 sculptor a keen a])})reciation of what is graceful and in good taste, as well as in 
 good proportion. 
 
 A. H. (tRiffith. 
 
 [ >i ] 
 
IIF.NRV C. I'AVXK MKMOKIAL. I'OKKST HOMK ( KMHTKHV. MILW.VrKKK. \VI.- 
 
 CHARI.KS FI.KTCIIKR MK:\r(:)RIAL, SWAN I'OIXr ( KM KIKUY. 1M;()V11)1:N( K. R. 1. 
 
 [ 7:; ] 
 
GEORGE \V. PECK .MEMOIUAL, LAKE \IE\V CEMETERY, CLEVELAND, OHIO 
 
 THOMSON" ME^roRLVL, FOREST HH.L CE>n:TERY, UTICA, N. Y. 
 
Memorial A rt — A n c i e n t and Modern 
 
 THE SARCOPHAGUS OF NAPOLEON 
 
 Ox :May .5. 1821, occurred the death of 
 Napoleon Bonaparte, a prisoner 
 
 of 
 Eno-hmd and an exile on the Island of 
 
 1*1 
 
 St. Helena. It was his desire to he buried 
 among the people he loved, in France; but 
 his wish was not granted, and he was buried 
 in a secluded spot on the island, the grave 
 ])eino- covered bv an unmarked slab. There 
 the bodv remained for many years, imtil, 
 finally, France made a formal request to be 
 allowed to bring the remains of her illu.s- 
 trious leader to France. This re(|uest was 
 hnally granted; and so, in 1841, twenty 
 years after Napoleon's death, amid great 
 pomp and splendor, the remains were dis- 
 interred and taken to Paris, where they 
 were placed in their final resting place in a 
 tomb under the dome of the Hotel des 
 Invalides. 
 
 The tomb is an open circular crypt of 
 polished granite, having a diameter of thirty- 
 six feet and a height of twenty feet. It is 
 decorated with Caryatides, and between 
 these stand groups of banners. On the mosaic pavement in a circle around 
 the sarcophagus appear the names of some of Napoleon's greatest battles. 
 
 The body is enclosed in the tri])le, air-tight casket in which it was buried at 
 St. Helena. This casket is inside of an ebony coffin with the name "Napoleon" 
 in letters of gold across the top. The ebony casket rests in the huge sarcophagus 
 which occupies the center of the tomb. 
 
 The sarcophagus is made of red Finland quartzite and rests on two supports, 
 which are on a pedestal of green granite, brought from the Voges iNIountains. 
 The only decorations of the sarcophagus are wreath handles, two on each side. 
 The lid is decorated with a large volute at each end. The whole memorial, which 
 cost $30,000, is thirteen feet long, six and one-half feet wide, fourteen and one-half 
 feet high, and weighs about sixty-seven tons. It was designed by M. de ]\Iont- 
 ferrand and was the gift of one of the Russian Czars. 
 
 Of this sarcophagus it has been said: "The architect was certaiidy most 
 successful in expressing dignity and grace by wonderfully beautiful flowing 
 lines." 
 
 One of our modern memorials having the Napoleon sarcoi)hagus for its motif 
 deserves mention, viz: the ^leyer memorial in Rural Cemetery, Albanv. Built 
 of polished granite, and having the same excellent proportions and beaiitiful lines 
 as the original, it makes a very pleasing as well as stately memorial. 
 
 SARCOPHAGUS OF NAPOLFMN 
 
 [ ir, ] 
 
M e m r i a I Art — A n c i e n t 
 
 a 
 
 n d M d e r n 
 
 Another sarcophagus, with a different top, hut having the Najjoleon saix-ophagus 
 as a motif, is the Artluir memorial (see chapter on Sculpture), in which an added 
 feature is the figure standing near the head of the sarco])hagus and ])lacing on it 
 the palm of victory. 
 
 While these two mcxlei'u examples show excellent style and workmanshij), they 
 lack the dignihed setting of the original, the great silent crypt with its massive 
 dome; the entrance to the crypt, flanked on each side by a colossal statue, one 
 bearing a globe, the other a sce])tre and crown; the two sarco])hagi inside of the 
 entrance containing the remains of two of Na])oleon\s most intimate friends, Duroc 
 and Bertrand, who were "faithful unto the end," Bertrand being the friend who 
 went into exile with Napoleon at St. Helena and accompanied his l)ody to its 
 final resting place in Paris ; the great silent relief figures around the crv])t sym- 
 l)olizing important Napoleonic victories, and the six groups of l)anners, sixty in 
 all, trophies of many battles. All of these tend to inspire a feeling of awe as well 
 as add dignity to this beautiful memorial — a memorial which was made possi})le 
 l)y the concession of the British Government, in the hope that the last traces of 
 whatever ill feeling and animosity remained between France and England would 
 be buried with Napoleon. 
 
 
 MYERS MEMORIAL, Iii:i!AI> CEMETERY, ALIIANY, N. Y. 
 
 [ 7(1 ] 
 
Memorial A r t — A n c i e n t a n d M o d e r n 
 
 modi:rn sarcophagi 
 
 WHILK we still go hack to the work of the ancient chissic sculptors for ideas 
 aiul inspiration, some of our modern designers are not far behind in the 
 heauty and dignity of the memorials produced. Especially is this true 
 of some of our American designers and sculptors. Their work is classical in sug- 
 gestion, yet full of originality; and a great yariety of designs is showji. Their 
 most marked innoyations in cemetery work are, the use of large bases or plat- 
 forms, less ornanrentation and an efi'ort to haye the memorial in keeping with 
 the character of the one for whom it is to be erected, and a careful consideration 
 of the background it is to haye. 
 
 Seyeral years ago, a collection of photographs showing American designs of 
 memorials was sent to one of the leading architects of Berlin for his criticism. 
 The report that came back was most flattering. 
 
 Among many beautiful sarcophagi which are the work of American designers 
 those that follow will giye some idea of the beautiful effects produced when careful 
 attention has been given to proportions and detail. Comments upon them have 
 been made by several noted authorities. 
 
 .VDIK-.VX'niOXY MKMORIAI,, SWAN POINT ( KM KTEHV, l>ROVII)KX( K 
 
 R. I. 
 
LOWKLI. MEMORIAL, ilOUXT AUBURN CEMETERY, BOSTON, MASS. 
 
 TEAGEE .MEMORIAL, LAKE VIEW CEMETERY, CLEVELAND, OHIO 
 
 [ 78 ] 
 
JACOB EDWARDS IMI-:M0RIAL, FCJKlvST HILL CEMETERY, ROSTOX, >LVSS. 
 
 PERRY-SETZER MEMORLVL, MOUNTAIN GROVE CEMETERY. BRIDGEPORT, CONN. 
 
 [ 7!) ] 
 
HKKKK K .MEMORIAL, l-XJREST HILL CEMETERY, BOSTON, MASS. 
 
 LAWRENCE MYERS MEMORLVL, EORH' EORT CEMETERY, W ILKES-BARRE, I'A. 
 
 [ «'i ] 
 
DAVENPORT MEMORIAL, WOODLAWX CEMETERY. BOSTOX. MASS. 
 
 IIAUl) r^IE.AiORIAL. \YOODLA\YN (EJIETERY. NEW YORK 
 
 [ HI ] 
 
ORLANDO H. ALFORD ?kIEMORIAL, FOREST HILL CEMETERY, BOSTON, iSL\SS. 
 
 WOLCOTT MEIMORLVI,, WOODLAWN CEMETERY, NEW YORK 
 
 [8i ] 
 
W. A. O. MILLER .AIEMORL\L, WOODLAWX CEMETKRY, DETROIT, MI( II. 
 
 WILKEXS MEMORIAL, WOODLAWX CEMETERY, NEW YORK 
 
 [83 ] 
 
WILLIAM B. (TRTIS .AlEMORLVL, WOODLAWX CKMETERY, NEW YORK 
 
 gsrS^i*' 
 
 BLACKS rCXXE MEilORLVL, YAXTIC (;E.-\1ETERY, XCJRWICIL COXX. 
 
 f Hi 1 
 
siiKi'Hi;i{i)-KXAPP-i)i;F()Ri:sT :\[i:m()kial, woodlawx ( KMrrKiiv. m;\v vork 
 
 .lOIlX M. CROrSK MKMORIAL, FOREST HILL (KMKTKRV. LIK A, X. Y. 
 
 \ 8.5 1 
 
THAYER MEMORIAL, SWAN POIx\T CEMETERY, l'KO\ IDEN( E, R. I. 
 
 ALBERT YOUNG MEMORIAL, WOODLAWN CEMEI'ERY, NEW YORK 
 
 [ R« ] 
 
PETERSON MEMCJRIAE, HOSE HILL CEMErERY, CnUMH). ILL 
 
 WILLIAM IXSCO HLCHAXAN MEMORIAL. FOREST LAWX .EMETERY, BIEEAUX X. Y 
 
WOODMAXCY MKMORIAL. XOKTH BCKYIXC CliOCXI). ri{0\ IDEXCK. li. 1. 
 
 [,()MB-BArS(H MKMORIAL. MOIXT HOl'K ( KMKTKRY, ROCIIKSTKR, X. Y. 
 
HILLS .MI;M(.)1UAL, WOODLAWX ( LMLTKItV, XLW ^(JKK 
 
 liRADLLY MKMOULU., WOODLAWX ( KMl'.I'Lin, Xl'AV YOliK 
 
 f SH 1 
 
Memorial Art — A n c i e n t and Modern 
 
 COMMENTS ON THE MODERN SARCOPHAGI 
 
 Trevor Memorial 
 The Joseph S. Trevor memorial shows the "wirigeil 
 sun disk" over a break in the cornice that siii^KesIs a door- 
 way. Tliis carries ont the Ejjyptian idea of nsin<r it abo\'e 
 entrances. The [)lain panels are deeorateil with Egyptian 
 lilies, the stems of which form mouldings; while a torus or 
 faggot of Papyrus stems in deep relief extends around the 
 die. A slight heightening of the top l)ase makes a place for 
 the name. This is a very impressive style of memorial. 
 
 Rke Memorial 
 
 Egyptian ornamentation is used very effectively on the 
 Rice memorial, \vith its cavetto cornice and plain faces. 
 On the cornice, where the Egyptians so often placed it, is 
 the "winged sun disk." The Egyptian block letters are in 
 perfect harmony with the massive dignity of this memorial 
 and its simple ornamentation. Aside from the fact that a 
 rock-faced base is not exactly in harmony witli this style of 
 sarcophagus, this is a very beautiful as well as dignified 
 memorial. 
 
 BoLTOx JIemorial 
 
 The Bolton memorial is one in whicli P^gyptian decorations 
 have been used with most pleasing effect. Panels have been 
 made of the faces of the die l)y finishing the eilges and also 
 the lower edge of the cornice with a heavy cylindrical mould- 
 ing, on which is seen to advantage the Egyptian square 
 sinkage ornamentation. The top is finished with the 
 Eg}-ptian cornice or Cavetto top. On the panel, papyrus 
 buds and blossoms are incised in low relief. The name in 
 Eg}'ptian block letters is a most harmonious finish to this 
 stately memorial. In one respect this memorial differs 
 from most modern sarcophagi. It has been made to con- 
 tain the body, the end panel being removable. 
 
 Adie-Antho.xy Memorial 
 The Adie-Anthony monument is of tlie Romanesque 
 style, and a very fine example of studied proportions. 
 The ornament of this work is full of religious .symbolism. 
 The three crosses stand for the names in the inscription 
 below, to show their belief in eternal life. The "Fruit anil 
 Vine" ornament on column, caps, corbels, and in the span- 
 drels, stand for the personality of .Jesus Christ. The shells 
 carved in the end arches are symbols of the resurrection. 
 The angels in the spandrels are here used as messengers 
 between God and man. The crowning ornament, the carved 
 passion vine on the cornice mould, is most pleasing, as it 
 stands for the crowning event in the life of our Lord. 
 
 I^OWELL Me.MOHIAL 
 
 The Lowell memorial is very rich in every way and the 
 ornament is especially good in its symljolism — the blazing 
 torches signifying eternal life and the festoons of flowers 
 memory. This probably had for its motif one of the old 
 Roman sarcophagi, with the effigy on toji, such as is seen in 
 the initial cut, torches l)eing used in place of the cherubs. 
 
 TeA[!LE Me.MOHIAL 
 
 The Teagle sarcophagus has for its motif an old Cathe- 
 dral toTnb to the children of Edward L in Westmin.ster 
 Abbey. Its Gothic arches and columns, projecting top. 
 
 and plain, heavy mouldings give it a massive beauty in 
 keeping with its purpose. 
 
 Edwards Memorial 
 
 The .lacob Edwards memorial is good in outline and 
 moulding. While it is thoroughly Roman, one would know 
 from the lack of carving that it was designed in America. 
 The only criticism would be that possibly the name is too 
 large. 
 
 Perry-Setzer Memorial 
 
 The Perry-Setzer sarcophagus is a strictly American 
 design of the highest type, showing a fine classic feeling, 
 and with excellent ornament, starting with the intertwined 
 initials, showing that the two families are joined. The 
 palms are the emVjlem of victory and the wreaths the memory 
 of both families. 
 
 Herrick Memorial 
 
 The Herrick design, with its elegant outline, moulding, 
 and carving, shows thoroughly the Greek feeling. 
 
 Myers Memorial 
 The Lawrence Myers sarcophagus is a beautiful memo- 
 rial of the Renais.sance type. Its lines are delicate and 
 clear cut; its decorations rich but simple; its proportions 
 perfect. The top is decorated with a modern conception of 
 the Scipio cap, and bearing in the center of the plain panel 
 the Latin words, "Everlasting peace." The beautiful 
 Roman lettering, both here and on the face, is an orna- 
 mentation in itself. The columns and pilasters add the 
 finishing touch to the classic dignity of this memorial. 
 
 D.WENPORT MeMORHL 
 
 The Davenport memorial undoubtedly has the Royal 
 Sarcophagus for its motif. Built along the same rich yet se- 
 vere lines, and with even less ornamentation than the origi- 
 nal, it depends for its beauty on its delicate mouldings and 
 well-defined lines. 
 
 LLvRD Memori.^l 
 
 The Hard memorial is a beautiful sarcophagus because of 
 its very simplicity. Across the top of the faces of the die are 
 narrow raised panels on which the laurel, symbolic of 
 "glory," is delicately carved in relief. A beautiful torus of 
 leaves ornaments (he lower part of the die while the other 
 mouldings are plain. Proportions, lines, and ornamentation 
 are in perfect harmony and give it a classic beauty. 
 
 Alford Memorial 
 The Alford monument exhibits a rare type of sarco|)hagus 
 design. It is a shining example of what may be accom- 
 plishetl with architectural mouldings, properly executed 
 and proportioned. The egg and dart lends a consistent 
 finish to the torus of conventionalizetl lotus, antl the classic 
 letters of the family name make this all that can be desired 
 in a modest, yet massive memorial. 
 
 WoLCOTT Memorial 
 Something out of the ordinary is the Wolcott memorial 
 with its delicate bronze ornamentation and lettering, its 
 pleasing lines, and its broad expanse of base. The sar- 
 cophagus and upper bases are of white marble. The whole 
 makes an effective background for the headstone with its 
 kneeling figure, svmbolic of faith. 
 
 [ i)<l ] 
 
Memorial A r t — A n c i e n t a n d Modern 
 
 At the foot of the j^rave is a simple marker with a Ijronze 
 tat)let bearin*; the inscrijjtion : 
 
 "Warm MUiaiiier sun shine kirnilj' here, 
 Warm southern wimls blow softly here, 
 Green sod above lie light, lie light. 
 Good night, dear heart, good night. Good night."' 
 
 Miller Me.morhl 
 The AV. A. (). Miller memorial i.s a mo.st re.stfvil and diKiii- 
 fieil (lesij^ii of classic lines and fine mouldin<^s. AYith the 
 palm treated as it is, it {^ives a Christian touch of \'ictorv over 
 Death. 
 
 \A ILKE.NS ilEMORL^L 
 
 The \Vilkens memorial is of the Renaissance tyjie; a sar- 
 cophagus on which columns and jiilasters ha\'e been used 
 with pleasing effect. It has an unusual top, llie beauty of 
 which has been added to by the delicate bead and reel 
 moulding and the antetix ornaments of honeysuckle design. 
 Resting partly on the bases and ]iartly against the die are 
 the emblems of the victor — the pahu and wreath — in this 
 case of bronze. Proportions, lines, and ornamentation 
 combine to make it an unusually ])leaslng memorial. 
 
 Curtis Memorhl 
 In the William B. Curtis memorial is shown a pleasing 
 combination of two kinds of granite. The die, which in this 
 case suggests Greek influence, is of dark polished granite, its 
 only decoration being its wreath and ]janel of lironze and its 
 rich mouldings. The bases are of light granite. A plain 
 panel without other ornamentation than the inscription 
 would perhaps have been in better keeping with tlie simplic- 
 ity of its mouldings, Ijut even as it is, it is a very beautiful 
 memorial. 
 
 Bli\CK.STOXE ilE.MURIAL 
 
 The Blackstone sarcophagus is a more ornate memorial 
 than most of those already mentioned. Built of dark 
 polished granite, and of a different form from most sar- 
 cophagi, it is rich in its ornamentation of polished fret and 
 foliage mouldings. The acroteria, two on each side, with 
 their honeysuckle decoration, give it a delicate finish. The 
 pilaster-like extensions at the sides help to give the whole 
 memorial an ornate but dignified appearance. 
 
 Shepherd-Kn.^pp-DeForest Memori.vl 
 The Shepherd-Knapp-DeForest sarcophagus shows how 
 attractive a memorial can be made by using plain, slightly- 
 raised panels and lettering for ornamentation. The lettering 
 in this case is in most pleasing harmony witli the whole 
 design. Good proportions, delicate lines, and simplicity of 
 ornamentation combine in making this memorial a most 
 
 beautiful one. 
 
 Crouse Memori.\l 
 
 The John M. Crou.se memorial is one that undoubtedly 
 had for its motif one of the old Roman sarco|)hagi having 
 an efhgy of a body on top; the die being raised, as it is, by 
 claw supjiorts, on a series of bases. The sarcophagus is 
 especially pleasing in its lines as well as in its ])lain but 
 beautiful ornamentation, ami the acanthus leaves on the 
 edges together with the huge claw sujiports give it a verv 
 massive a|ipearance. The bases are beautiful, with their 
 well-defined lines, massive proportions and clear-cut mould- 
 ings; while the dainty wreath decoration adds just the finish- 
 ing touch to their beauty. 
 
 Th.WER ilE.MORIAL 
 
 The Thayer monument is an extremely modern type of 
 memorial. Its lines are pleasing and the carving, although 
 
 of a conventional nature, shows conscicnlious study. A 
 cla.ssic incised letter would have been liettcr; but, evidenlly, 
 the designer had to adhere to the taste of his customer in 
 
 this ])articular. 
 
 Young Me.morial 
 The die of the .Albert Young memorial represenis an 
 .American de.sign. It has concave faces and is capped with 
 a concave roll ending in two volutes. Between these is 
 carved in relief a wreath and palms. .\t the to]) of the 
 panel is a bead and reel moulding, the bead being much 
 longer than the reel. An unusual treatment of the four 
 edges of the die is shown, decorated, as they are, with 
 a leaf of many fronds, the vein of the leaf forming 
 the eilge of the die. The name pane! projecting at the 
 top, from the face of the die. is capped liy overhanging 
 mouldings and framed in at the sides by a leaf and volute 
 ornament. This beautiful memorial is esjiecially pleas- 
 ing because of its originality. 
 
 Peterson Memorial 
 The Peterson ilesign is a fine examjile of the 
 ancient idea of a .sarcophagus. The ornamentation is 
 a fifteenth century adaptation of the Egyptian l^otus or 
 Water Lily form. 
 
 Buchanan Memorial 
 The Buchanan sarcophagus is a fine example of the 
 modern treatment of an ancient form. The mouldings 
 and general jjroportions are good; the carved panels 
 with the Greek crosses surrounded by lialos of jialm 
 and acanthus, being es])ecially refined, give it that 
 dignity which should always be in the mind of the de- 
 signer of monuments. 
 
 Woodma.nuv Memorial 
 The Woodmancy .sarcophagus is of a design much 
 above the majority in its chaste outline and rich ornament. 
 The cross and intertwined Easter lilies being one of the 
 finest emblems of death and the resurrection. If the top 
 had been finished with plain bead and fillet mould it would 
 have added dignity, for with the present carving it detracts 
 from the ornament at the center of the die. 
 
 Lo.mb-Bausuh Me.morial 
 The Lomb-Bau.sch memorial is one in which the die 
 proper is within a temple-like structure of Doric columns 
 and entablature which rests on a foundation of several ba.ses. 
 Rich in its ornamentation of plain panels and moulilings, 
 and with the columns to give it a classic touch, it makes a 
 refined and plea.sing memorial. 
 
 Hills Memorial 
 
 The Hills design is modern in outline and ornament, the 
 ornament being most pleasing — and having the same 
 significance as the ancient usage of the gTajie vine, which 
 was that ([notation from the New Testament, 'T am the 
 Vine." 
 
 Bradley Memorial 
 
 The Bradley .sarcophagus shows still another style of 
 memorial known as the '"rock faced." This is a verv 
 plea,sing style for those who do not care for an ornate memo- 
 rial, for even in a stone of this kind the lines can be made 
 very graceful. The first and foremost impression of this 
 sarcophagus is rugged stability. 
 
 [ 91 
 
THE EXEDRA IN MEMORIAL DESIGN 
 
 BY 
 
 JOHN FKAXriS STANLEY, Muxumknt ARnirricrT 
 
 NEW YORK 
 
Ti 
 
 AVENUE OF ^^CTORY. BERLIN" 
 
 THE EXEDRA IN MEMORIAL DESIGN 
 
 ^HE architectural activi- 
 ties of the Greeks, al- 
 though largely occupied 
 in temple and tomb construc- 
 tion, also embraced the build- 
 ing of public structures, an 
 important class of which was 
 the stoa. This was a colon- 
 nade, and in simple form was 
 walled on one side and roofed 
 so as to provide shelter. 
 
 Colonnades were erected at 
 times to enclose sacred places, 
 and this, it seems, was the 
 origin of the temple in its per- 
 fected or columnated form. As 
 independent buildings located in ])ublic squares and roadways, or as identified 
 with gymnasia and other buildings, as enclosures or o])en halls, they were fref|uent 
 and of great importance in the life of the ])eople. 
 
 Featured at intervals in these colonnades were recesses provided with an arrange- 
 ment of seats. These alcoves, of 
 varying size and form, although usu- 
 ally semicircular or rectangrdar in _ . 
 plan, were termed "exedrse." 
 
 When the stoa was of great size, -_ 
 
 m its 
 
 or as a definition of a public square, 
 the exedra would be of proportionate 
 
 size, with the seats arranged in tiers so that a number of ])eople might have accom- 
 modation. This was frequently necessary, for exedrte were freelv used as educa- 
 tional centers. They were frecpiented by ])hilosophers and teachers, around 
 whom students would gather in the conveniently placed seats. In the gvmnasia, 
 athletes, during the intervals of their games, would seek the seclusion and rest- 
 fulness of these alcoves. 
 
 In private dwellings certain rooms were called exedrte — such an apartment, 
 the audience chamber, being provided for the entertainment of guests. This 
 apartment opened into a court, the central feature of the house. Seats in these 
 rooms were jilaced along the walls. As a rule, the larger dwelling enclosures 
 included a garden so planned that the exedra commanded its view. 
 
 Such planning, both in public and private buildings, was evidentlv pleasing to 
 the Romans, for they ado])ted it with very little modification. Bv this time, the 
 exedra had been established as an independent structure in public places and for 
 private use in gardens and burial ])laces. 
 
 [ 9.3 
 
M e m r i a I A r t 
 
 4 n c i e n t and Modern 
 
 Later, niches in churches, parlicuUirly sedilia and apses, were known as exedra-. 
 This term also indicated the ))isho|)'s throne, and, tinally, its ineaninc; must have 
 l)een ahaost obscured, for we find it applied to cha|)els, l)aptistries, and other small 
 buildings o])ening into the church, or contained within the churchyard enclosure. 
 It is evident that even in its Greek use the exedra was not of a fixed form — 
 at least, no more so than \\as necessary to comply with several conditions. It 
 was retjuired to l)e of somewhat open construction; also of a plan and seating 
 ari-angement to group a number of people in a manner convenient for conversa- 
 tional purposes. Such structures, while designed for the convenience of the living, 
 suggested also a means of fulfilling a duty to the dead; and this was no unim- 
 portant matter to the Greek mind. 
 
 That we may have a better a])])reciation of the more tyjiical forms of classical 
 grave monuments, it is necessary to know something of their burial customs and 
 rites. Disposal of the dead by the Greeks was either by Imrial, the most ancient 
 practice of cai'th, or by incineration, which was practiced l)y those who con- 
 sidered hre the first ])riuciplc of all things. The idea was to return the l)ody to 
 its natural elements. Each of these methods brought about definite monument 
 forms. 
 
 At hrst, a moimd of earth was raised over the grave, and so from the Greek 
 '' Tvi-iiioc,," meaning mound, the word tomb is derived. Later, a ledge or retaining 
 wall defined and ])reserved the mound-form, until, with the desire for a more last- 
 ing mark, came the stone structure — the monument. 
 
 As the (ireeks believed in the doctrine of immortality, they reverenced the 
 dead, paving great respect to their graves and tombstones. Proper burial being 
 considered necessary for the Avelfare of the dead, neglect of this, or any inter- 
 ference with tombs, was regarded as a serious crime. Not only epitaphs, but 
 forms and decorative features of gravestones gave expression to the Greek belief 
 in a future life; but the first expression of this belief was the offerings to the dead 
 placed in the l)urial s]K)t or sometimes on the mound. That this idea of life beyond 
 the grave was decidedly vague is evidence( 
 took the form of food and wine. 
 
 The tomb was regarded as the home of the dead, an* 
 all which had benefited the liviug might in the same manner benefit the dead. 
 For this reiison, burial feasts were held, not only at the time of burial but at stated 
 intervids thereafter. When the offering was of wine, as was often the case, the 
 
 ceremony took the form of a libation; or, 
 again, the wine vessel was simply placed on 
 the mound. This latter practice accounts 
 for a ty])e of memorial which we may 
 ])r()perly call a table, since its intent was 
 to provide a |)ro])er and secure su])port 
 for the ottering. This type is sometimes 
 confused with the sarcophagus, from its 
 somewhat similar form. 
 
 Another illustration of a monument type 
 [ yii ] 
 
 )y the natiu'e of these offerings, which 
 
 there was a feeling that 
 
Memorial A r t — A 7i c i e n t and M o d e r n 
 
 origin is the juo- or vase, the association of wliich with the above-mentioned rite 
 snogested its a(lo])tion in the more permanent material of marble or stone. It 
 was mack' solid, thus becoming symbolical. Of interest in connection with such 
 customs is the later custom of adorning the tomb with flowers. It may be that 
 the practice of food offerings suggested thi.s idea, for the early use of flcn-al offer- 
 ings had less of a decorative intent than a sacrifice; then, as now, the purj)o.se 
 being to show res])ect to those who had ])assed on. 
 
 The use of the urn in memorial art caine with the j)ractice of incineration; and 
 although with the Cdiristian era burning of the dead gave way to the more natural 
 practice of interment, the urn was again, after a time, brought into use; not, how- 
 ever, in a symbolical sense, but because of its ])eculiar beauty of form, which is 
 es])ecially adapted for a decorative feature in monumental compositions. 
 
 Of more importance than the above are the architectural forms of sepulchral 
 monuments and tombs. These, too, were in accord with the (ireek thought of a 
 home for the dead. The temple itself was simj)ly an ideal dwelling, the home of 
 the god, beautihed as its importance demanded. This form was adopted for the 
 larger tombs. Sarcophagi of the more elaborate sort also assumed temi)le form, 
 anfl then came the exj^ression of symbolism in architectural forms. Acting on the 
 ])rinciple that a part signified the whole, tlie more important parts of the temple 
 were adopted for grave marking. The altar of the temple, the door, the columned 
 portico, and other features all illustrate this idea; but the gable, to which was 
 given a particvdarly sacred character, brought into use a class of memorials which 
 was especially favored. This was the shrine-like type of stele, ca])])ed with a gable, 
 and, as a rule, bearing relief figures (m its tablet surface. Many of the earlier 
 and more slender steles also bore the pedimental top. 
 
 Another mortuary custom which influenced the monument building of the 
 Greeks was the highway burial; that is, the use of land adjacent to the main 
 roads which led from the city gates for biu-ial |)ur])oses. There were two reasons 
 for this highway burial. The law, with certain exceptions, forbade interment 
 within the city limits; and the people desired public honor for the dead. Their 
 monuments thus placed \\ould attract the notice of all who entered or left the citv. 
 Such proximity of burial places to the city possessed the advantage to the mourn- 
 ers of accessibilitv, both for interment and for worship of the dead. 
 
 Frequent burial feasts, occurring as they did at the grave, made it necessary that 
 whatever might be ]:)rovided for personal comfort should be of pei-manent character. 
 This would best be accom])lished by an incorporation of such features in the com])o- 
 sition of the memorial design itself. The exedra had been given an independent 
 construction, especially in its |niblic use. Readily adaptable as it was to expres- 
 sion in stone, its commodious arrange- 
 ment of seats well suited this mortu- 
 ary purpose ; and while its origin 
 had preceded this use, a more con- 
 stant form resulted and became a 
 distinctive type of funereal design. In 
 this more simple composition the "''" 
 
 { 9' ] 
 
Me 
 
 m 
 
 rial Art — Ancient and M a d e r n 
 
 structure, in general, emltraced a stepped platform on which rested the bench, either 
 semicircular or square in ])lan. Thus the bench itself, the important feature of 
 the structnre, might easily, and very often did, comprise the whole design, which 
 was then spoken of as a sepulchral Ijench (see page 97). In this connection, it 
 is interesting to note that the word exedra means "out of a seat." 
 
 There was an advantage offered in the rectangular exedra. It was suited to 
 dehne the outline of the more moderate-sized Ijurial plots. Its ledge-like seat- 
 back would then become a Ijoundary wall, enclosing the s])ace, and affording a 
 degree of ])rivac}- quite in keeping with the character of the place. The Romans 
 ])articularly favored such enclosures, in which they sometimes included a talkie 
 with seats on three sides. This arrangement they called a "triclinium," from its 
 
 similarity to their dining-room ap- 
 pointment. ^Yhen the table was 
 round, the couches were in crescent 
 form. 
 
 The rectangular style favored, too, 
 
 an architectural expression which 
 
 was effected in a simple way })y giving 
 
 the wall a dado finish, the ba.se and 
 
 cornice molds of which might be 
 
 enriched at will. These wall extensions, terminating, as was usual, at the front 
 
 corners, would become pilaster-like in appearance anfl similar to the anta? of 
 
 temple structures. 
 
 Still another reason for the favor of the rectangular style of exedra is explained 
 bv its immediate relation to burials. When performing the coraluned service of 
 memorial and plot enclo.sure, its .substructure Ijecame a veritaljle tomb. The 
 necessarv foundation walls would then serve as a protection for such interments 
 as were made within this space. Rufle sarco])hagi hewn from solid blocks were 
 used as coffins; and, as at present, distinction was given the l)urial of the more 
 important bodies by their positions in the enclo.su res. 
 
 Of the more interesting se])ulchral exedra? were some of a ciirving plan, either 
 semi-elli]>tical, or, more often, semicircular. Here the contimnty of line, in its 
 pleasing curvature, was quite in harmony with the softened contours which charac- 
 terized the ])rofile of the classic seat. The effectiveness of this scheme of design 
 was heightened when the ledge, or fjack of the bench, was of a piece with the 
 seat block itself, for in .such ca.ses the connection of the .surfaces was concave, 
 causino- a most pleasing play of light and .shade. As the segment reached its 
 terminus at either side a sati.sfactory finish was given by the u.se of an arm, to 
 which was ap])lied simple decorative carving. The horizontal dimension neces- 
 sarv to accomplish the purpose of .such a structure, its contrasting moderate eleva- 
 tions, and the simple ground plan, were all conducive to an extreme sim]jHcity, 
 expressing, in its entirety, the dignity which is so approj^riate for the monumental 
 purjjose. 
 
 That there were more ambitious examples of this style, which were not confined 
 to an ornamental elaboration of the simple form, is indicated in the remains of 
 
 [ 9« ] 
 
M e m rial Art — A n c i e n t a n d M o d e r 
 
 n 
 
 ancient structures, whicli are not onlv luimerous hut of fascinatino- interest in 
 their diversity of treatment. Columnated structures, sufrgestino- the |)ero-ola. 
 slirine-like niches (see iUustration below) and portico effects, comprised tlie moi'e 
 arcliitectural compositions, thus in a wav _----=».^^ 
 
 o-oino- back to the orio-inal form of the exech'a. 
 
 A recurrent form was the typical altar (see 
 page 98). which in its scjiuire shape was em- 
 ployed as a central motif — a bench abutting 
 the altar block. A similar construction offered 
 choice setting for statuary, and here the altar 
 was replaced by the statue |)edestal. 
 
 Apparently, the most frerpient combina- ~ rr^-^^^y- - - -^- - 
 tion of monumental exedra was with sarco]>hagi. Here the important burial was 
 given the wished-for prominence, the platform of the exedra ])roviding a su!)- 
 stantial base. A more imposing result came with the elevation of the sarcophagus 
 on a pedestal formed l)y an extension of the exedra ledge. As this extension 
 was made at the rear, there was no interference with the seat itself, and, accord- 
 ingly, a most fitting simplicity was preserved. The sarcophagi were characterized 
 by the tem])le form, with a gable and acroteria: the chest, garland carved, and 
 moulded to a base and cornice. 
 
 Exedriie were also featured in the construction of the larger overgrouufl tomb — 
 the mausoleum. Here the illustrations are also varied, but all treated in that 
 nuisterly way so characteristic of (ireek architecture. One such tomb, the site 
 of which required a pedestal of moderate elevation, cleverlv incorporated the 
 exedra in its front podium wall. A platform of this \\all breadth contained the 
 seat and its appurtenances, which consisted of a central altar and terminal posts, 
 all of which afnitted the podium. The ])osts and altar were of greater dej^th and 
 height than the seats, and so defined them: while the to]Mnost course of the wall, 
 with its slight forward projection, completed in a simjile manner a bench effect. 
 At the side, steps led from the exedra level to the main ])latform of the tomb, 
 which was of the usiuil temple form. 
 
 Another ancient toml) featured the exedra as an immediate portal accessorv. 
 An extensive stepped platform, of full building width, was brought forward the 
 required distance in rectangular plan. 
 
 In the building of these tombs some desired a greater degree of privacy for 
 their funeral rites, and this they effected by the distril)ution of seats in the tomb 
 itself. A flat ledge of proper seat height was projected against the side and rear 
 walls, this construction serving as a pedestal for the sarcophagi, which were placed 
 close to the wall lines. The excess of the flat ledge, having lieen established at 
 the required depth, j^rovided the seats; to which proper expression was given, in 
 the sectional contour of their elevation. Toniljs of this kind were scarce: per- 
 haps, because they were, as a rule, hero-chapels for those who had won special 
 gratitude for their services to the nation : and none but the most worthv were the 
 recipients of such honors. There must have l:.een. however, a tendencv to con- 
 siderable magniticence in [u'ivate tomb building, for laws were instituted limiting 
 
 [ !"-1 ] 
 
Memorial Art — Ancient and Modern 
 
 their extent, l)oth in size and workmanship. No such obstacle affected Roman 
 mortuary Imildinii'. Ilichwav burial was continued — also a oeneral similarity in 
 tomb forms, includinii; the sepulchral bench or exedra; but a greater loye of dis- 
 ])lay on the part of the more wealthy class impelled a nuignificence in such buihl- 
 ing which could not always be confined to the limits imposed by the accessible 
 burial s])ace on the highway, ^riien came the practice of garden burial. 
 
 A large area of grounfl in the yicinity of the villa was set aside for this ]:)urpose. 
 The limits of such areas were carefully defined, for they were fully protected by 
 law. In order that the extent of the area mio'ht l)e obyious, its diaeram and dimen- 
 sions were cut in a block of stone which was set up near the entrance. The plot 
 was divided into two sections, the rear being- reserved for a trarden and the tomb 
 occupying the front section. Such tombs were large, containing several stories, 
 and sumptuous in their a])pointments. The lower chamber was reserved for 
 sarcojjhagi; the uj^per, for the observance of the funeral bancpiets. For this 
 reason the upper aj^artment contained the exedra. Defining the tomb-section of 
 the area from its garden was a colonnade, probably in the character of a pergola. 
 This also included an exedra scheme of design. 
 
 From descriptions of these areas we learn that the tomb-plot was sometimes 
 entirely enclosed by colonnades, in this respect following the ancient practice of 
 the Greeks. The extent of such structures would naturally suggest a numljer of 
 exedr;e, anrl they were, no doubt, included in the scheme. The importance with 
 which these tombs ^yere regarded is shown by the fact that caretakers were con- 
 stantly employed for the sole purj)ose of keeping them in pro])er condition. The 
 iiarden section of the area accommodated the living quarters of the caretakers as 
 well as other necessary buildings. The garden not only formed a beautiful setting 
 for the tomb but ])rovided the floral offerings which were con.stantly used to 
 decorate it. 
 
 Another form of garden burial took ])lace in the immediate garden of the villa, 
 Adhere the tomb was of a more usual arrangement, with exedr;^, of simple form, 
 disposed about the grounds, but in T)i"oximity to the tomb. Here the natural 
 beauty and ])rivacv of the place would appeal to the contemplative mood of the 
 mourner. Owing to this more intimate relation with the burial place, both in its 
 jniblic and private location, general interest in the ])lot arrangements was keen, 
 and was ])articularly directed to the monuments. ^Yith these favorable conditions 
 came their artistic development and its encouraging appreciation. 
 
 "^J^here are many existing fragments of antiquity which offer suggestions for 
 other pleasing conqiositions. Classic designs, such as the sun dial, tripod, cande- 
 labrum, etc., at once come to mind for accessorial use. The architectural styles, 
 in their orrlers of Doric. Ionic, and Corinthian, will naturally ])royide [u-oper 
 material ; and the diversity of treatment to which the exedra is amenable will, 
 when exjjressed judiciously in the fresh thought of the designer, possess a degree 
 of originality, the distinctiveness of which will a])]>eal to the eye of the most critical. 
 
 There is a charm and sense of fitness in the exedra which ])roperly qualifies it 
 for a commemorative ])urpose, and the fact that it is coming into more general use 
 indicates an advance in this field (<f endeavor. This appreciation of the exedra 
 
 [ lOIJ ] 
 
Memorial A r t — A n c i e n t and Modern 
 
 comes witli a knowledge of its possibilities of intimate relationship to interments. 
 It is shrine-like in effect. Its structure may contain the graves, or. by ])osition with 
 outspreading arms. ])rotect and define them, while its inscribed surfaces may 
 readily correspond in position so as to designate them. There is, then, a peculiar 
 advantage in the use of the exedra — one which should commend itself to our 
 notice in general monument designing — the more permanent marking ol the 
 individual grave. 
 
 In modern design the exedra has hitherto l)een largely employed in important 
 public memorials. The large dimensions called for in such structures ai'c \\ell 
 embraced in this scheme of design, which is best ex|)ressed in its identification 
 with the more attractive environments of the modern pai'k landscape; but the 
 chief reason for its ado]_)tion is its scope for an effective disposition of the sculjjtor's 
 art. 
 
 The future of the exedra as a memorial is apparently assured. Its best develop- 
 ment will come through the judicious assistance of the sculptor, for in this way 
 may be given full expression to memorial art. 
 
 The photographs which follow have been selected \\'ith a vie\\' to ]iresenting an 
 interesting variety of suggestions for development. Other artistic examples may 
 be seen in many of our leading cities, and an occasional one in the better ceme- 
 teries. There are several notal^le illustrations in Xew York — the Hunt exedra 
 in Central Park at Fifth Avenue, and the Farragut Memorial in Madison S([uare 
 Park (see ])age 110). The most striking expression of this class of memorials 
 is shown in the Emperors' "Avenue of ^'ictory" at BerliTi (see page 108). 
 
 [ 101 
 
JOHX DAVISOX FLO\YER MEMORIAT,, SLEEPY HOLLOW CEMETERY. TARRYTOWX, X, Y. 
 
 THE MELVIX >rEMORIAL. SLEEPY HOLLOW rE:\rETERY, COXCORI), >L\SS. 
 
 [ W2 1 
 
KArFF>[AXX ^[KMOUrAl.. HOIK ( RKKK ( KMETKRY. \VASH1X( .IIJX. I). (. 
 
 CURRY ^lEMORIAL, U(.)1.LY\VU(JD ( EMF.TKRY. RJ( IIMOXI). WV. 
 
DRAKE MEMORIAL, WOODLAWX ( EMETERV, JITUSMEEE, PA. 
 
 A< HELIS MEMORIAE, KEXSICO CEilETERY, NEW YORK 
 
 [ 1"^ ] 
 
.KJlIX MrilOr.AS ISItOWX MEMORIAL. .\(JRTH BrKYlN(, GROUND. PR(.)\ ll)i;X< K. R. I. 
 
 FISCHER >[EMORL\L. WOODLAWX ( EMETERY. NEW YORK 
 
 [ ir>-^ ] 
 
Till-: JOIIX UEECK MEMORIAL, FOREST HILLS CEMETERY, BOSTOX, MASS. 
 
 X. A. WILLIAMS MEMORIAL, WOODLAWX CEMETERY, XE\V YORK 
 
 [ Hit! 1 
 
HKX.IAMIX HARRISON ^rF.MOKIAI,. rXI\ KRSITV PARK. IXDIAXAroLI^. IXI). 
 
 LOUIS X. REIBOLD ^[I■;M( )RIAI.. OAKWOOD rF.^rKTF.RY. DA^IOX. OHIO 
 
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 WILLIAil TH1-: GREAT MEMORIAL, EMPERORS' AVENUE OF \TCTORY, BERLIX 
 
 KAISER FREDERICK MEMORIAL, BERLIX 
 
 [ ins ] 
 
THE :\irXSOX MEMORLvr.. EAST ( EMETERV. LriCHEIEED. (OXX. 
 
 LOWEXGARD ME^IORLAL, WOODLAWX CEMETERY. XEW Y(JRK 
 
 [ l'J9 ] 
 
RICHARD :\IORRlS HINT :\[EMORIAL, FIFTH AVENUE, XEW YORK 
 
 ADMHJAL DA\ID GLASCOW FAHRACiTT MEMORIAL, MADISON SQUARE PARK, NEW YORK 
 
 [ 11" ] 
 
M e m 
 
 r I a 
 
 A rt 
 
 A n c i e n t 
 
 a )i 
 
 d M <> d e r )i 
 
 C():\OIEXTS ox ^[ODERX EXEDR.E 
 
 Fl.liWKK MkMURIAI, 
 
 rill-- uieiinjrial i^ a [are interpretation of the near-jjer- 
 t'eetioii \vliit/!i the ani-ient Greeks achie^'eil in their use of 
 Dorii- architer-ture. 
 
 DiL^nity antl rei)Ose characterize the exjjression of thi^ 
 style wliich for such reasons i> in jierfect accord \\nth the 
 solemn ]iurj.)0->e of a sepulchral monument. As an examjile 
 of the exeJra monument thi.- work ha^ a special intere-f — 
 the thou;:;^ht as expresse 1 in the architecture is completed 
 ^vith the symbolism of the bench. Altogether in sym]>afhy 
 with its place in this "Ganlen of Sleep," this tomli is ar] 
 illustration offuneral art in it- best form. 
 
 Melviv ME.\niRiAi. 
 
 This exerlra in its siniplicity of form and nicet>' <tf |>ro- 
 [rjrtion is a beautiful [ilace for the art of tlie sculptor 
 whose thought, assimiing \'isiljle form as a fiirure. partly 
 emerged from the depths of the tablet stone, represents 
 \ ictory mourning her sacriflce. Seemingly suggested 1>}" 
 the ancient arrangement of the exedra tomb-entrance, the 
 structure is apjpjarently a cenotaph memorial to three 
 -oldiers — brothers who lost their live- in the (.'ivil '\^ ar. 
 
 The .slabs of slate, set into the platform of the monu- 
 ment, suggest the appropriateness and security of burial 
 \A'ithin the foundation walls. 
 
 This form of tombal monmnent suggests a relief from the 
 mediocrity of orilinary inairsoleiun design. 
 
 Kauff.maxx Memorial 
 The beautiful sim[)licity of tliis meniorial i> pleasingly 
 emphasized by the sculptor's liironze. The symbolic urn is 
 unadorned .so that even in its po-ition of prominence there 
 is no conflict wdth the interest of the frirnre which re})resents 
 the mourner come with i\w and fillet to garland the tomb. 
 The panel reliefs aVio\"e the -eat culminate in a funereal 
 -ceue sho\\'ing a symliulir Harp\" on the bier. The feeling 
 of re|io.-e wdtich thi- mnnument reflects is strongly charac- 
 teristic of the funerary art of the Greeks. 
 
 (.'lrhy Mk.MORI-AL 
 As an exam|)le of the sepulchral liench this memorial i- 
 an expression of the Greek iiiea. De"\'elopei.l in classic 
 style of apparentlv massive construction and definite in its 
 intimacy of relation to the plot interments, there is pre- 
 sented here a note of encouragement for the essentials i;if 
 memorial ile^ign. In the foregroimd of the illustration i.- 
 shown a massive recumbent slab, a protection for the present 
 graves and bearing a heavy lironze inscription, which ma\" 
 he read from the bench; for wdiich [jurpose tlie slab-to]i 
 has been pitcherl somewhat in that direction. 
 
 Drake I\Iemorl\l 
 
 This collaborative design is an excellent exjiressiim of 
 harmony in the association of the arts of sculpture and 
 architecture. 
 
 In its receptive niche the bjronze driUer -\inViolizes labor's 
 acti\dty in the oil industry with wdiicli the one commemorated 
 was identified as a pioneer. 
 
 Architecturally a reflection of the loriic stvle. the struc- 
 
 ture assumes the forui of an exe Ira monument in a mo-t 
 satisfving interpretation. The lialancc of the central 
 scliejiie is attaine I by the advance in outward -wieep., of 
 -iile extension- wliich contain the exedra. The [jillar 
 terminations of bench walls liear the chiseled reliefs ol 
 memorv and death. Tliat the interest may be centered on 
 the bronze, tiiese reliefs are chi-ele I in the stone. Pilaster 
 ilivi-ions of the exten-iou- ]irovi le the epitaphian panels. 
 wLicli are pleasingly eniplia-i/e 1 by the defining pjerforations 
 of tlie well-known classic lattir-e pattern. The harmony of 
 this work in relation to it- siie emphasizes another iniporlant 
 [principle in nr?niorial designs. 
 
 .VCHELIS MeMiiRIAL 
 
 The modern treatment of this architectural monument 
 give- it that touch of individuality wdiich make- for a -atis- 
 fving result. The jjractical nature of the design shows, too. 
 tliat it has been studied with regard to its material — an 
 im[»ortant feature in monument design. Tile dctniinating 
 central monument and corre-ponding restraint in the use of 
 tlie liench illustrates still another scheme of exedra de-Ign. 
 Similar ideas meet the appri:)val of many who wdth an appre- 
 ciation of exedra composition object to the prominence of its 
 feature, the seat. 
 
 Brciwx Me.moreal 
 
 Here i- presented an indication of a development of the 
 exedra for an obviously Christian pur[jose. It i- a most 
 fitting arrangement, this use of the exe.lra. remini-ceiit as 
 it is of the practice in the early centurie- of biiililiuL' small 
 exedra-chapels in the churchyard enclosure. It suggests 
 al-o the ap-e rif the p)rimiti\'e churcdi with it- -urrouniling 
 lienc-li where the clergy grou[>ed about tlie altar: anil here, 
 too. i- a symbolic message, an invitation to re-t under the 
 pri.'tecting arms of the cross. 
 
 Fis. HKR MeIIURIAL 
 
 riii- nicinorial i> an indication of tiie general tendeiu.A- 
 in iin.idern designing oi exedi-a- — it i- a t\"pe di-tin- 
 gui-hed from the sepulchral bcMch and mav pi-ojierh" be 
 termed a memorial exedra mrjiiunieMt. Thi- -cheme i- 
 espiecially satisfying when distiiicti\"el\" [^rciduce I in classic 
 style as illustrated in this toinli. wlio-e spaciousness of plan 
 in simple sweep of line makes for a decidedly impire-sive 
 effect. The afiproach to tlii- tomli i- attractive, yet suggests 
 a feeling of privacy in it- clever dispo-ition of the grave- 
 slabs. Thi- effect, somewliat emphasized by the use of 
 candelabra, give- the tomb a -hrine-like aspect. 
 
 llEEl E ^Ie.morial 
 
 The a.-sociatioii ni a statue with the exedra recall- a plia-e 
 of Roman thought in funerary design. Xot alone in general 
 arrangement but in its avenue location this work i- -trik- 
 ingly suggestive of an ancient "Street of Tombs." The 
 importance which the tonil) a-sumes gives it a somewhat 
 public character, an effect which it is e\ideiit -entiment 
 frequently demands. 
 
 ^^ ith the central grass plot comes a pleasing example of 
 a bench and also a burial spot ha'\"ing a desiral>le jirivacv 
 as well as the protection of the foundation walls. 
 
 [ 111 
 
Memorial Art — Ancient and M o d e r n 
 
 Williams Memorial 
 
 The I'L'ctanj^nihir form of exedra offers facility for arclii- 
 tectiiral ex])ression anil is (juite in aeeoril wilh (lie eUissie 
 praeliee. I'liere is, too. a snnplieity of eoiislruetiou iinolveil 
 wliirh is essential to llie |ierinaneiiee of the siruclnre ami, 
 iherefore, ^^"ell sniteil for iiieiiioi'ial purposes. 
 
 The ancient Clioraj^io style of momiineiil is sii^'ijesleil liy 
 the tripoil, which in present-day desi<^nin<j; is much used as 
 a decorative fiiiial. Bronze permits a graceful rendition of 
 this feature and adds a touch of contrasling color and. 
 therefore, interest to the design. 
 
 ILvRRiso-V Memorial 
 
 The Roman idea of memorial honors for pulilic sci-vicc is 
 reflected in the general comjiosition and details of this im- 
 pressive monument. 
 
 The cxtensi\"e sweeping exedra gives the effect of llie 
 putilic audience cliamber. this suggestion being in harmony 
 with the attitude of the figure in its position of adilress, 
 standing tx'fore the flag-draped executive chair. The oafv- 
 carved jiedestal crested with an eagle in relief records 
 the inscription which is flanked t)y the forces of authorily. 
 The hench arms show a favorite classic treatment — the 
 wnnged lion paw. 
 
 Reibold Memorial 
 
 Garden-lmrial, as [)racticed l)y the ancients, favored an 
 elafjoration of funerarv architectural forms which included 
 
 the use of the [lergola. In this memorial, which presents 
 a thought of the pergola in a modest way, is also suggested 
 the idea of the exe^lra. The canopied form, with its graceful 
 ( 'oriiithiau columns, is a relief from the ma.ssy block forms 
 of the a\'eragc ty[je. 
 
 Hi XT MlAIORlAL 
 
 The attractiveness of the exedra-form in its use as a public 
 monument is seldom realized to the degree shown in this 
 illustration of the Hunt memorial. 
 
 .Architecturally, tliis monument is an expression of the 
 Ionic style as used in the Tireciaii period. It is characterized 
 Ijy an effective scheme of composition anrl setting, anri is a 
 clioice example of architectural design, in that it fully meets 
 the essenti;il rei|uirements of utility and tieauty. 
 
 LijWE.XGARD Me.MORIAL 
 
 The Lijwengard exedra has for its motif the front of an 
 old Egyptian temple, with its sloping walls and ca\'etto 
 cornice. The bronze doors, with their sunken-panel effect, 
 are decorated with a conventional lotus blossom extending 
 the length of the door. I,otus buds serve as handles. The 
 floor covers a receptacle for cinerary urns. On each side 
 of llie door is the seat that gives this form of memorial its 
 name. The restful simplicity of the whole design, together 
 with its excellent jjroportions anrl well-defined lines, make 
 it a very dignified and graceful memorial. 
 
 [ Hi ] 
 
THE CROSS 
 
 BY 
 
 L. A. WTIITEHOUSE, Morixary .Architect 
 
 BOSTON, MASS. 
 
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 12 
 
 13 
 
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 15 
 
 16 
 
 17 
 
 18 
 
 19 
 
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 21 
 
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 24. 
 
 25 
 
 26 
 
 27 
 
 [ 111 ] 
 
S' 
 
 THE CROSS 
 
 lixcE the end of the tifth century A. D. 
 the cross has been a sacred symbol, 
 standhig for Christ's redemi^tion of 
 fallen humanity; but in India. Persia, 
 Assyria. Thibet, China, Japan. Egypt. Cen- 
 tral Africa, and the western continents — in 
 fact, throughout the whole world — ancient 
 crosses of the same or of similar form have 
 been found, showing that the cross existed as 
 a pagan emblem, hundrerls and even thou- 
 sands of years before Christ. 
 
 The three forms of the cross from which 
 it is probable that all the others were derived 
 are — the Tau cross (Fig. 10), so called 
 Itecause its sha])e is that of the Greek letter 
 ••Tau" (T); St. Andrew's cross (Fig. 17); 
 and the Latin cross (Fig. 1.3 without a base). 
 The Tau cross (Fig. 10), \\-hile known in 
 India, was particularly common in Egypt; 
 and so it is sometimes spoken of as the 
 ••Cross of Egypt." The Egyptians marked 
 their gods with the Tau cross, the symbol of 
 ■•life." Figures of the priests of their god 
 Horns have Ijeen found, their vestments 
 decorated with this cross. Some of these date back to 1100 B. C. Sometimes 
 the Egyptians attached a circle (the emblem of ''eternity"") to the top of the Tau 
 cross (Figs. 4 and .5). making the cross symbolic of a future life. Fig. shows 
 this cross as it often appears in sepulchral decorations, suspended from the hand 
 of Horns. This same cross has been found in Phoenicia and among the people of 
 India, all of whose gods held a cross in one hand. 
 
 The Greeks made a peculiar use of the Tau cross. When a man had been 
 tried and condemned to death they recorded it on their judicial tablets with the 
 Greek letter •'Theta." the first letter of the Greek word for •"death"': but if he 
 had been acquitted, it was recorded with a Tau cross, the symbol of ••life." Tau 
 crosses have been found both in Arabia and ^Mesopotamia. 
 
 The St. Andrew's cross (Fig. 17) and the Greek cross (Fig. 16) are practicallv 
 the same thing : — crosses with four equal arms at right angles to each other, but 
 the crosses in different positions. Fig. 1^2 shows a form of the Greek cross worn 
 as a pendent l)y an Assyrian king, in worship of his god, over 800 vears before 
 Christ. During recent excavations in Athens many similar forms of beautifully 
 executed crosses have been found. 
 
 A most interesting form of the Greek cross is the so-called "'Swastika" or "Fvl- 
 fot" cross (Fig. 8). One form of this, called " Arani" (Fig. 1), was reverenced bv some 
 
 [ 115] 
 
 ^T. MARTIN S CROSS, lOXA, SCOTLAXD 
 
Memorial Art — Ancient and Modern 
 
 1, but 
 
 of the early Aryan nations. This cross was really a combination of the t\yo pieces 
 of wood with which they kindled "fire," the god they worshiped. Sometimes 
 they used this same cross with sparks added (Fig. 2), when they called it "Agni." 
 The Trojan cross (Fig. 3) has frec[uently been found in excayations of ancient 
 Ilium, in connection with "Arani" and "Agni" crosses. 
 
 The ^Mongolians are said to haye dra^\•n crosses similiar to that in Fig. 
 with shorter arms. This they placed, as a good omen, on 
 the l)reast of their dead. 
 
 The real Swastika cross, the symbol of "good luck," 
 was reyerenced in Egypt and India, as well as in Japan 
 and Thibet. It has been found on Greek pottery dating 
 back to 700 B. C. It is used by witches in Iceland eyen 
 at the present time. 
 
 All of the prehistoric peoples seem to haye been familiar 
 with the Swastika. Beelzebub (mentioned in the Bible) 
 was the god "Tammuz" of Babylon (referred to as "the 
 hammer" in Jeremiah 50:23). The Tyrians worshiped 
 him by one form of Swastika (Fig. 7), which, curiously, in 
 
 Scandinavian mythology, is the 
 
 of Thor, god of 
 
 thunder; and is called Thor's hammer. 
 
 The Hindoos particularly reyerenced the Swastika. The 
 greater part of their inscriptions, engrayed on the walls of 
 ancient caverns, are preceded or followed by this sacred 
 mark, which has also been found in China. In both India 
 and China it was considered an omen of "good luck." 
 
 Certain forms of the I>atin cross (Fig. 15 without l)ases) 
 were common in Egypt. One of these forms had a heart 
 at the end of the base (Fig. 23), and was used on the 
 fronts of houses, as a symbol that only good people resided 
 there. This cross sometimes had two cross bars (Fig. 26). 
 The Druids, who adored the tree as a symbol of their 
 god, generally selected a stately oak, which they cut and 
 trimmed, leaving two large branches on opposite sides. 
 Thus they formed a huge cross. 
 A cross very different from any mentioned so far is shown in Fio'. 9. It 
 really consists of two triangles intertwined, such as we find used for a decoration 
 on modern memorials. The upright triangle represents "Siva," the attributes of 
 whom are purity, truth, justice. The other triangle is his consort "Sati." 
 
 Passing from the Old "World to the New, we find the monuments and remains 
 of prehistoric races plentifully inscribed with the symbol of the cross. The 
 Spaniards, who conquered New Spain in the name of the cross, w'ere astonished 
 to find the cross an object of worship in the temples of this hitherto unknown 
 continent. They found Tau crosses of metal ; also INIaltese, Grecian, and Latin 
 forms, some of which were distinctly of Buddhist origin. Among many of these 
 old crosses that can be seen in the National Museum of [Mexico is a cross, "the 
 
 "WEST SIDE, 
 EUSKIX CROSS 
 
 SOUTH 
 SIDE, 
 
 KUSKIN 
 CROSS 
 
 116 ] 
 
Memorial Art — Ancient and Modern 
 
 tree of the sun," carved from basaltic rock. Its horizontal arms terminate with 
 the heads of serpents. This cross was symbolic of the cyclical periods of time. 
 
 In one place in [Mexico there stands an old rock altar, probably used for human 
 sacrifice. The rock is hollowed out in the center and surrounded by a number 
 of concentric circles of shields, outside of which is a circle of what are probably 
 crosses. Each cross is made up of four heart-shaped arms (Fig. ^11) with a spot 
 on each. It is probable that the parts of the cross were the symbols for human 
 hearts and the spots representefl drops of blood ; the whole cross being- symbolic 
 of human sacrifice. 
 
 The cross as an instrument of capital punishment was used as far back as the 
 time of Abraham, and was known as a gibbet to Persians. Egyptians. Africans. 
 Macedonians, Greeks, and Romans. It was also used for punishment bv the 
 Mexicans. The simplest form, called "stauros." was just a sharp, upright stake 
 on which the person was thrust, or riveted hand and foot. Other more elaborate 
 forms were also used. Fig. 11 represents the gallows on which Haman was hung. 
 
 The earliest so-called "crosses" of Christians appeared during the rule of Con- 
 stantine, when, after his vision of a cross in the heavens with the inscription mean- 
 ing "in this sign, conquer," he added the "Chrisma" (Fig. 1,'3) to his imperial 
 banner. This style of cross had a different origin from the other Christian forms, 
 which came later, and were reverenced because of Christ's death on a cross. 
 
 The Chrisma is a combination of two Greek letters: "chi" (X), corresponding 
 to our English "ch," and "Rho" (P), corresponding to our "R." The whole 
 symbol, then, is made up of the first three letters of the word "Christ" and the 
 symbol meant "Christ." (We find a survival of this idea in our use of "Xmas" 
 for "Christmas.") The early Christians were a little afraid to come out openly 
 with a new .symbol among so many pagans, and so they adopted the Chrisma, 
 which to them meant "Christ"; but which, to the uninitiated, apj^eared to be the 
 pagan cross with an ornamentation. A later form of the Chrisma is shown 
 in Fig. 14. In dedicating anything to Christ the forms shown in Figs. 1.3 
 or 14 \\'ere used. 
 
 Among the many later forms of Christian crosses are: The Passion or Latin 
 cross (Fig. 15 without bases); the cross of Calvary (Fig. ^24), whose three bases 
 represented the three virtues — faith, hope, charity, and also the "Trinitv"; the 
 cross of St. Andrew and St. Patrick, on which Scotland's patron saint "suffered 
 martyrdom; the Greek cross (Fig. 16) ; the Patriarchal or Cross Lorraine (Fig. ISj. 
 symbolic of redemption for both Jews and (ientiles; the Papal cross (Fig. 10^; the 
 Cross Potent (Fig. 21), the emblem of one who trusts in the power of the cross; 
 the Maltese cross (Fig. 22), its eight points symbolic of the eight beatitudes; and 
 the cross of Jerusalem (Fig. 2,5), the five crosses symbolic of the five wounds of 
 our Lord; the Cross Pattee (Fig. 2(_)). which was the badge of any Christian soldier 
 who defenrled the weak. 
 
 Having thus shown that the cross in its different forms has existed as a relioious 
 symbol for all time, we may proceed to its more advancefl and progressive "state 
 as a memorial. We shall attempt to trace its commendable features hi the memo- 
 rials of the present. 
 
 [ 11' ] 
 
RL'SKIX CROSS 
 
 [ lis ] 
 
Memorial Art — A 7i c i e n t a n d M o d e r 
 
 n 
 
 The Ruskin cross, an AnoHcan cross without a nimbus, is a memorial that is 
 particuhirly interesting because of the story it tells of Ruskin s lite. 
 
 On the front of the cross, facing the east, are his name and the years of his 
 birth and death, the dates separated by a symI)ol of the resurrection, a Swastika. 
 This side tells of his early life. Down at the bottom, under an arch, is a young 
 singer with his lyre and laurels, just al)Ove which is an interlace ornamentation 
 through which his name and the name of his hrst great work, "^lodern Painters,'" 
 appear. This represents his early struggle and final success as a |)oet. Above 
 this is incised a landscape, the sun just rising above a line of mountains. These 
 suggest Switzerland, where his first book was jjlanned. Amid a sugi{esti(jn of 
 pines is a young sketcher, his "'^lodern Painter," clad in an artist's costume of 
 the early nineteenth century. Above this are rejjresented his "Stones of \'enice" 
 and "Seven Lamps of Architecture": the first, by a winged lion of St. ^Nlark 
 (the emblem of Venice) : and the latter, by a seven-branched candlestick. The 
 three-pointed, interlaced figiires seen on dift'erent parts of the cross represent 
 "the Trinity." 
 
 On the south side of the cross 
 (see page 116) is reju'esented 
 Ruskin's interest in Natural 
 History. A narrow panel is 
 filled with a floral scroll of wild 
 roses, forming a sort of tree on 
 which can be seen a robin, 
 scjuirrel, and kingfisher, three 
 of his {)ets, about which he 
 wrote. The wild rose was his 
 favorite flower. 
 
 On the lower panel of the 
 west side is represented his later 
 work, "Unto This Last," a par- 
 able of laborers in a vineyard. 
 Above this is another panel for 
 "Sesame and I>ilies." while on 
 the upper part of the shaft is 
 shown "A Crown of Wild 
 Olives." In the center is ■•Fors 
 Clavigera," the Angel of Des- 
 tiny, with the club, key, and nail. 
 and surrounded byfour cherubs. 
 
 The north side, just an in- 
 terlaced pattern, represents the 
 last years of Ruskin — long 
 years of weariness and sickness. 
 
 In western Scotland we find 
 the Oransay cross erected bv 
 
Fig. 38 
 
 ORANSAY CROSS, WESTERN 
 
 SCOTLAND 
 
 FIG. 41 
 
 CRO.SS .\T KILDALTOX. 
 
 SCOTLAND 
 
 Fig. 40 
 
 SAINT martin's CROSS (hEAR 
 view), IONA, SCOTLAND 
 
 Fig. 39 
 
 SAINT martin's CROSS (fRONT 
 view), IONA, SCOTLAND 
 
 FIG. 42 
 
 CROSS AT ABERLEJLNO, 
 
 FORKAUSHIRE 
 
 FIG, 43 
 
 CROSS AT M0N.\STERD0ICE 
 
 IN LOUTH, IRELAND 
 
 l'>0 
 
Memorial Art — Ancient and M o d e r 
 
 71 
 
 ^kW. 
 
 
 Saint Colombo in the sixth 
 century. (Fig. 38.) 
 
 In reproducing the 
 "Melcher" cross we show a 
 most commendable example of 
 modern art; displaying faith- 
 fully, with a minute exception, 
 the reverse side of the Oransav 
 cross. The base employed is 
 easily an improvement over 
 that of the original. 
 
 The illustration of the 
 "Rockwell" cross shows a 
 beautiful replica of the Saint 
 Martin's at lona, Scotland. 
 (Figs. .S9 and 40.) In this case 
 again we see the reverse side. 
 The serpents, typifying wisdom, 
 are represented intertwining the 
 lower shaft. Perhaps a better 
 effect would have been pro- 
 duced by resorting to ribl:)on 
 work, thereby obtaining practi- 
 cally the same effect ; for we do 
 not now worship the serpent. 
 
 INIany mysterious traditions 
 of the Scottish Isles point to an 
 older serpent-worship among 
 the Scandinavians. Their word 
 "righuin," which throughout hockwell cross, w,)odlawx temhtkrv, xeu- york 
 
 the Highlands means a "princess," is applied to a serpent in the island of Le 
 indicating a legend about the serpent being a jjrincess metamorphosed. 
 
 The Druidical stones of Callemish are, no doubt, memorials of a prehistoric race. 
 Long rows of pillars of unwrought gneiss, meet in a common center, ^^-hi(•h is also 
 a circle of pillars, with its principal stone sixteen feet higli. In all. there are 
 forty-eight^ stones, the circle I>eing forty-two feet in diameter. The cross was 
 clearly its inspiration for the approaches take its form. 
 
 In Ilkey, England, are found three ancient memorials, which, althouoh thev 
 are not crosses, are generally referred to as such. Thev have none of the'^charac- 
 teristics of the cross, except the main shaft, or pedestal. Others are found in 
 the Isle of Man; one of them surmounted by a fragment of a cross, and verv elab- 
 orately embellished. They are of use to us because of their leoends, and, like 
 the crosses of Ilkey, are covered with figures of birds, hares, and of the human 
 form. Various nondescripts are intertwined with coils of serpents or scrolls of 
 ancient characters. Upon one of the monuments of Ilkey is sculptured the figure 
 
 ^ewis. 
 
Memorial Art — Ancient and Modern 
 
 of a man contending with a 
 two-foot dragon. This illus- 
 trates the fable told of Apollo 
 and the Python in one country, 
 of Siegfried and Fafnif in 
 another, of Saint Patrick and 
 the snakes in Ireland, and 
 which in England became the 
 legend of Saint Georo-e and the 
 Dragon. All seem to be but 
 shadowy legends of that re- 
 ligion which began in the East; 
 the eternal conflict between 
 good and evil, between man 
 and the serpent. 
 
 KHANKLIN V.. .TAMES CROSS, MOODLAWX CEMETERY, I\EW YORK 
 
 [ 1-^^ ] 
 
 JARVIS SLADE CROSS, WOODLAWX 
 CEMETERY, XEW Y'ORK 
 
 Referring to the St. Martin's 
 Cross (Figs. 39 and 40), ob- 
 serve the allusion to the five 
 wounds in the hands, feet, and 
 side of the Saviour, viz : — the 
 Bosses, prominent in the center 
 and on the arms of this cross, 
 which is probably the most pop- 
 ular of the ancient crosses. 
 There is no doubt that these are 
 symbolical of the wounds, for 
 we find many other examples in 
 the stone slabs of Kirklees, 
 Yorkshire, and other localities. 
 
M e m r i a I A r t ^ A n c i e 7i t a n d M o d e r n 
 
 In the "Franklin E. James" cross is to be seen an excellent example of the 
 Gothic type. Its excjuisite decorations, beantifully modeled, together with the 
 employment of the cross of Calvary as one of its face designs, make it an excejj- 
 tional memorial. One should not overlook the slight expansion of the shaft and its 
 contraction as it nears the top. which adds greatly to its effectiveness. The base 
 with its carefully treated inscription. l)ecoming as it does a part of the general 
 desio-n. deserves commendation. 
 
 / 
 
 
 CONSTABLE CROSS. WOODLAWX CEMETERY, NEW YORK 
 
 The ""Jarvis Slade" cross is a faithful and accurate reproduction of that found 
 in Kildalton. Scotland: and (Fig. 41). like the Saint ]vlartin's. we hnd the tvpifi- 
 cation of the five wounds, and the somewhat indistinct images on the shaft proba- 
 bly alluded to different saints. The ox and the lion evidentlv refer to St. Luke 
 and St. Mark in the order named, as will be shown at greater length further 
 on. The original of this cross stands upon a plain base, consisting of a single 
 stone, which, ])erha]:)s, enhances its crude proportions. The base of the modern 
 example is certainly not an improvement, and, unless the deceased had ancestrial 
 
 [ 1-^3 ] 
 
Memorial Art — A 7i c i e n t and Modern 
 
 claim to the Kildalton locality, there seems little excuse for attempting the 
 reproduction. 
 
 The "Constable" cross, a type which seems to he more or less popular in certain 
 sections of this country, and which, aside from its resemblance to ancient landmarks, 
 could hardly be called beautiful, is far preferable to the "Slade," both in its pro- 
 portions and workmanship. This cross reminds one of that at Alienny, Ireland ; 
 
 MABEL LKAHXED CROSS, RURAL CEM^;TERV, ALBAXY, X. Y. 
 
 and, except for its bold and rather effective pedestal, could easily pass as an 
 attempt at reproduction. 
 
 The "^Nlable Learned" cross, distinctively modern, shows a pleasing effect 
 throughout; and the conjunction of the "passion" or "true vine of Christ," with 
 lilies typifying ])urity (in this case alluding to the \"irgin, who with her Divine Son 
 shares His glorv), forms a well-executed and not overdone enrichment. 
 
 The "Still" memorial shows an interesting adaptation of the original in the 
 
 [ 12-1 ] 
 
Memorial A r t ^ A n c i e n t 
 
 a n 
 
 d M d e r n 
 
 churchyard at Aberlemno, Forfar- 
 shire (Fig. 4'-2). whicli is shown in 
 the ilhistration. It is of the so- 
 called cross-slal) type. The intro- 
 duction of the bases effects a frank 
 and well-ljalanced in\proveinent. 
 with the name not too prominent 
 in its decorative panel. 
 
 Turning- from this to the "" Mor- 
 rison," we observe a modern con- 
 ception of an old design, of 
 dignified and unic[uely balanced 
 proportions. Its design is adapted 
 from a grave-slab at Relig Oran. 
 lona. The ])arallel liands inter- 
 
 MORHISON CROSS, KENSICO CEMETERY, NEW YORK 
 
 [ 135 
 
 STILL CROSS, HOLY'OKE, MASS, 
 
 laced into expanding semi-circular 
 endines at the termination of the 
 arms, aptl}- convey the impression 
 of eternal life, as it follows the 
 dull and comparatively uneventful 
 earthly existence which is typified, 
 by the ])lain and unadorned panel 
 from which the bands spring. This 
 rather plain form of memorial is 
 commendable, in that it is one of 
 which the observer does not cpiickly 
 tire. In the "" Millar."" a cross of 
 the Latin type, we have a beautiful 
 effect ])roduced by lilies, syml)olic of 
 purity and of the Resurrection, con- 
 fined in a panel ; the cross resting 
 on three ])lain, well-cut bases. 
 Anrono- the more interestine of 
 
Memorial Art — Ancient and Modern 
 
 the Irish crosses is the Great Cross of Monasterboice, in Louth, Irehmd. For 
 lack of a suitable modern reproduction of this cross we reproduce only a cut of 
 the original. (Fig. 43.) Crosses of this type were erected as memorials to 
 founders of ecclesiastical establishments and are really Bible stories in stone — 
 many of the panels containing scul])tures of subjects from the Old and New 
 Testaments. Others are almost entirely enriched by panels derived from the pat- 
 terns as revealed to Solomon in 
 the building of the Temple; 
 chain work, checker patterns, net 
 work, the cherubim, etc. This 
 cross stands eighteen feet hio-h 
 al)ove its base and is constructed 
 of three ])ieces, as a close exam- 
 ination of the cut will reveal. 
 
 Three com])aratively unusual 
 forms are the Ilannin, Cole, and 
 Gray crosses (see page 128), al- 
 thoTigh the "Hannin" reseml)les 
 the crosses frequently found in 
 the vicinity of Cornwall, Eng- 
 land. The "Cole" has for its 
 ])recedent a ^Yelsh exam])le of the 
 ninth centurv,the original havino- 
 been covered with conventional 
 geometric patterns. The "Gray" 
 shows a roof treatment which 
 gives it the suggestion of a shrine. 
 The "Anderson" cross ex- 
 hil)its a fine example of inter- 
 lacement, and is of purely Irish 
 type. Here we find the Knots of 
 Solomon, and, again, as in the 
 St. Martin's, only much more 
 pronounced, the significance of 
 the five wounds. The double tri- 
 angle previously described and 
 treated in connection with Fig. 9 is prominent at the toj); to the left of the center 
 boss, on the arms, is a combination of the Greek and St. Andrew's cross, also previ- 
 ously mentioned. To the right is the monogram of the first and last letters of the 
 Greek alphabet, "Alpha" and "Omega," .symbolizing the beginning and the end. 
 The cross Pattee shown on the boss just below the center, together with the 
 network decoration of the central figure and the variation of the whole, add to the 
 interest of the subject, and relieve the monotony of repetition. The "Chrisma," 
 first adopted by Constantine, adorns the shaft; and, being placed on its heavily 
 relieved shield, serves to balance the protruding decorations at the top. 
 
 [ 126 ] 
 
 MILLAR CROSS, FOREST HILL CEMETERY, UTICA, X. Y. 
 
Memorial A r t — A n c i e 7i t and Modern 
 
 The "Hamilton" (see page 1^29) shows another type of Gothic cross. Although 
 rather poorly balanced as regards the severity of its bases compared to the enrich- 
 ment of the shaft, it again shows the interlacing patterns among which wmds the 
 vine of life, suo-gested bv the grape. The beautifullv worked sculpture and the story 
 it illustrates, that of the evangelization of the world, is worthy of our specuil notice. 
 
 On the Four Evangelists, as the witnesses and interpreters of a revealed relig- 
 ion, rests the entire Christian 
 Church. It is not surprising 
 that representations of them 
 abound, and that their effigies 
 have been introduced into 
 Christian places of worship 
 from the earliest times. Gen- 
 erallv, we find them repre- 
 sented together, grou])ed. or in 
 a series ; sometimes in their 
 collective character, as the four 
 witnesses (.shown on the "Ham- 
 ilton" cross); sometimes as 
 individual characters, each as 
 an inspired teacher, or benefi- 
 cent ])atron. As no authentic 
 portrait of these sacred person- 
 ages has ever l)een known or 
 even supposed to exist, such 
 representations have always 
 been either symbolical or ideal. 
 In the symbol the aim was to 
 embodv. under some emble- 
 matical image, the spiritual 
 mission. In the ideal portrait, 
 the artist, left to his o^^■n con- 
 ception, borrowed from Script- 
 ure some leading trait, and 
 added with what success his 
 skill could attain, all that his 
 imagination could conceive as expressive of dignity and persuasive eloquence. 
 
 The earliest type under which the Four Evangelists were figured was an emblem 
 of the simplest kind; four scrolls were placed in the angles of a Greek cross; or 
 four books (the Gospels) representing allegorically those who wrote or were respon- 
 sible for them. The second type chosen was more poetical. It represented 
 the four rivers which had their source in paradise. Representations of this kind, 
 in which the Saviour figures as a lamb holding the cross, or in his human form 
 standing with a lamb near him, on an eminence, from which gush four rivers or 
 fountains, are to be met with in the catacombs, on ancient sarcophagi preserved 
 
 [ ir, ] 
 
 AXDERSOX CHOSS. SPRIXG GROVE CEMETERY. CIXCIXXATI. OHIO 
 
Memorial Art — Ancient and Modern 
 
 among the Cliristian relics in the Vatican, and in the several old churches con- 
 structed between the second and the fifth centuries. 
 
 At what ])eriod the four mysterious creatures in the vision of Ezekiel (Ezekiel 
 1:10) were first adopted as significant symbols of the Four Evangelists does not 
 seem clear. The Jewish doctors interjneted them as the Four Archangels — 
 Michael, Raphael, Gabriel, and Uriel. 'J'hey afterwards applied them to the Four 
 Great Prophets^ Isaiah, Jeremiah, Ezekiel, and Daniel. By the early Oriental 
 Christians, who ty])ified the whole of the Old Testament, the transfer of the 
 end)lem of the Four Evangelists seems obvious and easy. We find it alluded to 
 
 as early as the second century. The 
 four "Beasts" of corresponding 
 form in Revelations 4:7, which 
 stood around the throne of the 
 Lamb, were likewise thus inter- 
 'VP^SF/^-*" >"" preted; but it was not until the 
 
 t;., fe^l^C^ fifth century that we find symbols 
 
 assuming visible form and intro- 
 duced into works of art. In the 
 seventh century they had become 
 almost universal as distinctive 
 attributes. 
 
 The general application of the 
 four creatures to the Four Evangel- 
 ists is of much earlier date than the 
 separate and individual application 
 of each symbol, which has varied at 
 different times; that propounded 
 by St. Jerome in his commentary on 
 Ezekiel has universally prevailed 
 since his time. 
 
 From Canon Farrar's Messages 
 
 of the Books, as quoted in Pelou- 
 bet's Notes, we take the following 
 description: "St. Matthew's is the 
 Gospel for the Jews, the Gospel which sees in Christianity a fulfillment of Juda- 
 ism, the Gospel which represents Christ as the ^Messiah of the Jew. His 
 emblem is the man : expressing the kingly and human characteristics of Christ. 
 "St. [Mark's is the Gospel for the Romans, the Gospel of incident, the Gospel 
 which represents Christ as the Son of God and I^ord of the \Yorld. His emblem 
 is the lion : expressing courage, dignity, and energy. 
 
 "St. Luke's is the Gospel for the Greeks, the Gospel of progressive Christianity, 
 the Gospel of Jesus as the Good Physician and the Saviour of Mankind. His 
 emblem is the ox: expressing ])Ower and sacrifice, Christ's priestly and media- 
 torial office. 
 
 "St. John's is preeminently the Gospel for the Church, the Gospel of eternity, 
 
 [ 1-^8 ] 
 
ILUIILTON CROSS, RURAL CEilETERY, ALBANY, X. Y. 
 
 [ 1-^ii ] 
 
Me 
 
 m r I 
 
 > a I Art — Ancient and Modern 
 
 the spiritual Gos])el, the Gospel of Christ as the Eternal Son, and the Incarnate 
 Word. His emblem is the eagle; because he soars to heaven above the clouds 
 of human infirmity, and reveals to us the mysteries of the (iodhead. and the felici- 
 ties of eternal life, gazing on the light of immutable truth with a keen and steady 
 ken." 
 
 Thus the significance of the story depicted on the "Hamilton" cross becomes 
 clear; and it appears that this cross is rich in its allegories, for, upon its shaft 
 are seen the fish, lamb, and the pelican; interpreted as follows: The Fish was 
 the earliest, the most universal, of the Christian emblems, partly as the symbol 
 of water and the rite of baptism, and also because the five Greek letters which 
 express the word Fish are the initial letters of five words signifying "Jesus Christ, 
 the Son of God, Saviour." The passage in the Gospel, "Follow me, and I will 
 make ye fishers of men," is supposed to have originated the use of this symbol. 
 The Lamb, in Christian Art, is the pec-uliar symbol of the Redeemer, as the sac- 
 rifice without blemish; in this 
 sense it is given as an attribute 
 to John the Baptist. The lamb 
 is also the general emblem of 
 innocence, meekness, modesty ; 
 for which reason it is given to 
 St. Aones. The Pelican, tear- 
 ing open her breast to feed 
 her voung with her own blood, 
 was an early symbol of re- 
 demption through Christ. 
 
 The Robert B. Adam cross 
 is well worth a close and faith- 
 ful study. Here the designer 
 has shown his ability to create 
 a richness which does not jar 
 on the sensitive observer; and 
 the treatment of the severe 
 lines of the I^atin type imparts 
 a feeling of perfectness. 
 
 Another particularly Ijeauti- 
 ful and unusual cross memorial 
 is the "Dunkerson." The ma- 
 jestic cross, on its three bases, 
 gives an impression of peace, 
 and decorated seats on either 
 end suggest rest and quiet. 
 Although in its individual parts 
 it is elaborate, its massive pro- 
 i:)ortions render it an unas- 
 
 HOBERT B. ADAM CROSS (REAR VIKW), FOREST EAWX CEMETERY, 1 _ ^ 
 
 BUFFALO, X. Y, suming form of memorial. 
 
 i;iii 
 
M e m rial Art— A n c i e n t a n d M o d e r n 
 
 DIXKERsnx rROSS (REAR VIEW). OAK HILL CEMETERY. EVAXSVILLE. IMl 
 
 The illustration, on the following page, of the "Inglis"" and ""Squire-Curtiss"' 
 crosses shows an interesting study in proportion. Here are two crosses of ecjual 
 height, set u]:)on a common base line, notwithstanding the fact that a casual 
 glance seems to convey the impression of considerable difference in elevation. 
 This condition is caused, in the "Inglis" (in which a massive appearance was 
 desired) by the heaviness of the arms anrl niml^us. and its more abrupt base effect. 
 The use of the Passion or ""True vine of Christ"" tends to further carrv the idea 
 of solidity i as its flower-like nature does not detract from the l;)old outline. A 
 more dainty and towering effect is ])roduced in the ■■Sc|uire-Curtiss"" cross bv 
 the contraction of the arms, and a slightly more tapering outline, both on the 
 shaft and its base. Attention is called to the treatment of the ornament, which 
 reflects that of the St. ^lartin's. Here the effect has been retained without resort- 
 ing to the serpent. 
 
 The "Horace Rowland"' cross is a Ijeautiful copy of an old cross at Kilklispeen, 
 Ireland (see page 1.S4). The upper parts of the two crosses are much the same except 
 that the ancient cap of the original has been omitted on the copv and the words 
 "Jesus ^lercy" added to the arms. Slight changes in the ornamentation are 
 
 [ i-'i ] 
 
Memorial Art — Ancient and Modern 
 
 shown below the lowest of the 
 five bosses and decided changes 
 on the base. The upper ])art of 
 the base has four panels around 
 it on which is cut in low relief a 
 supplication ; while the lower base 
 has the name and inscription in- 
 stead of the row of sculjjtured 
 figures. The Rowland cross is a 
 great improvement over its origi- 
 nal in its clear-cut but delicate 
 workmanship and in the beauty 
 of its design ; its finishing touch 
 being the beautiful lettering. 
 
 THE IXGLIS AND SQUIRE-CURTISS CROSSES 
 
 The "Skinner" cross with its 
 
 exquisitely treated allegories, 
 
 pre- 
 
 HORACE ROWLAND CROSS, PHILADELPHIA. PA. 
 
 viously described in full, seems a 
 fitting subject with which to close. 
 Here the presence of the serpent 
 is overcome and the conscientious 
 and antique treatment of the panels, 
 resembling the St. ^Martin's, de- 
 mands special attention. Perhaps 
 it would have been better without 
 the roof — a not too serious criti- 
 cism. The base deserves mention; 
 and again we have an example 
 wherein the name becomes a fea- 
 ture of design, neatly enclo.sed by a 
 panel that serves to balance the 
 richness of the shaft. The 
 inscription "Jesus Mercy" is taken 
 
 [ 13'^ ] 
 
Memorial A r t ^ A n c i e n t 
 
 a n 
 
 d Modern 
 
 from crosses of the period, from the michlle of the fourteenth to the hiter part 
 of the fifteenth century, and in most cases this was the only inscription appearmg. 
 Toward the close of the fifteenth century, however, longer inscriptions began to 
 be common; and in the succeeding centuries the conventional method appears 
 to have been to give a brief biography of the deceased, with a catalogue of all 
 
 SKIXXER CROSS, PEABODY CEMETERY, SPRINGFIELD, MASS. 
 
 the titles which he really possessed, and all the virtues which he should have 
 possessed. 
 
 The nimbus, or wheel (as it is more commonly called), of the "Skinner" cross, 
 indicates perfectly the significance for which it stood in the early crosses, that of 
 the crown of thorns. ^lany designers adorn the nimbus, suggesting as it does end- 
 lessness, with the ro])e as a symbol of eternity ; others elal^orate it with a series of 
 disks, as shown on the "Sc[uire-Curtiss."' In this ca.se it typifies the jeweled 
 crown, a more pleasing ornament. If the original of the "Skinner"" cross exhibits 
 
 [ 133] 
 
Memorial Art — Ancient and Modern 
 
 all of the virtues which the photograph displays, we can well afford to commend 
 it in accordance with the purpose of this article. 
 
 With the emphasis of repetition, we will, in conclusion, again call attention 
 to the fact that antiquity is in nowise ugliness; and that dignity, balance, and 
 grace of line are the prime requisites of the craft. 
 
 [ 1,'34 
 
THE TABLET 
 
[ 130 ] 
 
I 
 
 CHAI'IN MEMORIAL, PEABODY CEMETERY, 
 SPRINGFIELD, MASS. 
 
 THE TABLET 
 
 T lias been said that when a painter 
 paints a portrait he produces two; one 
 of himself and one of the subject; and 
 this is a truth which aptly apj)lies to the 
 buildino- of a memorial. Every monument 
 should, therefore, be a worthy endeavor. 
 It represents its maker. 
 
 In this chapter we wish to discuss one of 
 the more modest types of memorials — the 
 tablet. It is not our purpose in any way to 
 criticise the erection of any of the more 
 imposing forms of memorials. These, be- 
 cause of their beauty and dignity have their 
 place established. Our admiration is com- 
 pelled by the massive and well-proportioned 
 memorials which we meet in the study of 
 memorial art. But it is obvious to all that there are many objectional forms to be 
 found in our cemeteries. Whenever the attempt is made to imitate in a cheap way 
 artistic effect is lost. In the interest of true art we plead the cause of the simple 
 tablet, marker, or slab — upright or recumbent. The very modesty of such an unas- 
 suming memorial completely overshadows that of a poorly proportioned pile of stone. 
 The tablet, too, has within it great possibilities of develojjment. As it grows 
 in favor, we shall see that it rightfully deserves recognition and that it is not advis- 
 able to confine it within its commonly conceded limitations (from two to three 
 feet in height and less in width). 
 
 The perpetuation of the memory of the departed has ever been a worthv pur- 
 pose and we are impressed by the noble impulse of primitive man, who, long before 
 he learned to cook his food or wear a garment, was prompted to mark the graves 
 of his dead with a rude headstone or boulder. 
 
 The rude unhewn stone set to mark the burial place of some great man was, 
 probably, the earliest kind of sepulchral monument. These were called pillar- 
 stones, and it appears that they were used by all primitive nations. 
 
 Then came the use of blocks and tablets known as steles, ancient examples of 
 which can be seen in Greece (especially at Athens) and also in Egvpt. On them 
 were recorded ordinances and all kinds of public notices, and thev were also used 
 as milestones. Later they were favored for monumental purposes. 
 
 The earliest memorial steles were tapering slabs decorated at the top with 
 sculptured floral and palmette ornaments, or a triangular-shaped pediment with 
 rosettes and an inscription below. (See page 138.) 
 
 Some of the funeral steles were decorated in l)as-relief, with a representation 
 of the deceased alone, with some pet, or with his family. Sometimes scenes of 
 parting were represented, the parting often being indicated by the expression of 
 grief and despair on the faces. A parting banquet was sometimes shown ; while 
 
 [ 137 1 
 
STELE CASTS 
 In Metropolitan Museum of Art 
 
 [ 138 
 
Memorial Art — A n c i e n f a n d M o d e r n 
 
 on later steles appears a horse 
 or serpent; the horse symbolic 
 of the long journey on which 
 the deceased has started ; the 
 serpent sym))olic of death. 
 
 The later steles were broader 
 and shorter, often beino- in the 
 form of shrines representing a 
 chapel or temple in miniature, 
 lUid >^uppO'^C(l to be h.dlowcd 
 1)\ the piosciue ol some dtiU, 
 saint, hcio. oi otiui |)( i^onaiih 
 ie])uted to 1)0 ^^.u led ()t this 
 t\po is tlie shniK ol Viislo 
 iiaiites, bi^jononio to tiic (ail\ 
 
 Fig. 5 
 
 part of the fourth century. This 
 shows the (jreek warrior in 
 very high relief. He stands with 
 his tunic thrown back over one 
 shoulder, facing the enemy. 
 The left leg of this figure, which 
 was lost, has been re])laced in 
 plaster. 
 
 The marriage vase, a pecu- 
 liarly shaped vase usually hav- 
 ing two handles, which was used 
 to carry water for the bridal 
 bath, was often shown on steles, 
 when the deceased was about to 
 have l)een married, or was of 
 marriageable age. In Figure 5 
 
 [ 139 ] 
 
Memorial Art — Ancient and Modern 
 
 Fig. 6 
 
 are shown three vases. In the center 
 
 a marriage vase, on which is sliown 
 
 the deceased (evidently a young man 
 
 of marriageable age) bidding farewell 
 
 to his father, while at his side is the 
 
 horse on which he is to make the 
 
 long journey. The other two vases 
 
 are sepulchral vases for two younger 
 
 sons. 
 
 In Fig. 6 is shown a bancpet 
 
 scene of the "hereafter." The de- 
 ceased is represented reclining on a 
 
 couch, his wife at his feet. In front 
 
 of them is spread the feast, while at the left the god Dionysus is showing honor 
 
 to the deceased by appearing as a 
 guest at the feast. The serpent around 
 the leg; of the table is the omen of 
 
 death. 
 
 Since to the Egyptians the setting 
 sun was symbolic of death, and its 
 rise the symbol of a future life — 
 ancient Egyptian cemeteries were al- 
 ways located on the western bank of 
 the Nile toward the setting sun, and 
 the tombs usually faced east, occa- 
 sionally south, but never west. 
 For this reason, Egyptian steles in 
 the tombs almost always faced east. These steles, like those of the Greeks, were 
 
 adorned with sculpture. The Egyptian stele often ^^ 
 
 had a semi-circular top, and on it was shown the 
 deceased and his family presenting gifts to some 
 god (usually Osiris). On the stele shown (Fig. 8), 
 in the lower right-hand corner, this sacrifice to 
 Osiris is shown going on. The Egyptians, believ- 
 ing that after death the picture of food or of any 
 object or action the deceased might desire, guaran- 
 teed for the deceased all that was depicted, deco- 
 rated their steles with pictures of all kinds of 
 things the dead one might wish to have. Some of 
 these "wishes" are to be seen on the stele here shown. 
 Among the Romans, and other nations influenced 
 bA' them at the beginning of the Christian era, the 
 name of the deceased and symbols of his trade were 
 
 AN EGYPTIAN' CEMETERY 
 
 
 ^^ 
 
 
 
 
 :v^' 
 
 
 ft^ 
 
 i 1 ^ e- 
 
 inscribed on the gravestone, and, in addition to 
 this, those who were Christians used a cross or 
 
 \\ 
 
 ^•■h 
 
 r 
 
 ni! 
 
 'lOlK 
 
 4 
 
 % 
 
 
 
 -JiSM 
 
 FIG. 8 
 
 [ 1^0] 
 
Memorial A r t ^ A n c i e n t an 
 
 d Modern 
 
 
 M 
 
 '-mi!,... 
 
 . ■ >< >' ■' 
 
 Fig. 9 
 
 some other ,sym})ol, such as a fish, to indicate their faith. 
 As the earlier examples are more or less uninteresting in 
 
 ireneral outline, and, there- 
 
 
 ".''ry. 
 
 ■^-- ' • •■■■ ,,./ 
 Fig. 12 
 
 fore, of little value for our 
 purpose, we shall confine 
 our illustrations to their 
 ornamentation, which was 
 sometimes very elaborate 
 and usually incised or in 
 low relief. Fioure !) shows 
 a Christian ])illar-stone of 
 the fifth century. This is the stone of St. Monachan, near Dingle, Ireland. 
 Figure 10 shows a tenth-century example of a stone to the Abbot of Clonmacnoise. 
 Figure 11 shows a stone which dates back to before 1070 A. D., as it was found 
 in what must have been an old Saxon burying ground before that date, and in 
 1070 A. D. became the site of Camljridge castle. 
 
 Fioure 1"2, the stone of St. Marv le Wig-ford. E^rected at Lincoln 
 during the thirteenth century. 
 
 Figure l."?, a fourteenth-century example at Tackley. Oxon. 
 Figure 14 is a fourteenth-century 
 type, and was found at Bredon, Worces- 
 tershire. The ridge beams are cylin- 
 drical in shape and, crossing each other 
 at right angles, form a cross on the roof. 
 x\ very interesting and similar modern 
 example of this style is shown in the 
 "Charles L. Ilackstaff" tomb (see page 1.51). This is purely Gothic, and the 
 fidelity with which the design has been develojjed is noticeable throughout, from 
 its c|uatrefoiled j)anels to its characteristic cross and Gothic letters. 
 
 Figure 16 is an example of the fifteenth century. Such stones are called head- 
 =~l crosses and were generally used in 
 rt'l connection with a grave slab of sim- 
 ple design. 
 
 A great improvement over these 
 may be noted in American examples 
 
 Fig. 13 
 
 'iWi^^^mM 
 
 
 '''mJli 
 
 y 
 
 FIG. 16 
 
 of the nineteenth century, such as the Eaton memorial (see page 1.51). This 
 memorial consists of a recumbent slab and double headstone, suggesting the old 
 colonial shape. The sunken panel is surrounded by narrow panels filled with 
 
 clusters of fruit in high relief. 
 
 [ 1" ] 
 
Memorial Art — Ancient and M o d e r n 
 
 The use of fruit for ]:)anel decoration origi- 
 nated witlr the Roman custom of hanging fes- 
 toons of real fruit, alternating with skulls of 
 animals and sacrificial instiaiments, around the 
 friezes of their temples. Later, the same decora- 
 tions were used on secular buildings, and from that 
 time on fruit has been popular as a decoration. 
 
 The cross on the Eaton slab carries out the 
 idea of some of the old English slabs, but the 
 use of a wreath for a niml)us is a more modern 
 idea. Inside of the wreath are the first and 
 last letters of the (ii'eek alphaljet. Alpha and 
 Omeii'a, a reference to the verse in Revelations, 
 ■'I am Alpha and Omega." 
 
 Out of the idea of a headstone and recumbent 
 
 BLKS AIK.MdKIAL, I'EABODY CEMKTEKY, HPRIXCFIELI), MASS. 
 
 [ 1« ] 
 
 LI KE HITCHCOCK IIEMOKIAL, PEABODY 
 CEMETERY', SPRIXGFIETD, MASS. 
 
 slab evidently grew the idea of 
 enclosing a grave with curbing, 
 at the head of which a cros.s of 
 the Latin type was used. Later, 
 the cross gave place to a head- 
 stone. This type is beautifully 
 exemplified in the Clarence 
 memorial (see page 1,5"2), which 
 consists of a headstone daintily 
 carved Yvith the passion vine 
 and resting on a one-piece 
 curbing that surrounds the 
 grave and liears the inscription. 
 
 In our own land, the Colo- 
 nial stones, which are so sim- 
 ilar to the headstones in use in 
 all the old country churchyards, 
 offer many interesting studies 
 of design. For convenience, we 
 mav date them from the be- 
 ginning of the sixteenth century. 
 
 The Cha])in stone (see page 
 137) dates back to 1711. Com- 
 paring it with the Hitchcock 
 tablet (17'-27), the Bliss stone 
 (17.5S), and the Lieut. Abner 
 Smith stone (1776), and then 
 
Memorial A r t — A n c i e n t and M o d e r n 
 
 with some of our ])resent-day 
 taljlets, such as the Agnes Hurd 
 memorial, the advance botli 
 in (lesion and A^orkmanship is 
 most marked. 
 
 The Cha])in stone shows only 
 a cmde atteni|)t at shape and 
 lettering. The Hitchcock stone, 
 while only sixteen years latei' 
 than the Chapin, shows decided 
 advance both in shape and or- 
 namentation. It is decorated 
 with a winged head and hordei' 
 of acanthus, which, if anything, 
 surpasses a similar ornamenta- 
 tion on the Bliss stone of 
 thirty-one years later. In the 
 Abner Smith stone, which is 
 nearlv fifty vears later than the 
 
 AGXES IIUHD :\IEMOHIAL. WOODLAWX CH.XrETF.K V, XE\\ VORK 
 
 [ 1^3 ] 
 
 ABXEH S.MITH .MEMORIAL, PEABODY 
 rEMETERV, HPRIXCiFIELD. MASS. 
 
 Hitchcock, the sha])e is more 
 graceful and the design more 
 elaborate and better executed 
 than in the earlier examples. 
 Es])ecially is this true of the 
 head al)ove the |)anel. Instead 
 of just an incised outline, the 
 scul])tured relief is noticeable. 
 
 I'he Agnes Hurd memorial 
 is an example of nineteenth- 
 century work that carries out 
 the same idea of decoration as 
 the old stones just mentioned — 
 Imt what a contrast between 
 the beautiful cherub head of 
 the Hurd tablet and the crude 
 heads on the earlier exam|)les! 
 
Memorial Art — A n c i e n t and Modern 
 
 "Mf 
 
 WINSLOW MEMORIAL, COPP S HILL BURYING GROUND, 
 BOSTON, MASS. 
 
 The classic Greek guilloche, 
 beautifully executed, takes the 
 place of the crude colonial 
 acanthus border; while the 
 shape of the stone, though still 
 suggesting the old colonial, is 
 more eraceful. An interesting 
 use of symbols is shown on the 
 Hurd stone, the star represent- 
 ing birth; the cross, death. 
 
 The Winslow memorial is an 
 old colonial stone of a different 
 type from those mentioned 
 above and shows that some 
 artistic work was done even in 
 
 colonial days. The bunches of fruit and leaves are very realistic and compare 
 
 favorably with modern examples of fruit and leaf sculpture, such as is shown on 
 
 the Eaton memorial. The coat of arms in the center is well executed. This 
 
 was originally the stone of a 
 
 merchant, William Clark; but 
 
 Samuel Winslow, ignorino- the 
 
 Clarks, put his own name on it. 
 The "Albright" tablets (see 
 
 page 152) are two chaste and 
 
 beautiful memorials, and, ex- 
 cepting that the cherub is used 
 
 on the smaller of these in place 
 
 of an urn, similar to that in 
 
 the center of the larger one, 
 
 they are faithful copies of Eng- 
 lish examples of the eighteenth 
 
 century. 
 
 The "John R. Bennett" 
 
 tomb (see page 153), one of un- 
 usual merit, is an adaptation of 
 
 a Welsh slab of the seventeenth 
 
 century. The addition of the 
 
 base effect surmounted by the 
 
 cleverly conceived oak boj-der, 
 
 conveving the idea of strength, 
 
 is commendable. It enhances 
 
 rather than detracts from the 
 
 slab which carries its inscription 
 
 so pleasingly that it at^ once ..lexaxdkr bahnaby memorial, swan point cemetery, 
 
 becomes a part of the design. providence, r, i. 
 
 U4 
 
Memorial Art — Ancient and M o d e r 
 
 n 
 
 The Cochran memorial (see 
 page 1.53) is a double tablet, 
 each half of which suggests a 
 colonial stone in shape. The 
 face is slightly sunken and is 
 ornamented on each side and 
 in the center with a single stalk 
 of Easter lilies, a modern flower 
 symbolic of the Resurrection. 
 Above each name the Chrisma, 
 or symbol of a Chri-stian, is 
 used. The lilies are beauti- 
 fully executed and show an- 
 other modern conception of 
 ornamentation, as beautiful in 
 its way as is that of the Agnes 
 Hurd memorial. 
 
 Another interesting use of 
 the slab is shown in the old 
 Table-tombs (a slab mounted 
 on four legs), and also in a 
 form of a memorial which orig- 
 inated with the early Christian 
 use of Catacombs, which, as 
 altars, contained the martyrs' 
 remains. The older ceme- 
 teries in and around Boston 
 have many examples of this 
 type. For a good example of 
 modern use of this style we turn 
 to the "Watkinson" tombs (see page 1.54 
 in their proportions. 
 
 The "Frothingham" tablet (see page 1,54) is an unusually elaborate one and so 
 well balanced that its intricate carvings do not offend. It is of the Roman type. 
 
 It would be difficult to find a monument which bespeaks better taste or dio-nity 
 of purpose than the "Henry Dillingham" tablet (see page 15.5). Here is a case 
 where originality, and a careful study of effect, is more in evidence than the work 
 of the cutter, notwithstanding the obvious fact that the softness produced by his 
 workmanship is a great factor in conveying the impression of a modest memorial 
 artistically rendered. 
 
 The "Alexander Barnal)y" tablet is illustrated for its simplicity and similarity 
 to the Colonial type. Its wreath is well executed and the lettering well arranged. 
 
 In the "Curtis" and "Lothrop" ledgers are shown two beautifully executed 
 memorials, rich in ornamentation, which does not in the least detract from their 
 pleasing effect. Note how well executed is the palmette which enriches its sloping 
 
 [ ii.5 ] 
 
 MARY HALE XILES 
 
 .MEMORIAL. .MOUXT AUBfRX CEMETERY, 
 BOSTOX, MASS. 
 
 hich are rich in symbols and pure 
 
Memorial Art — Ancient and Modern 
 
 sides and how its jewel-like 
 border enhances the outline of 
 the simple cross on the "Cur- 
 tis" stone (see pai>e 1.5.5); also 
 the longitudinal arrangement 
 of the classic lettering employed 
 in the uni(|ue panels of the 
 "Lothrop"' stone (see page 
 1.56). 
 
 The "Mary Hale Xiles" 
 tablet, with its delicately carved 
 figure in bas-relief, reminds 
 one of the ancient shrines so 
 ])0])ular with the Greeks. 
 
 The "Sims" memorial, of 
 true Grecian Doric propor- 
 tions, aptly illustrates a modern 
 adaptation of the shrine and 
 also suggests that there are 
 times when it is well to disre- 
 gard architectural proportions, 
 in dealing with memorials of 
 this nature. The accepted pro 
 ])ortions pertaining to this order 
 are applicable to massive struc- 
 tures, and, while there is no 
 (juestion as to the integrity of 
 this design, the desioner would 
 have been justified in increasing the rise of his lower platform to at least four times 
 its present height, thereby undoubtedly improving the finished effect. 
 
 The " Worthington" memorial is another that, like the "Sims," shows the form 
 of the Greek shrine without a figure. Its unfluted Doric columns and modern 
 Scipio cap suggest Roman influence. The liigher and larger platform of the 
 "Worthington" memorial is an im])rovement over that of the Sims, tending to set 
 off the memorial to better advantaoe. 
 
 The "Butler" tablet is a beautiful and dignified creation. It is of the Grecian 
 Doric order, with its accessories omitted. It appeals to all as a stately tribute. 
 The drapery adds greatly to its significance as a memorial, imparting, as it does, 
 a feeling of solemnity. In this case, also, the lower ])latform could have been 
 increased in height to advantage. 
 
 The "John Hamilton Gourlie" tablet (see page lo6), rising abru])tly from the 
 ground, with its juire lines suggesting peacefulness, is well ornamented with the 
 consistent use of richlv carved i)alm branches. The inverted torches sio-nifv the 
 extinction of life, the true emblem of death. In Greek mythologv, Thanatos. the 
 personification of death, brother of sleep, holds in his hand a torch so inverted. 
 
 SIMS MEMORIAL. SWAX POINT CEMETERY, PROVIDENCE, H. I. 
 
 UU 
 
Memorial A r t ^ A n c i e n t and Modern 
 
 As we look at this tablet we 
 assume that it mioht easily 
 evolve, through the addition of 
 bases and other accessories, 
 into a memorial of more mas- 
 sive proportions, without, in the 
 least, injurino- its modestv. To 
 prove this, we turn to the "As- 
 pinall" tablet (see page 157), 
 which — supposing a platform 
 base of generous projection were 
 used in connection with the base 
 effect which the designer has 
 already added — sup])orts the 
 assumption ; and for even more 
 positive proof, the "Stevenson" 
 (see page 1.57) may l)e exam- 
 ined; for even though it lacks 
 
 BUTLER IIEJIORIAL, MOUNT AUBURX CESIKTKRY, BOSTdX, MASS. 
 
 [ U7 ] 
 
 WORTHIXGTOX MEMORIAL, LAKE VIEW 
 CEMETERY. fLEVELAXD. OHIO 
 
 the ornamentation of the two 
 in (|uestion. it requires no effort 
 of the imagination to classify it 
 with them. 
 
 The" ^NlaxT. Rosen" is a tal)- 
 let peculiar in design, extremely 
 out of the ordinary. It grows in 
 favor if accorded a conscien- 
 tious study, and we cannot 
 overlook the fact that Nature 
 has done her part in making 
 this a peaceful memorial. The 
 winged globe, primitive em- 
 blem of life and immortality, 
 is l)ut the forerunner of the 
 cherul) which descended by 
 ancient ])edigree from this very 
 symbol. 
 
 The sun-dial, although it is 
 
Memorial Art — Ancient and Modern 
 
 not used extensively in this 
 country as a memorial, is 
 frequently found in old Eng- 
 lish cemeteries, and its theme 
 is beautifully appropriate as 
 marking the endless march of 
 time. 
 
 The "Benjamin Curtis 
 Porter" and the "Booth" are 
 fine exam])les of the Greek 
 stele ty])e and are executed in 
 marble, the softness of which 
 seems more appropriate as a 
 material for this type than 
 granite. 
 
 The "Phipps" (see page 
 158) shows an interesting and 
 
 
 v^^ 
 
 r^x :^ 
 
 ^^m 
 
 -^ ,'1^- 
 
 SI _\ DIAL, WOUDLAW X rH.MHTKKY. MOW YORK 
 
 [ 1+S ] 
 
 .MAX T. ROSEX MEMORIAL, WOODLAWX 
 CEIIETERY, XEW YORK 
 
 decidedly commendable use of 
 the stele. This memorial, to- 
 gether with the ''Porter" (see 
 page 158), reveal the tablet 
 in its most pleasing form. 
 
 The "Edward Irving Nick- 
 erson" memorial proves that 
 to be l)eautiful a memorial 
 does not have to be elaborate 
 or of oTeat size. This tablet, 
 which in shape snggests the 
 old Colonial stones, consists of 
 a ])lain slightly-raised panel 
 on which the inscription is 
 beautifully incised with Roman 
 letters, the dates being sepa- 
 rated by a laurel leaf, the 
 syml)ol of atonement and 
 glory. Around the panel is 
 
Memorial A r t — A n c i e n t and Modern 
 
 a sunken toolerl Ijorder on which is 
 sculptured in rehef a conventional (le- 
 sion of lilies and acanthus leaves. The 
 edii'e of the stone is l)eveled. 
 
 The "Washburn" memorial (see ])age 
 1.59) is a low double tablet, modern 
 in shape and of exquisite richness, yet 
 simple in design. A Celtic cross, be- 
 comino- less distinct towards the l)ase 
 until it disappears, divides the stone 
 into two panels which are without other 
 ornamentation than the inscri])tiou, for 
 which ap])lied bronze letters are used. 
 On each side of the tablet hangs the 
 emblem of death, an inverted torch. 
 Aroimd the bottom of the stone is a 
 torus of laurel leaves, a Greek orna- 
 mentation svmbolic of strenoth. 
 
 EDWIX BOOTH ME.MOKIAL, MOUNT AUmRX CEME- 
 TERY, HOSTOX. MASS. 
 
 HEX.IA\TI\ CUHTIS PORTER MEMORIAL, WOOD- 
 LAWX CEMETERY, XEW YORK 
 
 The "Clara Foster Delafield" me- 
 morial (see page 159) is a tablet show- 
 ing an intelliji'ent use of the Italian 
 Renaissance in decorating a surface 
 with symbols and lettering which, al- 
 though competently done, makes clear 
 the fact that the simpler and quieter 
 Greek motifs are to be j^referred. 
 
 The "J. Herl^ert Foster" memorial 
 is Greek in its suggestion, both in its 
 form with the Doric columns at the 
 two sides and also in its ornamenta- 
 tion of (ireek fret around the top. 
 The wreath that envelops the Greek 
 cross is the symbol of memorv, while 
 the laurel leaves suggest glory. Both 
 (ireeks and Romans used the vase as 
 an ornamentation. The one here shown 
 
 U9 
 
Memorial Art — A n c e i n t and Modern 
 
 is a comparatively modern form of 
 
 vase. 
 
 For further illustrations to sup- 
 port the contention of the practical 
 (artistic) value of the unpreten- 
 tious type of memorial, we might 
 draw from many hundreds of com- 
 mendable examples scattered 
 throughout cemeteries. We trust 
 that our choice of the different 
 types here mentioned will create 
 a desire among the dealers, as well 
 as the designers, to further the 
 cause and increase the popularity 
 
 FOSTER MEMORIAL, SWAN POINT CEMETKRY 
 PROVIDENCE, R. I. 
 
 XICKERSON -ME.\rORIAL, SWAN POINT CEME- 
 TERY, PROVIDENCE, R. I. 
 
 of the more modest tribute to the 
 depart efl, for surely these illustra- 
 tions prove that such a simple thing 
 as the tal)let makes a beautiful 
 memorial. Not every one cares for 
 a large monument, such as the 
 mausoleum or sarcophagus; and, 
 no doubt, many people are without 
 memorials of any kind l)ecause of 
 the mistaken idea that the inexpen- 
 sive forms are not artistic. It is for 
 the designer and dealer to study 
 and co])y all that is best in the 
 world of art, that |)eople may learn 
 to a])preciate beauty even in unpre- 
 tentious memorials. 
 
 150 ] 
 
CHARLES L. UACKSTAl'F ilEMORIAL, INDIAN HILL ( KMETKHV. :SIH)l)Li;'l'0\VN, CONN.J 
 
 EATON MEMORLIlL. F()R1:sT HILL CEMETl'.RY, ROSTON. MASS. 
 
 [ 151 ] 
 
CLAREXCE MEMORIAL, WOODLAWX CEMETERY. NEW YORK 
 
 ALBRIGHT MEMORIALS, FOREST LAWX CEMETERY, BUFFALO. X. Y. 
 
 [ 15'^ ] 
 
.JOHN R. BKXXETT MEMORIAL, WOODLAWX ( KMETKRY, NEW YORK 
 
 COdlRAX MEMOREAL, EOREST HILL ( EMETl'.RY, BOSTOX. >EVSS. 
 
 [ 153 ] 
 
WATKIXSOX :\IEMORIALS, IXDIAX HILL CEMETERY, MIDDLETOWX. COXX. 
 
 ROIJERT FROTIIIXCiHAM MEMORLVL, M()i;\T AUBURX CEilETERY, BOSTOX, MASS. 
 
 [ 1.5i ] 
 
HENRY Dir.LINGHAM JIEi\rORIAI., W()()1)I>A\V\ CEMI-'/rERY, BOSTON', MASS. 
 
 CURTIS MEMORIAL, FOREST HILL CEMETERY, BOSTON, MASS. 
 
 [ ^■>-> ] 
 
LOTHROP MEMORIAL, FOREST HILL CE.MI^TERY. BOSTON, M.VSS. 
 
 JOHN HAMILTON GOIRLIK MEMORI.\L, WOOUL.VWN CEMETERY, NEW YORK 
 

 
 ASPIXALL MEMORIAL. GRKEXWOOI) (EM K'I'KRV, liROOKIAX. X. Y. 
 
 STEVEXSOX MEMORIAL, WOODLAWX (■EMErER>, XEW Y01{K 
 
 [ !■-' ] 
 
PORTER ^klEilORIAL, MOUNT AUBURN CEMETERY, BOSTON, INIASS. 
 
 PHIPPS :MEM0RIAL, \^•OOr)LA^VN CEMETERY, BOSTON, MASS. 
 
 [ 1.5S ] 
 
WASHBURX MEMORIAL, FORIIST HILL CEMETERY. BOSTON, .^LVSS. 
 
 DELAEIELD MEMORLVL. WOODLAWX CEMETERY, NEW YORK 
 
 [ 1.-,!) ] 
 
SCULPTURE AND ITS RELATION TO 
 THE PRESENT 
 
 BY 
 ORA COLTMAX, Clevelaxd, Ohio 
 
SCULPTURE AND ITS RELATION TO THE PRESENT 
 
 kHE art of the sculptor has little to do 
 
 t: 
 
 LINCOLN MHIORLVL, CHICAGO 
 
 with modern life. The enthusiasm 
 which produced the marble and bronze 
 master])ieces, which are the i-lory of the 
 museums and galleries of the world, died 
 when the ancient deities and heroes ceased 
 to be ol)jects of veneration to mankind. So 
 completely was the art bound up with the 
 relicious beliefs of the ancients that, when 
 tho.se faiths perished, sculpture became an 
 art of the pa.st, something by which the 
 charm of an imaginative age could be 
 recalled. Painting, literature, and music 
 are living arts, becau.se demanded by our 
 conditions and expressive of our emotions. 
 They are not, as are sculpture and archi- 
 tecture, symbols of a perfection which we 
 recognize but cannot attain. When the worship of man-made images ceased, the 
 demand for creative sculpture passed away. ^lemorial art, the monument to 
 the dead, is almost all that is left to the scul])tor, and in this case symbols of the 
 master-sculptors can be used for ideas which we feel are necessary at such times to 
 express. Every statue or group made by us depends for its significance on the 
 laws laid down by the ancients. To know anything about sculpture, one has, of 
 necessitv, to know something of their ])oint of view. 
 
 Scnl])ture had its origin in Egy|)t and its fullest develo])ment in Greece. Rome 
 onlv handed down the (xrecian traditions. 
 
 The art developed in Egypt; at first, through a deep religious motive; and 
 later, from a sense of duty to the dead. A double dwelt with every inan, and 
 after death waited with his body and his name for the soul to return and reunite 
 in a resurrection. If the body and the double should both perish, it would mean 
 annihilation. So long as both or even one survived, immortality was assurefl. 
 For this reason the dead body was carefully embalmed, and as a safeguard in the 
 event of its possible destruction, a statue of the double, made from the most endur- 
 ing material, in the image of the man himself, was placed in the tomb, awaiting 
 that day when the soul should return. Countless thousands of these statues were 
 fashioned of wood, baked clay, limestone or polished granite. The gods, too, had 
 to have their forms made clear to their worshipers; and proud kings, so far 
 removed from their people that they styled themselves "children of the gods," 
 and were worshiped and honored with every variety of homage, had to be shown 
 in visible form of material that would last to the end of time. These figures were 
 enlarged to heroic size, their features ex])ressing dignity and ])ower, and clothed 
 with the attributes of deities. 
 
 With the Greeks, as with the Egyptians, religion was the verv 
 
 [ Hi."' 1 
 
 breath of their 
 
Memorial Art — Ancient and Modern 
 
 seul])iure as well as of their architecture. The less perfect development of the 
 art of painting among them was due to the fact that paintings were never, like 
 statues, the objects of veneraticm. Instead of men with the attril^utes of gods, 
 their gods were embodied in the fairest human forms. To the Greek, man was the 
 consummate flower of all creation. The soul of Greek art was a passion for naked 
 male l^eauty. The (ireek could conceive nothing higher than a creature the same 
 in form as himself, but with certain powers added. Man thus became the pat- 
 tern for the image of the g-od. These conditions, causino- a definite need for this 
 
 sn\\\ MKMORI.VL, BOSTON rOMMOXM, BOSTOX 
 
 art, made the Greeks not only the great sculptors of the ancient world but the 
 greatest sculptors of all time. 
 
 As an example of the close connection of sculpture and religion with the daily 
 life of the peoj)le, one may note that even boundary lines of pro})ertv were marked 
 with stones consecrated to a god and bearing his image. To this image sacrifices 
 were offered, and it was ex])ected that, in return, the image would guard the 
 property. 
 
 Sculptiire was thus the handmaid of religion in the ancient world. There was 
 a field of labor for the sculptor and an activity of ])roduction of which we have 
 little conceptioTi. Writers have said that there was a larger population of statues 
 in the Rome of Trojan's time than of people. At the shrine of Apollo at Delphi 
 
 [ I'i^ ] 
 
Memorial A r t — A n c i e n t 
 
 a 
 
 n d Modern 
 
 there were at one time a liundred and sixty thousand statues. Ten thousand 
 marhk> cutters in the ^Mediterranean world were chiseling a hundred thousand 
 fio-ures everv year. Besides a vast number (jf i)ul)lic and tem|)le figures and reliefs, 
 
 ' ' •"•II* 
 
 the roads leading from the ])rincipal city gates were flanked with private dedica- 
 tory reliefs — chapels, seats, memorial steles, and sarcojjhagi. In the beginning 
 there was an attempt made to check this desire for elaborate cemetery n:ionuments. 
 In early times in Athens no tomb was permitted unless it could be made by ten 
 
 ■iHER.MAX MBMOKIAI,, FIFTH .WIOXUE, XFW YORK 
 
 men in three days, and stonemasons only were emploved. In later times, how- 
 ever, the best-known scul])tors acce])ted such commissions, until their efforts 
 culminated in that monumental tomb designed to preserve the memory of Mau- 
 solus, King of Caria (see illustration, Mausoleum Cha])ter), the beautiful structure 
 that has given the world a name for a type of monuments of unusual mao-nifi- 
 cence raised in memory of the dead. 
 
 That was the great day of sculpture, and if a faint light has l)roken since, as in 
 Italy in the time of Michael Angelo, or in our times on French soil, it is Imt a 
 reflection of that period. 
 
 In these days sculpture as a fine art has little ground on which to stand. We 
 
 [ icj ] 
 
Memorial Art — Ancient and Modern 
 
 press it into service in the production of memorial and sepulchral monuments, 
 because it is the only language we have in which to ex])ress such ideas as seem to 
 us to be appropriate. The emotions evoked by death are primitive, and it is 
 natural to go back to the past to seek symbols with which to express these emotions 
 among conventional forms consecrated by the usage of |)ast centuries. We find in 
 the marble images of the pagan world a great fpiarry of eml)odied sentiments, a 
 standard set up by the most imaginative and artistic people the world has known ; 
 and we may appropriate from this source such syml)ols for these ideas as we can use. 
 Se[)ulchral monuments and memorials to the dead, dependent as they are on 
 the fertile and delicate imagination, have thus a special field of their own. Attril)- 
 utes of the dead, such as courage, virtue, victory, and death, have taken on well- 
 
 MILMORE iMEMORIAL DEATH AND THE SCULPTOR, FOREST HILLS CEllETERY. BOSTON, ^L\SS. 
 
 known forms, tvpified for us in familiar ami significant models. There have 
 been frequent experiments in comljining this classic symbolism with every-day 
 realism, leading to much of the incongruity seen in our modern monuments. In 
 such important works as Saint (iaudens' Shaw memorial in Boston, \vhere a classic 
 fio-ure attends the colored soldiers; or, in the Sherman grou]) in New York, with 
 its Victorv leading the horse of the grim old warrior, only the most exacting care 
 made the combination possible. We even go so far as to attem])t to prove that we 
 still have some imagination left, by adding wings to the (ireek virtues and calling 
 them anoels. In Daniel French's Milmore monument, "Death and the Sculp- 
 tor," a Greek Thanatos is changed, in this way, into the Angel of Death, arrest- 
 ino- the hand of the young Florentine sculptor as he solves the riddle of life by 
 
 [ 160 ] 
 
M 
 
 e m r i a 
 
 I Art — Ancient 
 
 a 
 
 n d M () d e r n 
 
 carving a sphinx. A liand is interposed between the chisel an<l his work and lie 
 turns, to find Death at his side — her head shrouded in drapery, and in one hand 
 a bunch of poppies, the .symbol of sleep. This is generally considered one of the 
 two best private memorials in America, the other being the Aflams memorial in 
 Rock Creek Cemetery, Washington. It is jiopular, not (July because of the story 
 it tells but because of the very way it tells it. 
 
 In the beautiful group at the base of the John Boyle O'Reilly monument the 
 sculptor has been more satisfied to follow the ancient forms, contenting himself 
 with giving one of the figures wings and showing in the faces the marks of modern 
 
 JOHN- BOYLK O REILLY MEMORIAL, BOYLSTOX .STREET. BOSTON', MASS. 
 
 influence. This monument standing in the Back Bay Fens of Boston was erected 
 by admiring fellow countrymen to the memory of John Bovle O'Reilly, the Irish- 
 American journalist and poet, as an appreciation of his labors in behalf of the 
 political freedom of Ireland. 
 
 The die which rises directly behind the bronze group forms an ideal backgrounfl. 
 The Celtic cross flanked l)y bands of shamrock bespeaks the nationality of the 
 ])atriot. 
 
 The sculptor. Daniel Chester French, has used O'Reilly's efforts in behalf of 
 
 [ 10' ] 
 
Memorial Art — A n c i e n t and M o d e r n 
 
 Ireland, as the central theme of tlie group, and we find the harj:) indicated on the 
 breast of the draped figure of Ireland. On one side of her, in the garb of a 
 militant Irishman, is a fighter; on the other side, a nude figure, typifying the 
 Muse. 
 
 Another interesting ]:)iece of statuary is the memorial known as "Milmore's 
 
 THE ADAIIS lir;MORIAL, (iRIf'.F, ROCK CREEK CEMIITKRV, W ASHIXGTOX, D. C. 
 
 sphinx," in Blount Auburn Cemetery, Boston. (See illustration in Sarcophagus 
 article.) This is the statue on which ]\Iilmore was working at the time of his 
 death. 
 
 The most noteworthy piece of sculpture in our cemeteries is the simplv draped 
 figure bv Augustus Saint-Gaudens in the cemetery of Rock Creek at Washino-- 
 ton, U. C, considered by many to be one of the most expressive memorial figures 
 
 [ 1«8 ] 
 
Memorial A r t — A n c i e n t (i n d M o d e r n 
 
 produced in our times. Wrajjjjed in tlie dra])erv of gUx^m. she sits hroodino- on 
 tlie bewilderino- nivsterv of life. With the eyes of iniaii,ination, ilhiininated by 
 the light of the past, she becomes a Prophetess who has withdrawn from the liaunts 
 of men that she may learn and transmit to us some of the secrets of the orave. 
 This memorial to a wife suddenly taken from lier husl)and fuljv satisfies the con- 
 
 H.\LL MEMOHIAL, SLEEl'V IIOLLO\\- CEMETEKY. TAKKYTOWX. X. Y. 
 
 dition imposed upon the scul])tor. that the memorial was to express the utter hope- 
 lessness of the husband in his loss. 
 
 One of Saint-Gaudens' most elaborate scul])tures is the Shaw memorial in 
 Boston Common (see i)age 1(U). in the shape of a Greek shrine but much laro-er, 
 and showing, in bronze relief. (Ailonel Robert (\)ul(l Shaw, the hero who lost'^his 
 life at Fort Wagner, at the head of his colored troops — the first regiment of neo-ro 
 
 [ iu« ] 
 
Me 
 
 m r I a 
 
 I Art 
 
 A n c i e n t 
 
 a 
 
 n d Modern 
 
 troops to be organized in the North. Colonel Shaw sits calm and erect on his 
 excited charger, while along side of him, headed by a drummer, his men with 
 muskets shouldered are marching to the fray. Over Shaw's head, but unseen by 
 him, floats the figure of Mctory clasping a branch of laurel. To the right of the 
 figures are the words in Latin: "He left all to save the Rey)ublic." On each side 
 
 TOMI'KIXS MK.MdHIAL, WOODLAWX C KM ETF.RY. \ KW YORK 
 
 of the memorial is an American eagle with outspread wings. Below the bronze 
 relief is an inscription followed by the following: 
 
 " Riglit in the van on the red rampart's slippery swell, 
 With heart that beat a charge, he fell forward, as fits a man. 
 But the high soul burns on to light men's feet 
 Where death for noble ends makes dying sweet." 
 
 [ I'd ] 
 
Memorial A r t — A n c i e n t a n d M o d e r n 
 
 The equestrian statue of General Sherman (see ])aji,e 16.5) is another beau- 
 tiful example of Saint-Gaudens' work. Sherman, his militarv cloak floatnio- 
 from his shoulders, is shown leaning- forward in the saddle as lie controls 
 his hio-li-spirited horse. Just ahead of Sherman, on his left, is tlie winged fig- 
 ure of Mctory clasping a palm branch in one hand, while tlie other hand is 
 
 vox GLAHX IIEMOHIAL, CHKKXWOOD f KM iriKKY , liKOOKLYX 
 
 extended in front of her, as if clearing the way. The wliole statue is alive 
 with action. 
 
 Of the public memorials of Saint-Ciaudens', one of the best is that of Abraham 
 Lincoln, in Lincoln Park, Chicago (see page 163), considered bv many to be 
 America's greatest j^ortrait statue. The bronze statue of Lincoln stands in front 
 of a chair, in Lincoln's characteristic attitude of dee]) thought, one hand graspino- 
 
 [ 171 ] 
 
Memorial Art — A n c i e n t and Modern 
 
 the lapel of his coat, the other behind his hack. Tha pedestal on which the statue 
 stands rests in the center of an exedra. 
 
 But not all the beautiful examples of scul])ture are confined to public memo- 
 rials, as a trip to some of our leading cemeteries will show. Even comparatively 
 inexpensive work may be made artistic and beautiful, and comparisons of |)resent- 
 
 KIXSLpn .MK.MOHIAL, WOOIILAWN CK.M KTKKY, XKW YOKK 
 
 day cemetery sculpture with work of a few years back show that the less expensive 
 class of work receives more attention ;ind is on a higher plane than it used to be. 
 We may not have many famous sculptors to-day, l)ut the not-so-well-known scrdptors 
 are producing a more artistic grade of work than the same class of workers of 
 a few vears past. Nearly all show the influence of French thought and stud>'. 
 A few modern cemetery memorials have been selected from many equally meri- 
 
 [ ^ri ] 
 
Me 
 
 m r ? a 
 
 I Art — Arc i e ?i t 
 
 a 
 
 n d M d e r n 
 
 torious, to show just what is being- done to-(hiv in the line of sculpture and also to 
 show that some of the ancient classic exam])les are still the motif of our best work. 
 The value of delicate architectural mouldinos is well demonstrated in the l)eau- 
 tiful "Hall" memorial (see i)age 169). The sim])Hcity and (juiet dignity which the 
 sculptor has secured in the pose is admirably carried out in rehnement of jjro- 
 
 A MEMORIAL IN FOREST HILLS CEMETIiHY, BOSTON, MASS. 
 
 portion and detail. Seldom do figure monuments dis])lay such unity of sculpture 
 and architectural features. This is largely due to the treatment of the wino-s, 
 which, by their slight relief, blend into the background. The arrangement of the 
 panels is worthy of attentioTi as an exami)le of the judicious utilization of space. 
 
 The "Tom])kins'" memorial (see page 170) is a successful adaptation of the .sim- 
 ple low relief of the early Italian Renaissance, treated with great fidelity to 
 
 [ 1-5 ] 
 
Memorial A r t — A n c i e n t and Modern 
 
 the l)est exam])les of that period; and, therefore, important as a starting point 
 for tlie development of sometliing distinctive. The very vagueness of detail 
 fading into the stone, as it were, freciuently lends a charm which surpasses 
 that of more pretentious efforts in full relief. 
 
 Both the Hall and Tompkins memorials are undoubtedly adaptations of 
 the (ireek stele. The figures are beautifully designed and executed and have 
 a suggestion of separation from worldly things — a characteristic of classic work. 
 
 The "Von Glahn" memorial (see page 171) is a version of the popular "Rock of 
 
 % 
 
 THE ARTHUR MKMORIAL, RURAL (K.METKRY, ALBA.VY, X. Y. 
 
 Ages" monument; a ty|)e of memorial where the religious element is dominant 
 and well portrayed in massive ])roportions. The abiding faith of Christianity is 
 well illustrated by the substantial cross, the rustic bases, and the clinging figure. 
 Hie defect in the design of most monuments is due to the search for novelty, 
 shown in this example. 
 
 In the "Kinsley" memorial ( see ])age 17'-2) is shown a beautiful rendering of the 
 theory of simplicity. While it is ancient in suggestion, it is modern in treatment; 
 especiallv in the character of the figure which sits gazing into the distance with 
 
 [ I'i ] 
 
Memorial Art — A n c i e n t 
 
 a 
 
 n d Modern 
 
 an expression of expectancv that suggests hoj)e and the Resurrection. The figure 
 is ))eautifully wrought. 
 
 A most exquisite piece of work is the hgure witli a howl (see [)age 173) sliown on 
 the memorial in Forest Hills Cemetery, Boston. Tliis exhibits a frank copying of 
 the essential qualities of tlie Greek memorial, the figure preserving the antique quality 
 of mystery and abstraction. Casting aside the veil of death, the figure stands at the 
 portals of a new exj^erience — life — suggested by the bowl. The whole tlnng is 
 undoubtedlv svmbolic of the Resurrection. 
 
 THE BOXXEY .ME.MOHIAL, L()\\ EEL, .^EVSS. 
 
 Contrast the art now shown in private memorials, such as the "Arthur," with 
 that of the skull and crossed bones, so common on colonial tondjstones. Here 
 is ample evidence that an appreciation of the Ijeautiful has accomjxinied our 
 material prosperity. This figure of Bereavement sustained bv a larger vision is 
 an excellent interpretation of the last earthly tribute to the dead ; the laying of the 
 palm upon the casket. The polished granite makes for harmony and adds to 
 the impressiveness of the structure. 
 
 The "Bonney" memorial is an example of the successful use of the Greek 
 
 [ 1--3 ] 
 
Memorial A r t ~ A n c i e n t and Modern 
 
 Doric order in mortuary art. Altlioiigh of liuge pro])ortions, it is a modest 
 and dignified tribute. The outline of the figure conforms with its soHd archi- 
 tectural background. Here is a beautiful conception of the transition of life from 
 the finite to the infinite. Mindful of the massive proportions of the monument, 
 the action is well subdued, the sculptor choosing to symbolize the aspirations anfl 
 hopes of the race })y a figure whose gaze is fixed, in all confidence, u])on the liorizon 
 of the future, the dawn of a better day. 
 
 HOOPER MEMORIAL, HIXGHAM, MASS. 
 
 Grief could hardly receive a more a|)propriate inter])retation than is shown in 
 the beautiful kneeling figure of the Hooper memorial, its face buried in the arms. 
 The utter abandonment of the figure to grief is emj^hasized by the long sweeping 
 line of the drooping wing, the downcast head, anrl the listless hand from which 
 the spray of laurel has dropped. 
 
 \Yhile the American sculptor has not yet attained the ])erfection of the classic 
 (ireek sculptor, he is improving and may even yet approach the high-grade achieve- 
 ments of the (ireeks. 
 
 [ i'<i ] 
 
THE OBELISK AND SQUARE MONUMENT 
 
THE OBELISK AND SQUARE MONUMENT 
 
 Ti 
 
 OBELISKS IX OLDEST I'AKT OF KARXAK 
 
 ^HE obelisk is a four-sided mono- 
 lithic pillar which tapers toward 
 the top, where it terminates in a 
 pvramid. Tliis pyramid is often sheathed 
 with bright metal, such as Ijrass or gold, 
 and is called the "pyramidion." The 
 height of the pyramidion is always the 
 same as the width of the bottom of the 
 sliaft. The height of the shaft varies, 
 Init averages about ten times the width of 
 the base of the shaft and is decorated 
 with hierogly|)hic inscrij)tions. The shaft, 
 at tlie base of the pyramidion, tapers one- 
 third of the width of the lower end of the 
 shaft ; that is. the width of the base of 
 the pyramidion is t\\o-thirds the width of 
 the bottoiTi of the shaft. The shaft rests 
 on a "pedestal" or "die," the pedestal 
 being slightly wider than the base of the 
 shaft. Under the pedestal are several 
 Inises. The |)edestals of Egyptian obelisks still standing have been completely 
 covered bv Nile deposits, giving the shaft the appearance of rising directly from 
 the ground without a pedestal or even a base of any kind; but excavations have 
 proved that they always have this support. The shape of the obelisk may have 
 been suggested by the rays of the sun. They were put uj) by several ancient 
 nations, but the largest and most famous, some of which are still standing, were 
 erected l)y the Egyptians. 
 
 Egyptian obelisks were always adorned with representations of the god to whom 
 they were dedicated and the king by whom they were erected. They represented 
 the source of what the Egyptians considered one of the most wonderful and mvs- 
 terious ])owers of nature — that of renewing or recreating — a power with which 
 the people were very familiar because of the quick restoration of vegetable life 
 after each overflow of the Nile. Just as the pyramids (symbolic of death) were 
 originally built only on the west bank of the Nile toward the setting sun, so obe- 
 lisks (syml)olic of the power of recreation) always stood on the east side of the 
 Nile toward the rising sun, which represented restored light and life. Similar in 
 shaj^e to our church steeples, obelisks had the same position in front of their 
 temples; only there were always two of them — one on each side of the entrance. 
 The Egyptian obelisks were usually constructed of red granite (the color of the 
 sun's rays in that peculiar atmosphere) from Syene. Unfinished specimens in 
 the Syene quarries make it evident that they were cut bv boring holes into the 
 rock. Into these holes moistened pegs were thrust, and the expansion of the 
 wet pegs split the rock. 
 
 [ I'l' ] 
 
Memorial Art — A n c i e n t and M o d e r n 
 
 As the sun was the god to 
 whom the oljeUsk was usually 
 dedicated, many of the Egy]> 
 tian obelisks stood in Heliop- 
 olis, the city of the sun. The 
 earliest of the obelisks yet 
 standing there, is a specimen 
 about sixty-seven feet high, 
 erected over two thousand years 
 before Christ by a king of the 
 twelfth dynasty. 
 
 The tallest obelisk still stand- 
 ing is one of two erected by 
 Queen Hatasou at Karnak. 
 The other tumbled and was 
 
 I''', 
 
 w 
 
 "'^ 
 
 a 
 
 
 i 
 
 fm 
 
 i 
 
 *S 
 
 Cleopatra's needle, cextral park, new yohk 
 
 [ 1«" ] 
 
 CLEOPATRA S NEEDLE, NEAR KAMLEH 
 STATION, ALEXANDRIA, EGYPT 
 
 PTaduallv covered or broken 
 
 o . 
 
 u]j. Queen Hatasou's father, 
 Thothmes III., also put \\\) two 
 at Karnak — one of which still 
 remains. 
 
 Amono; the obelisks built bv 
 Thothmes III. are: The obe- 
 lisk of St. John Lateran at 
 Rome — the tallest ever quar- 
 ried, and now in three pieces; 
 the ol)clisk at Constantino])le, 
 which was removed to Alex- 
 andria and later, about 399 
 A. D., to Constantinople; and 
 
Memorial Art — Ancient a n d M o d e r n 
 
 the two "'Needles of Cleopatra," so called l)ecause, althouffh originallv erected 
 at Heliopolis, according- to tradition, they were transported to Alexandria by 
 Cleopatra's orders. One of these "Needles" (sixty-nine and one-half feet high) 
 is of special interest, ])ecause it now stands in our own country. Quarried at 
 Syene, it was first erected at IIelio|)olis in front of the Temj)le of the Sun 
 in the sixteenth century B. C. In 'i'i B. C. it was removed to Alexandria 
 and re-erected hy the Romans under Augustus, in front of the Temple of 
 the Ciiesars, now a neglected place near Ramleh depot. Here it renurined 
 until 1879, when it was presented to the United States hy the Khedive of 
 Egypt, funds for its transportation Ijeing furnished l)y Mr. Vanderbilt. It was 
 placed in Central Park, New York, in ISSl. At the time this obelisk was trans- 
 ported from Egypt to New York it was found on uncovering the pedestal, which 
 was l)uried in sand, that underneath the obelisk, serving as wedges at the four 
 corners, between the obelisk and i)edestal, were the broken remains of a turtle 
 and crabs. These have been duplicated in bronze and can be seen separating the 
 obelisk from its ])edestal as the 
 obelisk now stands, in Central 
 Park. The other "Needle" 
 was taken to London. 
 
 Obelisks were so popular 
 with the Romans that they not 
 only had a number trans- 
 ported from the original site 
 in Egypt but had many quar- 
 ried in Egy])t for use in Rome. 
 
 In our own country the obe- 
 lisk has been used effectivelv 
 for public memorials, two well- 
 known examples being the 
 Washington monument, and the 
 McKinley memorial in Buffalo, 
 N. Y. 
 
 The Washington jnonument, 
 Washington, D. C, completed 
 in 1884, is a plain obelisk of 
 white ^Maryland marble, fifty- 
 five feet sfjuare at the base 
 and rising to a height of five 
 hundred and fifty-five feet. It 
 cost about $1 ,,'3(10,00(1. 
 
 The ^IcKinley monument is 
 an ol^elisk made of blocks of 
 marble, resting on a series of 
 large platforms. A sleeping 
 lion stretches out from each of 
 
 \VASHi\(rrox iKiNiMKN r, 
 [ isi ] 
 
 « ASHIXOTOX, 1). c. 
 
Memorial Art — A n c i e n t and M o d e r n 
 
 the four corners of the ol)eUsk, 
 and between these Rons foun- 
 tains spring from the lower 
 part of the pedestal, the \Yater 
 runnine; over the edge of one 
 platform and into basins be- 
 tween the lions. Outside of 
 these extends a large circular 
 platform of several ste])s, the 
 four entrances to which are 
 decorated by chained pillars 
 and separated from each other 
 by exedras. 
 
 While objection has been 
 made to using the so-called 
 
 PROCTER MEMORIAL, SPRI.VO CROVE CEMETKRV, CIXCIXXATI. OHIO 
 
 MlKIXLEY MF.:\I()KIAE. BUFFALO. X. Y. 
 
 "British" lions with an "Egyp- 
 tian" obelisk, the lion is really 
 an Egyptian decoration, often 
 used, as were also obelisks, at 
 the entrances to temples. The 
 lions are particularly appro- 
 ]3riate in this case, because 
 symbolic of a fallen hero. 
 
 The Procter obelisk, a ceme- 
 tery memorial, rests on a die 
 with concave faces (a modern 
 idea), the die l)eing without 
 other ornamentation than the 
 name and incised lines ex- 
 tending around the die near 
 its base. The two bases have 
 a sort of "beveled" treatment 
 that is modern, but very 
 ])leasing. 
 
 The Baldwin oljelisk, instead 
 
M e m rial A r t 
 
 A n c i e n t 
 
 a n 
 
 d M () d e r n 
 
 of being ornamented all over 
 with hieroglyphics as were most 
 of the old Egyptian obelisks, is 
 decorated with a cross of the 
 Renaissance type rising out (jf 
 a cluster of acanthus leaves. 
 Arounfl its base is a l)and of 
 palmette leaves. The die. in- 
 stead of being a rectangular 
 |jrism. as were those of the 
 Egyptians, is the shape of a 
 frustrum of a ])yramid and deco- 
 rated with mouldings, one of 
 which is ornamented with a Re- 
 naissance form of egg and dart. 
 
 WILLIAMS MEMORIAL. F.LMWOOD TEMETKRY, DETROIT, MKH. 
 
 [ 183 ] 
 
 B>.M)«IX MEMORIAL. WOODLAWX 
 lEMETEKY. XEW YORK 
 
 'I'he ^^ illiams obelisk is made 
 even more P]gyptian in charac- 
 ter by its ornamentation. The 
 base of the shaft has around 
 it a band of alternating Egv])- 
 tian leaves and lilies. The die 
 is ca])ped with a cavetto cornice 
 on which appears the '" winged 
 sun disk." Each of the four 
 lateral edges of the die is 
 decorated with a single lilv 
 stalk ending in two blossoms, 
 and (jn each side of the stalk is 
 a single bud. The scjuare 
 
Memorial Art — An c i e n t and Modern 
 
 substantial bases of this ol^elisk help to carry out the Egyptian idea of strength 
 and massiveness. 
 
 With its Egyptian significance, "the power that can recreate," the obelisk is a 
 most fitting cemetery memorial for those who believe in the Resurrection and a 
 future life. 
 
 Undoubtedly, the so-called "square," "pedestal," or "cottage" monument was 
 
 STILLMAN .ME-MDKIAL, WOOIJLAWX rKMKTERY. Xi:\V 'iORK 
 
 suggested by the obelisk in the desire for a smaller and less expensive form of 
 memorial; the term "cottage" being just a trade term. The sfpiare monument 
 consists of a sfjuare die on several liases. It may or may not have a cap. The 
 Stillman memorial is a beautiful example of the "cottage" type decorated with 
 the Scipio triglyphs and rosettes. This style of memorial is often used as a pedestal 
 for a statue, cross, or vase. 
 
 [ 184 
 
ARCHITECTURAL ORDERS IN 
 MONUMENTAL WORK 
 
 BY 
 
 FRANK CHOUTEAU BROWN, Architect 
 
 BOSTON, :SIASS. 
 
ARCHITECTURAL ORDERS IN MONUMENTAL WORK 
 
 I 
 
 fl\K OF fOLCMXS AT l.JTH STREf:'! EXTRAXCF. 
 T<1 I'HOSI'Kf'T PARK. HROOKLYX 
 
 on 
 
 ])age 16) furni.shef 
 
 (illustrated 
 
 known a (ireek precedent. The column of Trajan 
 is an idea that has l)een utilized for many of our 
 important monuments; while the lono'-lived ])0|)U- 
 iarity of the "hroken column" for a headstone is 
 testified to by the great number still to be found in 
 most cemeteries. 
 
 It is to Ije regrettefl that so much of the architectural 
 monumental work of this character lias been unintelli- 
 gently employed. With the exception of the truncated 
 obelisk form, of which the Greek stele (see illustration. 
 Whitney memorial, page 191) and the "Cleopatra 
 Xeedle" (page 180) are. ])erhaps. the best-known 
 examples, the column provides the most graceful 
 shaft possil)le. The five architectural orders make it 
 possil)le to endow this shaft with a treatment rugged 
 and virile, or graceful and refined, as desired. Ex- 
 cept during those periods when tombs, sarcopliagi. or 
 floor slabs were the prevailing fashionable forms of 
 
 [ 1^' ] 
 
 X (jne form or another "the orrlers of 
 arcliitecture" have always |)rovided a 
 motif in the design of monuments. 
 The (jrders" simplest, most elemental form, 
 developed naturally from the (ireek stele 
 which, with its foliated decoration at the 
 top, is nearly related to the column. In 
 exact architectural treatment, the orders 
 were often used bv the (jreeks for monu- 
 mental purposes. In other words, the an- 
 cients themselves provided precedent for 
 emploving the orders of architecture for 
 monumental ])ur- 
 jHJses. Perhaps 
 the most impor- 
 tant and best- 
 known instance 
 being the ("(jlunm 
 of r V a j a n a t 
 Rome: while, in 
 a more elaborate 
 f o r m . the C li o - 
 ragic monument 
 to Lysi crates 
 almost as well- 
 
 rOUMX OF TRA.rAX 
 AT ROMK 
 
Memorial Art — A n c i e n t and Modern 
 
 memorials, an architectural order has been employed as an important decorative 
 part of important monuments ; and as part of the structural decoration of the 
 tomb. This being the case, the importance of treating the order with a due regard 
 for the architectural proprieties is evident. To a large extent, all the variations 
 appropriate to the different forms of column that are available for use in this way 
 can only l)e understood by close application and study of the history and deriva- 
 tion of the five orders ; but good typical forms of the orders are easily found, and 
 in this case a literal conformation to their architectural details of treatment is the 
 onlv safe method for the average designer. 
 
 The architectural "order" is divided into three principal parts: the pedestal, 
 the column, and the entablature. The pedestal is also divided into three parts, a 
 moulded projecting cap and base, and a central plain portion called the "die." 
 In the Roman or Renaissance order, the pedestal l)eneath the column is some- 
 times omitted. There is, strictly speaking, no pedestal belonging to the Greek 
 order, although it was probably derived in the first place from the occasional 
 placing of Greek columns upon a lower buttress, base, or wall, that, in some cases, 
 as in the entrances or approaches to temples, was broken by stej^s carried in between 
 the columns, so making a buttress or pedestal effect. Nevertheless, the Greek 
 orders are customarily used without any pedestal treatment. 
 
 The two remaining; divisions of the order — the column, and crowning hori- 
 zontal groups of mouldings known as the entablature — are each, in turn, sub- 
 divided into three parts : the column into a moulded top and bottom treatment 
 known as the capital (or cap) and base, and the central portion called the shaft, 
 which always has a convex tapering toward its top, known as "entasis." 
 The three parts of the entablature are the upper portion (of greatest moulding 
 projection), known as the cornice; the lower moulded portion, known as the archi- 
 trave ; and the central plain or ornamented surface, known as the frieze. While 
 the column and entablature alone are quite properly known as an "order" of 
 architecture, such a term is only correctly applied when they are carried out in 
 the proper classical proportions. It does not apply, for instance, to a Romanesque 
 column carrying a moulded cross cap or entaljlature. The word "order" is some- 
 times applied to the column only, when it is used with less correctness ; but usage 
 has probably made such a loose terminology possible — if not strictly correct. 
 
 The five orders of classical architecture are the Doric, Ionic. Corinthian. Tuscan, 
 and Composite. 
 
 The Greek Doric is generally employed for colonnades, porticos, and entrances 
 to small temples, in which cases it can be closely based upon well-known Greek 
 precedents. The Greek Ionic order is not popular for modern purposes — its 
 outlines are both more refined and less usual to the modern eye than the two 
 most important variations of the Roman form that have, therefore, easilv su]:)- 
 planted it in popular esteem. The Greek Corinthian is less exactly defined than 
 the Roman variant of the same type; the best-known historical use being in the 
 Choragic monument to Lysicrates. Xeither the Tuscan nor the Composite orders 
 were much developed in Greek times. For modern monumental ])urposes thev 
 may be disregarded. 
 
 [ i«.^ ] 
 
M e m r i a I A r t ~ A n c i e n t and M o d e r n 
 
 Greek architectural forms are only to he employed with the greatest refinement 
 of detail. It is far more difficult to use the Greek orders properly to produce 
 pleasing results than those of the later periods. This is [)artly due to the fact 
 that (rreek architectural forms are more varied than the others, and partly because 
 they are less natural to modern methods of thought and modern customs of design. 
 Greek architecture is exceptionally dignified, virile, and sturdy in effect, thereby 
 making it particularly appropriate for large or dignified memorials where the 
 purpose is to give expression to the character and dignity of a rugged and national 
 hero, .such as Abraham Lincoln, for instance. 
 
 The Roman Tuscan column has come to be used frequently in nrodern monu- 
 mental work, particularly abroad ; where some of the more virile flesigners among 
 the Germans have realized the pos.sil)ilities latent in this form. For special pur- 
 poses, particularly in association with those sites where the grounfl contours are 
 bold, crude, and rocky in character, the Tuscan shaft — employed simply or in 
 rusticated form — is especially appropriate. 
 
 The Roman Doric is one of the most popular modern column forms. It is 
 simple in outline. It may be worked in crude materials and in comparativeh' 
 small size. Indeed, all things considered, it is the order that is most universally 
 employed. 
 
 The Roman Ionic is a more graceful sha])e. with two typical forms of capital, 
 both of which are much used in modern work. The capital, particularly, requires 
 carving in a somewhat fine material. 
 
 The Corinthian order is more elalxjrate, and, except when of great size, is pos- 
 sible only in fine material. The carving of the capital is complex and elaborate, 
 and is but too rarely well done. 
 
 The Composite order is a variation of the Corinthian, which for all jiurposes 
 of the monumental designer can practically be considered with the Corinthian. 
 
 The Renaissance orders are practically "types"" resulting from the earlier Roman 
 models. They are well suited to modern work, because, as a rule, they have been 
 adapted to execution at smaller and less monumental size than was usual in Roman 
 work. They may also be carried out in less expensive and more available mate- 
 rials. For work of small size, or in stone not too fine (rrainerl. the desio-ner should 
 always turn to Renaissance rather than to Roman ]>recedent. Except the Tuscan, 
 the Roman orders are generally considered more graceful than the (Treek — although 
 not nearly as refined. The Tuscan is the most crude ; the Doric is the simplest 
 and lea.st expensive of the three generally used; the Ionic, the most graceful; 
 the Corinthian, the most elaborate and expensive, with the exception of the Com- 
 posite. 
 
 The material used is almost of as nmch importance as style. [Nlanv of the 
 monuments designed in this country employ architectural forms without anv 
 regard to the material in which they are to be executed. Both the Roman and 
 Greek Doric orders can be carried out in granite, when large enough in size. The 
 Ionic can hardly be successfully executed except in material at least as hue as 
 limestone, while the Corinthian order requires marble for the best residts. 
 
 The proportions of the order are particularly to be observed bv anv designer 
 
 [ 189 ] 
 
Memorial Art — Ancient a n d Modern 
 
 vitilizing them, inasmuch as they always bear a distinct relation to their type — the 
 height of the Roman Doric being eight times, that of the Ionic nine times, and 
 that of the Corinthian ten times its column diameter at the base. The column 
 capital in the Doric and Ionic occupies a half, and in the Corinthian a whole, diame- 
 ter in height. The ])roper carving of the Corinthian capital is a most difficult 
 feat. Not only must the forms be carefully preserved l)ut also the general pro- 
 portions and contour of the piece must })e carefully related to its base. When a 
 single column is employed for monumental purposes, it is rarely covered by the 
 entablature belonging to that order. Generally some object, such as an urn, is 
 |:)laced on the toj) of the order, and the column is placed upon a proper pedestal 
 or base. 
 
 When utilized in the tem])le form, or after the manne]' of the monument of 
 Lysicrates, a cornice composed of a series of moiddings appropriate and related to 
 the order is recjuired. ^lany of the most disastrous failures in monumental 
 use of the orders are due either to the misuse and wrono- combination of forms of 
 this sort or to their being employed with the wrong-shaped roof. Sometimes the 
 single column was used for the support of a gigantic human figure, such as the 
 Column of Mctory — a Corinthian shaft, which bore iipon its top a large globe 
 surmounted by a winged female figure with wings an<l outstretched arms, a noble 
 and im])osing memorial. Aside from the small structures develoj^ed from the 
 classic temples, the column was used to form other compositions, ])rominent among 
 them being the large tablet ornamented or sup])orted by columns at either the 
 sides or the front ; in the latter case forming a part of overhanging roof or 
 ental)lature treatment intended to protect the tablet face from erosion by the 
 elements. 
 
 In any use of the orders, the necessity of using the best and j^urest models cannot 
 be too strongly emphasized. Particularly should this be observed by the modern 
 designer, as many of the existing memorials have been copied from designs that 
 were in themselves copies from classic originals forty or fifty times removed. 
 Intimate acquaintance with the principles of proportion upon which the Renais- 
 sance orders are invariably based is necessary to the monument trade. Inas- 
 much as it is always desirable to have monuments durable and lasting, it should 
 be a matter of ordinary Imsiness practice to l)uild memorials not only honestly 
 and durably but also to base them upon the most lasting and authentic models, 
 and as up to within the last few years this has been exactly the opposite of the 
 custom, with even the best firms, it cannot be too much overemphasized in this 
 place and at this time. 
 
 In illustration of these princi|)les, only monuments based on classical precedents 
 will be referred to, and then only when they are, in general, to l)e commended. 
 The Whitney memorial is simple and dignified. It is based u])on the (ireek 
 stele or monumental tablet, although in this ])articular case treated more as a 
 shaft — l)ecause of the greater depth given to the stone from face to back. The 
 very to]) of the shaft is not so well handled as the rest of it; the crowning pro- 
 jecting moulding being coarse and more Roman in character than (ireek; and 
 the central and corner ornaments, suggesting the acroteria with which the (jireeks 
 
 [ l!"l ] 
 
M e m r i a I A r t — A n c i e n t a n d M o d e r n 
 
 generally finished these por- 
 tions of their temj^le pediments, 
 being not sufficiently Greek in 
 their proportions and outlines. 
 The Baumgarten shaft is the 
 onlv instance of an incomplete 
 column that is reproduced; and 
 is, on the whole, most excellent. 
 The somewhat free and modern 
 treatment of the base to adapt 
 it to a seat is. of course, not 
 based on classic derivation, but 
 is so well done that it is com- 
 mendable. There is a curious 
 
 BAUMGARTEX MKMORIAL, KEXSICII (E-M KTKKI . XEW YOKK 
 
 [ 1!»1 ] 
 
 WHITXKY AIEIIORIAL. WODDLAWN CE.METEH'l, 
 NEW YORK 
 
 combination of (ireek and Roman 
 models in the memorial, tlie seat 
 being as sim])le as some of tlie 
 Greek originals; the urn at the 
 to]) of the shaft l)eing as ornate 
 and refined as some of the earlv 
 Roman vases, designed and carved 
 h\ Greek sculptors; while the shaft 
 is Roman in character. The band 
 cari'ving the name is the least effect- 
 ive part of the entire design, the 
 lettering being out of keeping with 
 the remainder of the monument. 
 
 The ^Mitchell shaft is a simple 
 (Treek Doric column in excellent 
 proportion. ^Yhile no classical 
 
Memorial Art — Ancient 
 
 a n 
 
 d Modern 
 
 precedent is provided for tlie 
 buttress or plinth iipon which 
 the shaft stands, it is, never- 
 theless, in good ])ro|)ortion and 
 sufficiently ex]:)lains its own 
 existence. The cross at the 
 top is not so true to character. 
 Considerable more refinement 
 in the cross bars would have 
 made it luore in accord with 
 the refinements of the shaft, 
 Imt it is not a harmonious 
 part of the column as it now 
 stands. 
 
 MITCHKLL MK.MOHIAL, GHEEXWOOD ('EMETERV, 
 BROOKLVX, N. Y. 
 
 The Pullman shaft is a carefully 
 develo])ed treatment of the ])articu- 
 lar Greek capital and shaft found 
 on the monument of L}sicrates at 
 Athens. The circular base \\\^o\\ 
 which the column is placed is un- 
 fortunate in proportion and con- 
 tour, and the ornamental seats and 
 the ])latform have very poor detail 
 and are crude in pro])ortion, al- 
 though the whole platform is in 
 oood scale to the shaft itself. 
 
 There is a form of memorial 
 that is scpiare in plan, with a 
 column — either attached or de- 
 tached from the central die — on 
 
 [ 1!'^^ ] 
 
Memorial Art — Ancient and Modern 
 
 each of the four corners, aiul carrying an entahhiture above, that is a somewhat 
 favorite type — prol)ably deriverl either from an extreme contraction of tlie temple 
 or an endeavor to ornament the stele shaft and combine it with the classic order 
 and entablature. 
 
 As an example, the illustration on the opposite page has been selected for its gen- 
 eral good proportions, although the detail is poorly selected and used, the moulding 
 sections overlarge and crude, and the column shafts not in good pro])ortion to 
 
 PULLMAX MEMORIAL. GHACELAXD CEMf;TERY, CHICAGO, ILL. 
 
 the column height. The capital is based upon an awkward and ungraceful pre- 
 cedent. 
 
 The Greene memorial is a better use of the order, and more closelv related 
 to the temple form from which it may have been derivefl, showing how easilv the 
 temple with a pediment and porch at each end (see O'Xeil memorial, ])ao-e 203) 
 could have suggested this type of architectural monument. In this ])articular 
 
 case, the material seems to have been too coarse and heavy for the order selected 
 
 as all of the mouldings and the detail are both shallow and crude in cutting-, althouo-h 
 the general proportions of the entire structure are commendable. 
 
 The Tiffany memorial is rather well proportioned, although the coml:)ination 
 
 [ 193 ] 
 
Memorial Art — A 7i c i e n t and Modern 
 
 of a consicleral)le variety of 
 styles has Ijeen attempted. The 
 base or pUnth is derived from 
 the monument of Lysicrates; 
 the upper shaft or die has a 
 heavy Roman festoon decorat- 
 ing either surface. It is orna- 
 mented with "attached" col- 
 umns of poor proportion (en- 
 tirely lacking in "entasis" and 
 taper) and with a particularly 
 poor capital. The entabla- 
 ture is, as a whole, well de- 
 tailed ; although the cornice is 
 a bit heavy in projection and 
 the ornamental acroteria, while 
 good in design, are too dis- 
 tinctivelv Greek to accord with 
 
 TIFFAXY MK.MORIAL, WOODLAWX CEMETERY, XEW Y'ORK 
 
 \ 19i 1 
 
 GHEEXE MEMORIAL, FOREST LAWN 
 CEMETERY, BUFFALO, X. Y. 
 
 the Roman elements in the 
 composition. 
 
 Another form of memorial is 
 very similar, except that the cen- 
 tral die between the columns is 
 omitted, leaving two or four — or 
 sometimes more — columns sup- 
 porting the entablature. One of 
 these is shown in the illustra- 
 tion on the opposite page, ^^•hich 
 employs a somewhat coarse 
 version of the Greek Doric 
 column. The base upon which 
 the column is placed is nothing 
 else than modern and the col- 
 umns themselves are some- 
 what heavy in execution (which 
 may, perhaps, be occasioned 
 by the material). The entab- 
 lature is overheavy in detail. 
 
 The Murphy memorial 
 
Memorial A r t ~ A n c i e n t a n d Mode r n 
 
 shown on the following ])age is somewhat more pleasing, })artly because of its 
 greater simplicity and lack of |n-etension. It was ap])arently executed in a smaller 
 size, and, while the vase and the plinth between the columns are not particularly 
 refined, it is on the whole good in outline. The lettering of the ^[urphy memo- 
 rial is quite out of character with the remainder of the sti'ucture. 
 
 The Haffner memorial is similar in ty|)e, the column used being the Roman 
 Doric. The entablature is 
 even more coarse and com- 
 monplace thaji the details of 
 the shaft, or the plinth upon 
 which the columns are placed. 
 The entire design is lacking in 
 refinement, although its gen- 
 eral proportions are good. 
 
 In the illustration on page 
 197, which is another of similai' 
 form, an attempt has been 
 made to carve a Corinthian 
 capital in a material too coarse- 
 grained. As a result, no part of 
 the detail is sufficiently refined, 
 and the entire capital outline 
 is too "stodgy" and lacking 
 in the feeling of sujiport that 
 should always be incorporated 
 in this type of column cap. 
 The shafts are not well related 
 to the capitals, and all of the 
 moukling around the base and 
 on the fluting is not sharply 
 enough defined. The same is 
 true of the entablature mould- 
 ing, particularly in the cornice. 
 
 The Joy memorial is a 
 rather more pleasing example 
 of Renaissance column 
 use than most monuments of 
 the kind, although the shafts have too much of a projecting swell for their 
 heights. The best Renaissance shafts either do not have a swell at all 
 or it is kept so slight as not lo be apparent to the eye, instead of being so 
 obvious as it is in this particular case. The general proportions of the shaft 
 and the capital are good, the capital being the so-called "Scamozzi" Ionic type 
 of the later Renaissance period. The ornament in the frieze is also Renaissance, 
 and the entablature is. on the whole, in good proportion to the remainder of 
 the structure. 
 
 [ 19.5 ] 
 
Me 
 
 m o r I 
 
 a I A rt — A n c i e n t and M o d e r 7i 
 
 A more pretentious, but very 
 similar design, is the Scott me- 
 morial (see page 200), where 
 eight instead of six columns 
 are used. This is of generally 
 excellent proportion, and shows 
 another type of Renaissance 
 Ionic capital based upon an 
 original Greek form. The en- 
 tablature is in generally good 
 proportion, although the plain 
 moulding between the two 
 mouldings, just above the 
 frieze, should have been carved 
 into blocks or dentils to go 
 with the ornate column shaft, 
 to contrast with the plain frieze 
 and cornice. This memorial 
 gains considerably by the effect- 
 iveness of the background 
 
 IIAFFNKR jMEMOIUAL, SPRINfi GROVE CEMETERY, CINCINNATI, OHIO 
 
 [ 196 ] 
 
 MURPHY MEMORIAL, KENSICO CEME- 
 TERY, NEW YORK 
 
 against which it appears in the 
 photograph. 
 
 The Cheney memorial (see 
 page 201) is a still further 
 elaboration of this same 
 scheme, except that here the 
 whole structure protects and 
 is groxiped about a sarcopha- 
 gus varied from the well-known 
 "Sci])io" type. The shafts and 
 capitals are rather coarse treat- 
 ments of the Corinthian order. 
 The capitals are too large for 
 the shafts, and the defects of 
 the detail throughout indicate 
 that, while executed in fine 
 material, the scale of the whole 
 was a bit too small to do 
 justice to the scale of the 
 selected. While the 
 
Memorial Art — A n c i e n f and Modern 
 
 columns are more Roman than 
 Renaissance, the treatment of 
 the cornice and carving suo- 
 gests a Renaissance intention. 
 It is to be noted that the long- 
 flat low type of sarcophagus is 
 better suited to the propor- 
 tions of this memorial than the 
 proportions in the original 
 Sci])io form from which it was 
 varied. 
 
 The memorial shown on 
 page 198 might be reproduced 
 to show still further variation 
 of this same type — although 
 all the detail of the frieze and 
 columns is very poor in pro- 
 portion, the capitals being far 
 too large for the column shafts 
 and the whole scale of orna- 
 ment being crude and clumsy. 
 
 JOY ,MKlIORIAL, ELMWOOD CEMETERY, DETROIT, MICH. 
 
 [ 197 ] 
 
 The entablature is much too 
 heavy for the delicate dimen- 
 sions of the column's shaft. 
 The bust is supported on a 
 simple, well-])ro])ortioned shaft- 
 pedestal, the use of which, in 
 this s])ecial combination of the 
 modified temple memorial, is 
 rather interestine;. 
 
 Of the few circular temples, 
 the jNIcComb is most closely 
 based uj)on the Choragic mon- 
 ument to Lysicrates already 
 referred to. The column capi- 
 tals are a trifle large and 
 crude for the shaft. The en- 
 tablature is of al)Out the cor- 
 rect proportions, although 
 somewhat coarse in detail. The 
 s(|iuire base upon which the 
 circular monument is set is 
 
Memorial Art — Ancient and Modern 
 
 much poorer and more com- 
 monplace in effect than any- 
 thing else about the design, al- 
 though it is in fairly good pro- 
 portion to the whole. 
 
 The Baum memorial (see page 
 20'2) is really not at all to be com- 
 mended. In the few instances 
 where the Greek Doric order 
 was used in circular temples, the 
 temples were so much larger in 
 size that quite a different effect 
 was produced. The vases on 
 
 MK.MIiniAL, SLF.Kl'Y IKILLOW CKMIOTEKV, TAHRVTOWX 
 
 [ 198 ] 
 
 the four corners are very had 
 indeed, and both column and 
 entaljlature a])pear overheavy 
 and clumsy. 
 
 The Tuning circular temple on 
 the same page is in far better ])ro- 
 |)ortion. The cutting of the capi- 
 tals, however, is too fine to show 
 the detail of the Corinthian order 
 pro])erly. The capitals are heavy 
 for the coliunn shafts, while the 
 latter should generally be fluted 
 when used with so elaborate a 
 capital. The two sarcoj^hagi a])- 
 |)ear to be in excellent pro])or- 
 tion and have well-executed and 
 detailed mouldings, the whole 
 making a pretentious and digni- 
 hed monument. 
 
Memorial A r t ~ A n c i e n t and Modern 
 
 The Warner memorial (see page 200) is a still better use of the order, partly because 
 it is of greater size. Here the column shafts are crude; the Corinthian capital 
 is better carved — though still not witli sufficient delicacy — and the treatment of 
 the entablature is far better in design and execution than in the earlier example. 
 The carving of the frieze is a characteristic Roman floral ornament. With the 
 statue, in flowing Roman drapery, the whole makes a dignified and appropriate 
 use of the Roman order; it even expresses the eft'ect of bombast and pretension 
 that in scale and ornament is practically inseparable from Roman Corinthian 
 architecture. 
 
 An instance of the Greek Temple form, from which it has been suggested that 
 some of the earlier memorials were derived, is shown in the O'Neil memorial (see page 
 203), a not altogether successful example, but the only one available. The columns 
 at the sides of the temple are placed too close together and, at the entrance of the 
 front, are too far apart. The column shafts are also overheavy, and the orna- 
 mental triglyj)hs (which are shown only over the centers of the columns) should 
 be evenly spaced along the entire frieze, one occurring in the center of the space 
 between each of the column centers, and so on evenly across the frieze at the front. 
 The entablature is a bit heavy, but the whole gives a good idea of Greek pro- 
 portion, although crowded and evidently too small in size to give the best etTect. 
 
 The Kingdon memorial (see page 201) is a modern variation of the English- 
 supported slab of the early Georgian period. The shortened (ireek Doric columns, 
 while without any classical precedent, are well proportioned, and adapted to their 
 purpose. The entablature over the columns is more Roman than Greek, entirely 
 lacking the refinements of the latter style. 
 
 The William CuUen Bryant memorial (seepage203),back of the New York Library, 
 is a fine example of the Renaissance order. Renaissance ornaments can be seen 
 on the soffit of the semi-circular cornice, the panels of the semi-dome, the lowest 
 base of the statue, and on the beautiful Roman vases at each side of the memorial. 
 
 [ ii»'J ] 
 
SCOTT MEMORIAL, KEXSICO CEMETERY, NEW YORK 
 
 WARNER MEMORIAE, MOUXTAIX GRO\E CEMETERY, BRIDGEPORT, CONN. 
 
 [ eoo ] 
 
'^<\l'- 
 
 CHKXEY MKMORIAL, MOL'XT AUBURN CEMETERY, BOSTOX, MASS. 
 
 KIXGDOX ^[EMORLVL, \VOODLA\VX CEMETERY, XEW YORK 
 
 [ 201 ] 
 
BAU.M MEMORIAL, HOMEWOOD CEilKTEIlY, PITTSBURGH, PA. 
 
 LUXIXG MEMORIAL, W(XJDLA\Y\ CEMirPKRY, \E\V YORK 
 
 [ 202 ] 
 
O'NKIL ilE.MORIAL. CALWVRV CI'METIIRY, ST. LOUIS, MO. 
 
 tuwim ■■■■pn iiiin.x>.t.."i ;;-£- 
 
 WILLIAM CLLLKN BRYANT MKMORLVL. NKW Y(JRK 
 
 [ ^03 ] 
 
SUGGESTIONS ON LETTERING 
 
SUGGESTIONS ON LETTERING 
 
 ON the following ])age.s over 300 examples of lettering are shown, the object 
 being twofold — first, to show some things to avoid in lettering; secondly, 
 to make helpful suggestions, not only on appropriate styles of lettering 
 but on their panel setting. 
 
 Duplicate copies of names were submitted to different authorities for criticism 
 and the following criticisms represent a consensus of opinion on each name. Due 
 allowance must be made in these criticisms, for judging the lettering apart from 
 the stone is difficult. 
 
 The principal styles of lettering used are: the Classic Roman with its square 
 outline, distuiguished by its thick and thin lines; the French Anticjue — Roman 
 letters with narrowed bars and ])ointed heads; the Block letter, a ])lain square 
 letter with heavv bars — called "Egyptian Block" when without heads; "Headed 
 Block," with heads; and "Plain Block" when square corners are cut; the Gothic 
 letters with their heavy lines and ornamentations, one form of which is the 
 so-called "Old English"; Script letters. 
 
 The name being the essential feature of a cemetery memorial, the style of letters 
 used should receive careful consideration. 
 
 Many of our best monuments are rearranged copies of designs by the ancient 
 architects, and their style of letters is as important as mouldings and ])roportions. 
 
 Some of our modern heavy raised rounded letters placed on a lightly mouhled 
 Grecian tat)let monument, or a narrow bar sunken letter on a design havino- lartre 
 mouldings and heavy rounded edges and top, would be entirely out of place. 
 ITnder the same conditions the sunken letter is the more lemble and durable, and 
 it has been used extensively by our best designers. Raised letters may be used 
 with good effect when their size and style are adapted to their location. 
 
 For a design with ])lain mouldings, square edges, and large plain surfaces a 
 raised, headed, or ])lain block letter may l)e used. The round raised letters are 
 more associated with concave and convex surfaces and rounded edges. Letters 
 should be light and graceful with outer surface slightly flattened. 
 
 For designs with classic mouldings and light proportions, a narrow bar sunken 
 letter is more appropriate; but a narrow bar, slightly raised letter mav be used 
 with pleasing effect. 
 
 The height of a raised letter, above the surface of the panel, should be about 
 two-thirds the width of the narrow or horizontal bar. The length of the name and 
 the surface on which it is to be placed nuist govern the size of the letters. Orna- 
 mental letters should be used discreetly. 
 
 The classic Roman letter is seen to best advantage when incised in stone or 
 when constructed of bronze a])])lied. In most early inscriptions the center of 
 balance and the vertical center of the letters were the same. The practice of 
 placing the balance slightly above the center is to be commended, as it relieves 
 the feeling of top-heaviness in the B, E, F, II, P, R, and S. 
 
 The raised Roman letter is most effective when executed in bronze, either the 
 bronze tablet or the letters applied to the stone. 
 
 [ 207 ] 
 
fEWIi'UPfiEK 
 
 ■mWlUJi 
 
 7 
 
 BARIKCLOMAY 
 
 BORN NOT. \\, tS45. 
 PIED JXILY 8. ©02. 
 
 
 ^^ -^^ r; 
 
 /K 
 
 
 
 
 •r 
 
 
 
 
 
 
 HENRY L G( 
 
 30DMAN 
 
 
 
 11 
 
 
 
 
 
 iO Si' ,«^ ^ i. ■• 
 
 ■s 
 
 &K 
 
 12 
 
 
 .E PE1R.CXWAY 
 
 9 
 
 10 
 
 Round raised. Panel ornameiilation ami letter in too 
 deep relief. Unnecessary ornamentation of panel 
 detracts from name. 
 
 Roman letters, inci.sed. In harmony with panel. 
 
 Plain Block letters; well spaced. 
 
 Roman letters, incLsed center. A trifle heavy, Imt 
 otherwise ijood. 
 
 Round raised; a trifle lieav\'. 
 
 Inci.sed Roman. "O" incised too deeply. 
 
 Well-spaced Roman letters. 
 
 Roimd raised; well executed. 
 
 Inci-sed Roman letters. Round letters "G," "O," 
 and "C" a trifle broad. This makes other letters 
 appear narrow. Names separated by a period, an 
 idea probably suggested by old Roman inscri|itions. 
 
 Round raised, incised center. "<)" a trifle shorter 
 than other letters. "X" rather broad. 
 
 11 Classic Roman, applied bronze letters. •■R" a trifle 
 
 narrow and tail too short. 
 
 12 Square raised, incised center. Letter "I" slightly 
 
 crooked. 
 
 13 Square raised, polished surface. Rather crowded. 
 
 14 Round raised in incised panel. Well spaced. 
 
 1.5 Round raised. Too large and overheavy for panel. 
 l(i A suggestion tor a panel on rock-faced stone. Letters 
 and passion flowers well executed. 
 
 17 Raised Roman letters. Well placed and executed. 
 
 18 Classic Roman. Well done except the "S." 
 
 19 Ornamental. Not legible, although these are well 
 
 executed. 
 
 20 A suggestion for lettering on a rock face. 
 
 21 Sc|uare raised. Evenly spiaced but rather o\'erheavy. 
 
 [ 208 ] 
 
;^ QAlLlTOSl 
 
 30 
 
 40 
 
 
 
 22 Very cotniiiendable. \''ariety secured by larger capital 
 
 letters. 
 
 23 Good spacing. 
 
 24 Too heavy; letters not all one height; "W" crowded. 
 
 25 An in-^tance of the judicious use of well-drawn, rounded, 
 
 Roman letters. The ornai lent is unnecessary. 
 
 26 Notice that in this case th^ound letters "G" and "t)," 
 
 referred to in No. 27, are extended slightly above the guide 
 lines, as they should be. 
 
 27 Perhaps a Uttle crowded. To avoid an optical illusion that 
 
 they are smaller than other letters used with them, the 
 outside line of round letters, such as "G" and "O," have 
 to extend a little above and below the guide lines. They 
 do not in this case. 
 
 28 An apparently well-spaced example of the square raised 
 
 Roman letter on wash of base. 
 
 29 A rare case of the "unusual" being carried to a successful 
 
 finish. A raised letter with a "V" raised center. 
 
 30 The incorporation of the Roman numeral in inscriptions 
 
 adds a very desirable classic touch. 
 
 31 Treatment too conventional as contrasted with style of 
 
 letters. 
 
 32 "V" sunken Gothic text letter. 
 
 33 "W" is slightly narrow. 
 
 31 An elTective example of applied bronze letters. 
 
 35 The " K, " while literally correct, is more pleasing when the 
 
 center of lialance is placed higher, as is generally the case 
 with (he letter "'S," also. (.See No. 153.) 
 
 36 SL'veral of the letters, such as "O" and final "N," appear 
 
 slighlly heavier than the others. There is a tendency to 
 make letters, on coarse granite, too heavy. 
 
 37 Siiuare sunken letters. Perhaps a trifle heavy, but other- 
 
 wise good. 
 3S This heavy lironze ornament violates a cardinal principle of 
 design: that decorative features should be felt rather than 
 sfc-n. Consistency demands that these letters be of 
 bronze. 
 
 39 Gld J':ngli.sh letters are rarely satisfactory on monumental 
 
 work. These are well executed. 
 
 40 A light sinkage on the face of the letter frequently looks well 
 
 with delicate carving. 
 
 41 "V"; sunken Roman letters would have been more in 
 
 keeping with the panel. 
 
 ^209 
 
^H 
 
 WWIIM 
 
 wKP 
 
 ( BROOK^^ 
 
 HP' 
 
 1^ 
 
 IHp<f I- 
 
 -.1 1 ri ri )\ r niHt UFt 
 
 H^K^Hl 
 
 1 I III vi^HH 
 
 ^Hp- f 
 
 1 nil 1 1 1 Ml 'iillIMM 
 
 K 
 
 1-7 SH\1L HF LiVt 
 
 J -.J. 
 
 42 
 
 
 yuJ; 
 
 rx 
 
 
 1 
 
 3 
 
 k 
 
 ■ 
 
 MM 
 
 mm 
 
 ^. 
 
 3atne5 tftason 
 
 46 
 
 
 42 Well-ljalanceil arraiii,'ement of inscription. The criti- 
 cal coight object to a family crest being used with the 
 Chrisma. 
 
 Letters heavy, iliildle cross stroke of "S" would be 
 better if parallel to guide lines. Shows good arrange- 
 ment of three family names. 
 
 "V" should drop a little below line; otherwise, e.xcel- 
 lent. 
 
 Well-spaced letters. "Serif" appears to extend out 
 from only one side of bar. Should be the same on 
 both sides of bar. 
 
 46 Xicely arranged; well pro[)ortioned. Serif at toot of 
 
 last stroke of "N" incorrect — a common mistake. 
 
 47 Rosettes too large for these ^vell-drawIl letters. 
 
 48 Tail of "R" slightly long and hea\-y. 
 
 49 Good spacing. 
 
 50 Well-e.xecuted Roman letters in pleasing panel. 
 
 43 
 
 44 
 
 45 
 
 51 "V; sunken letter would lie more in keeping with 
 
 panel. 
 3i Well-executed Old English letter. 
 
 53 The panel ornaments do not improve the panel. 
 
 54 Letters harmonize with the festoon. 
 
 55 When "A" has a pointed top, as in this case, the letter 
 
 has to be prolonged slightly above the upper guide 
 line. 
 
 56 With the "C" improved, this would have been good. 
 
 57 
 
 58 
 59 
 
 60 
 
 Finish of stone and treatment of surface good. Always 
 
 an acceptable treatment with Celtic or other rough 
 
 carving. 
 Letters rather heavy for light mouldings. 
 Very good taste. The classic Roman, both on the 
 
 panel and in the family name. 
 Compares favorably with pure Roman letter. This 
 
 shows a neat arrangement of the inscription. 
 
 210 ] 
 
MERBrRT-LPr 
 
 ROBERTA- .s 
 CARTER^ 
 
 ■JAN!]AFYIO-IX49vfjy^ 
 
 Kw, LOLffSEA 
 IrARTER 
 
 f OCTOBER 6 !J49 . 
 
 DECEf^BER 25 ■fjgS ■^,,(^ f ^#r f i,a KCH27 OOO '^ 
 
 UNTIL THE ■ DAfBK EA K A ND 
 THE SH A DOV5 - FLEE ■ Av/AY 
 
 66 
 
 ^5 
 
 
 
 
 ■ 
 
 P 
 
 ■*^- ■ ^-- .. in 
 
 S : 
 
 76 
 
 / 7 
 
 '" 
 
 " },,-' ^^V^ ^ ::? \rt^' 
 
 ^~^:-"7x 
 
 
 \ ' 
 
 7ii 
 
 01 
 62 
 03 
 04 
 
 65 
 60 
 
 07 
 08 
 09 
 
 A form of Uoiiuui letter; extremely dainty. 
 
 Too heavy. 
 
 Plaiii "P" would have been more de.siralile. 
 
 The four fragments of carving successfnlly destroyed 
 
 the beauty of the moulding that they, suppo-sedly, 
 
 were intended to enrich. 
 A variation of standard forms. Good treatment. 
 A decorative concei)tiou of the classic Roman letter in 
 
 harmony with the ornament. 
 Name weakened by over-ornate surrountlings. 
 Classic Roman. 
 Circular panel is superfluous. "\'" sunk Roman 
 
 letters, and carving in lower relief, would be an 
 
 improvement. 
 
 French Anti(|ue. Very dainty. "S" might be im- 
 proved. 
 
 Ornamental. Xot a desirable style of letter. 
 
 Grcjovc, forming panel, unich too heavy for letter. 
 
 The evidently intended bolt hea.ls are un.lesirable; 
 anrl woul.l be, even if the letters were raised. 
 
 Design of fifteenth centjiry Venetian origin. A very 
 good arrangement. 
 
 fn good iiroportion for panel. Letters polished. 
 
 A rather \^e^^■y letter for its architectural .setting. 
 
 Consistent with rustic work. Old English. 
 
 Letters rather heavy for light carving. 
 
 [211 ] 
 
94 
 
 j BLISS ; 
 
 95 
 
 
 PAlll MD lxli\U£ARMES 
 
 98 
 
 79 
 
 80 
 
 81 
 
 8i 
 
 83 
 
 84 
 
 8.5 
 86 
 
 Square sunk Es.'^ptian Block lelter. Perhaps sli^'litly 
 hea\y. 
 
 Round raised. Show.s scheme for separating name 
 from wrealli. 
 
 Square raised letter in panel. 
 
 Square raised Roman classic. Shows commendalile 
 originality in design. 
 
 Square raised Roman, Scotia raised center. An inno- 
 vation which requires conscientious attention in the 
 cutting. This is good. 
 
 Well spaced and well executed. Shows Roman in- 
 fluence. 
 
 Raised ornamental. 
 
 Well-conceived and neatly arranged Roman letters. 
 Shows another position for name. (See Xo. 87.) 
 
 Classic Roman incised letters. A fine example of 
 clear-cut mouldings ami an ett'ective arrangement 
 of name. 
 
 88 Modernized Roman letters, scpiare raised. Names 
 
 would be more effective without rosettes. 
 
 89 S(juare raised bronze Roman letters, incised center. 
 
 Letters good. Wreaths are not an im]irovement. 
 
 90 Round raised letters. Well executed, but rather large 
 
 for panel. 
 
 91 Round raiseil. Still another arrangement for name. 
 9'3 A good method of rendering the rounded letter, but 
 
 these letters could be improved ujjon. Not well 
 spaceil. 
 
 93 Round raised letters: heavy ami clumsy. 
 
 94 A good example of the moilern raised and rounded 
 
 letter. 
 9.3 Letter "S" top-heavy, otherwise good. 
 90 Round raised. Well suited for Celtic work. 
 
 97 Plain ".J" would have been better. 
 
 98 Square raised Roman letters. 
 
 [ '^1'^ ] 
 
C|i^S% ., 
 
 ^mMiM^msmu^ 
 
 i ■^ \ 
 
 114 
 
 >>' 
 
 a 
 
 '\Vi.D U'lzlxlEK 
 
 105 
 
 
 -J7/^./l/i^:'^^^/^ ,^ 
 
 100 
 EDWARD STEVENSON WASHBURN 
 
 BORN APWL 20 1844 
 DIEB AUGUST 51 WOO 
 
 115 
 
 O 
 
 BOLTON- 
 
 RSI-i'-0\¥EN 
 
 RALPH WORTHINGTON 
 
 99 Rouni! raised. .V siiL^rL^rsliim tVn- arraiii^'eniciit of two 
 t'ainily names. 
 
 100 All olijeclion to liavr oniamentation parlly cover 
 
 name in this way. Lettei'iii^ good. 
 
 101 Uounil raised bronze letters of Roman orii^in. 
 
 lOJ Bar of "X" should be heavier. "S" is tilled slightly. 
 Letters large for size of ])anel. 
 
 103 A snggestion for arrangement of two family names. 
 
 Lower j^iart of "S" not em'ved enough. 
 
 104 Square raised Egy))tian Block letter in panel. 
 
 10.5 Good plain Block letter; well spaced. .\ type tliat is 
 
 improved by polishing the face. 
 IOC If we must exhibit the signature of the deceased on 
 
 oiM' memorials, let ns incise, same as shown here. 
 
 This inciseii script is far more desiral)le than to cut 
 
 it in full relief. 
 107 Roman tialf-headeil letter; s(|uare raised ; polished face, 
 ins .V heavy lint not unattractive headed Hoinaii letter. 
 
 .V case where the rosettes do not intrude. 
 
 10!» 
 110 
 111 
 11'.' 
 
 lit! 
 
 lU 
 
 11. ■> 
 
 110 
 117 
 
 US 
 
 Urt 
 1-20 
 
 Kxcelleiit. The pure Roman 'A"" sunk. 
 
 S(|uare raised, ornanienled letters. 
 
 Roman letters raised on bronze ]iaiiel. 
 
 All imiovalion of merit. The classic Roman letter in 
 
 a panel which makes it more legible. 
 Well-executed bronze Roman letters, in harmonv 
 
 with bronze ornamentation. 
 Cirooved Roman letter; slightly heavv, Imt otherwise 
 
 good. 
 .Vbsence of punctuation is noticealile here, since it 
 
 does not iulerfere with the arrangement. .V fine 
 
 example. 
 S(iuare snukeii, Kgyptiau Bloi'k. .\ pleasing finish. 
 Round raised. One way of adding to Icnylh'if short 
 
 name. 
 Round raised, l-'lcur-dedis decoration makes up for 
 
 the few letters in the name. 
 ( lassie Roman. 
 S<iuare raised. Feslo-m well carved but heavv. 
 
 [ 213 
 
124 
 
 138 
 
 121 
 
 122 
 
 123 
 
 124 
 12j 
 
 120 
 
 127 
 128 
 
 An opportunity for the use of the classic Roman 
 letter lost. The attempt at improvement not 
 warranted. Wreath good. 
 
 Square raised Egyptian Block letters overshadowed 
 by clumsy fe.stoon. 
 
 Round raised Roman letters. Not overheav)' as this 
 style of letter is apt to be. 
 
 Raised letters on a convex surface. 
 
 An inscription made a thing of beauty by the use of 
 the pure Roman letter. 
 
 Square raised in panel; tooled surface. A lett<'r in 
 keeping mth its surrounding Celtic desigTi. Carv- 
 ing on panel excellent. 
 
 Square raised. Panel well executed. 
 
 EWdently intended for Roman letter. This departure 
 from the cla.ssic Roman not advisable. 
 
 129 
 
 130 
 131 
 132 
 
 133 
 
 134 
 135 
 
 130 
 137 
 
 138 
 
 An objectionable arrangement. Palm detracts from 
 
 name. 
 Iloman letters, incised center. 
 Round raised, in neat panel. 
 "V" sunk. A rather pleasing arrangement for two 
 
 family names. 
 .Vnlique letter in perfect harmony with attendant 
 
 enrichment. Scjuare raised with tooled surface. 
 The cla.ssic Roman inci.sed. Last bar of "X" short. 
 Square raised Roman letters with top-heavy "S." 
 Modeniizeil Roman letter. An agreeable departure. 
 Round raised modern letters; rather large for panel, 
 
 which would liave been better without the altach- 
 
 incnt at top and bottom. 
 Round rai.sed. Relief of letters harmonizes with that 
 
 of ornamentation. 
 
 [ 214 ] 
 

 
 
 
 139 
 
 ANDREWS 
 
 147 
 
 148 
 
 143 
 
 
 149 
 
 
 150 
 
 feREAGAN+at 
 
 "M 
 
 151 
 
 144 
 
 
 152 
 
 
 145 
 
 153 
 
 CART Ed 
 
 
 146 
 
 142 
 
 154 
 
 139 Bareness of plain panel relieved by passion vine. 
 
 140 "K" would be improved were center of balance a 
 
 little higher. 
 
 141 "E" has appearance of being larger than other letters. 
 
 (_'ross-bar too long. Name not in center. 
 l-t'2 Poorly spaced. Too much room between letters for 
 the witlth of panel which they occupy. 
 
 143 Bronze tablet of dignified design. 
 
 144 Well-carved shield. Too little attention to mono- 
 
 gram. 
 
 145 Well-spaced Roman letters. 
 
 146 Classic Roman. 
 
 147 Applied bronze letters. Commendable brevity. 
 
 148 A variation of Roman letter. 
 
 149 
 
 1.50 
 
 1.51 
 
 1;52 
 
 b53 
 
 1.54 
 
 IjCtters rather heavy. Shows arrangement for two 
 
 family names. 
 The inscription letter of economy. An ordinary 
 
 letter for oriliiiary work. 
 Down stroke of "X" should not meet last bar above 
 
 base line. Makes "X" appear cut off. Lower 
 
 curve of "C" and "G" should be same as upper 
 
 curve or broader. (Xotice letter "C" in No. 146.) 
 A fair example of grooved-face letters. They would 
 
 be better plain. 
 Well spaced. .V pleasing arrangement of center of 
 
 balance shown in letter "K." 
 Such innovations detract from, rather than add to, the 
 
 beauty of the Roman letter. 
 
 21.5 ] 
 
' ^^^^^^^^^^^^ ] 
 
 I? Died Sz?. 2W00 B 
 
 55 
 
 157 
 
 ■ - ■ -r L . 
 
 '£)liJC}]tCi\Jmi 
 
 ^^_ 158, 
 
 
 159 
 
 160 
 
 161 
 
 ^B^BRAlT^SB ^QILES S.MITCHELI*: 
 
 162 
 
 180 
 
 155 (jooil (lesi<;ti, well carrieij out. 
 
 156 Letters a little heavy for panel. 
 
 157 Tliere are other and better ways of expiressiny iiidi- 
 
 vicluality. 
 
 158 Well-spaced "Block" letters. Incised Roman letters 
 
 would be more in keepinj,' with panel. 
 
 159 IleaNT letters such as these look better in lower relief 
 
 or raised in slightly sunken panel. 
 100 Ornamental letters on rock face. 
 161 The letters are good. 
 16'3 Modern type of letter; round raised with incised 
 
 center. 
 
 163 "Headed" Block, .sqiiare raised. Bars too heavy, 
 
 even when softened by groovin^f face of same. 
 
 164 A good example of a grooved letter. 
 
 105 Slightly sunken: bevel eriged; well sjjaccil. 
 
 106 Celtic influence. Good efl'ecl. 
 
 167 "M" and "O" n<jt <|uite wide enough. 
 
 168 Letters, although heavy, are good. Nothing can be 
 
 said in favor of the balance. 
 
 1(!9 Roman letter, sc|uare_raisefl. A trifle heavy, but well 
 s[jaced and execnteil. 
 
 170 A common and nndesiral>le ])ractice of combining 
 
 the |ialm with the family name. 
 
 171 Round raised letters; well executed. 
 
 17-2 Round rai.sed Roman letters. "O" too large. 
 17.'i A sort of half-headed Roman, square raised. Not 
 [larticularly desirable. 
 
 174 Roman inci,seil. Center of "S" and ilown stroke of 
 
 "N" too deeply incLseil. 
 
 175 Sf|uare raised Roman. Too heavy and not well 
 
 balanced. 
 
 176 S(|uare rai.sed with grooved center. Xame on palm 
 
 an objectionable arrangement. 
 
 177 Efl'ect secured by carrying out idea of moulding. 
 
 178 Too crowded. 
 
 171) Roiuid raised, chi.seled effect. Out of line and rather 
 
 clumsy. 
 180 A well-spaced and nicely executed exam|)le of the 
 
 incised, headed Block letter. 
 
 [ 210 
 
KiKG 
 
 ■ 197 
 
 186 
 
 nwray^: 
 
 ^ ASA FOLSO,\f 
 ^ COCHRAN 
 
 FRAZEE 
 
 .AWPENCE flSHEP" FRAZEE 
 
 199 
 
 207 
 
 208 
 
 182 
 1S3 
 1S4 
 1S5 
 186 
 
 188 
 
 190 
 191 
 192 
 193 
 
 Well-cut round raised letters. An arrangement for two 
 names. 
 
 A panel sviggestion. 
 
 Well-executed Roman letters. Suitable for Celtic work. 
 
 Square raised Roman letter.s. 
 
 Well-executed Roman letters in a pleasing panel. 
 
 Square raised, grooved center. A suggestion fur a foot 
 stone. 
 
 Letters overshadowed l:)y palm. Not a ijleasing arrange- 
 ment. 
 
 Roman letters. "Z " a little large and its bar rather heavy. 
 An unusual heading on letters. 
 
 Roman incised letters. "A" and "U" slightly out of pro- 
 portion with rest of letters. 
 
 A tine example of the use of "(lid English " letters. 
 
 A suggestion for a panel. 
 
 Square raised, grooved center. 
 
 Well-spaced and executed Roman letters in keeping with 
 panel. Most pleasing in every respect and not soon 
 tired of. 
 
 19.1 
 196 
 197 
 
 198 
 199 
 2(.10 
 
 201 
 202 
 
 203 
 204 
 20.5 
 
 206 
 2f)7 
 208 
 
 A suggestion for a panel formed hy inverted torches. Name 
 
 in keeping with panel. 
 Classic Roman. 
 
 Siiuare raised; well arranged and spaced. 
 .K suggestion for lettering on a rock-faced .stone. "I" and 
 
 "O" crooked. This style of letter is not a desirable one. 
 "S" could be improved. A suggestion for a panel. 
 A bronze bust applied. 
 Well-spaced letters on tooled panel. In keeping ivith 
 
 Celtic work. 
 A suggestion for a tooled panel. Well-executed letter.s. 
 "W" could be improved. .\ well-executed wreath and a 
 
 suggestion for a panel. 
 Round raised letters; well executed. 
 Roman letters incised, "(i" a trifle Ijroad. 
 Well-executed round raised letters in a panel in harmony 
 
 with this .style of letter. A fine example. 
 Square rai.sed. Letter "A" appears chipped at top. 
 French Antique letters, incised. Very pleasing. 
 Incised Roman letters Some bars a trifle heavy. 
 
 [ 217 ] 
 
ORLANDO H MFORD 
 
 210 
 
 »RAND' 
 
 
 Z^I^EaSi 
 
 -ll '> *« M i' V/ 'fill J'' ilM^ 
 
 miiii!) mRCH 
 
 
 UL^KtV 
 
 214 
 
 220 
 
 ROBERT R0S5' 
 
 
 224 
 
 
 
 "s. 
 
 
 
 
 Z25 
 
 ^P^ 
 
 ^H 
 
 P 
 
 ^9 
 
 
 226 
 
 209. 
 210. 
 211. 
 212. 
 
 213. 
 
 214. 
 
 21.5. 
 
 216. 
 217. 
 
 A well-executed bronze tablet. 
 
 French Antique. A fine example. 
 
 Half raised. A pleasing panel. 
 
 Square raised in panel. I-etters well s[)aced and exe- 
 cuted ; incised classic Roman letters would have 
 been even more pleasing. 
 
 Plain Block letter; somewhat subilued by the intro- 
 duction of the panel. 
 
 Square raised. Another arrangement for two family 
 names. 
 
 Round raised letters. The Roman letter with 
 grooved face would have been more pleasing. 
 
 Another suggestion for a panel on a rock-faced si one. 
 
 Round raised. A trifle heavy. 
 
 218. 
 
 219. 
 220. 
 
 221. 
 222. 
 223. 
 
 224. 
 
 22.5. 
 22(i. 
 
 Classic Roman on bronze panel covering receptacle. 
 
 Keyhole might have been concealed under rosette. 
 
 A beautiful example of a bronze panel. 
 A pleasing example of a bronze tablet. 
 Square raised Egyptian Block letters polished, in a 
 
 polished panel. A pleasing arrangement. 
 Round raised. Bars not too lieavy. 
 Square rai.sed. " M " and " O " not quite wide enough. 
 Round raised with grooved center in tooled panel. 
 
 Fine for Celtic work. 
 Classic Roman letters of bronze ; in keeping mth 
 
 bronze ornamentation. 
 Square raised plain Block letters. Well spaced. 
 Letters a trifle large for panel. "E" separated too 
 
 far from "N." 
 
 [218 ] 
 
233 
 
 242 
 
 227 Undesirable. Characterless ornamentation which ile- ' 235 
 
 tracts from letters. 236 
 
 228 Sfjuare raised, incised center. Good. 
 
 229 Classic Roman. Good except for the connection 237 
 
 between "R" and "X." 238 
 
 230 Square raised letters with narrow incised center. 239 
 
 Panel in harmony. ' 240 
 
 231 Possibly a square raised letter would strengthen this 
 
 design. 241 
 
 232 Block letter. Spacing excellent. 
 
 233 A well-concei\ ed architectural panel. 242 
 
 234 The two discs crowd this inscription and attract undue [ 
 
 attention, as does the ornamentation below the panel. I 
 
 [ 219 ] 
 
 A well-executed medallion. 
 
 Not a particularly pleasing arrangement. "B" and 
 "C" are out of proportion. 
 
 Good type of plain panel. 
 
 This panel is the work of Augustus St. Gaudeus. 
 
 A well-executed emblem. 
 
 Relief too high. Nothing can be said in its favor. 
 Xeat lettering. 
 
 A fine example of ivy anil oak carving. The spacino- 
 is good; and the style of inscription pleasing. 
 
 The wreath no addition to this arrangement; other- 
 wise it is very pleasing. 
 
©^,, ■ Hi:XR>'-C -^AY 
 
 \T 
 
 .J'jiOk 
 
 ty 
 
 259 
 
 [»^k^^Si'.J^^|aifS^^.^'^>?^f^Wv«^j,r- 
 
 260 
 
 ■OTHEMANi 
 
 "STEVENS 
 
 246 
 
 261 
 
 250 
 
 REVGMEMNS 
 
 247 
 
 262 
 
 263 
 
 251 
 
 - - -^ -- - 2^£o ■ ■ 
 
 264 
 
 WOODHANCY- 
 
 252 
 
 ;■'- GREENE ■ 
 
 253 265 
 
 RUSSELL 
 
 249 
 
 257 
 
 243 Olil Kiiglisli Text letter; square raised in panel. The 
 
 eiiiployraent of cajiltal letters in "Donald" is a 
 mistake. 
 
 244 Headed Block with grooveil center. Poorly spaced. 
 
 245 A modern conception of the Roman type. "S" 
 
 poorly balanced. 
 
 246 Ap])lied bronze letters of good design. Roman style, 
 
 "V" raised. 
 
 247 French Antique. Exce[)tionally good. The larger 
 
 capital letters are an improvement in this case. 
 
 248 Headed Block letters. A pleasing suggestion for a 
 
 plain panel. 
 240 Round raised in panel. "R" rather l)roail. 
 
 2.50 Neglected serif on top of "X" attracts too much 
 
 attention in this otherwise pleasing example. 
 
 2.51 Round raised. "L" and "D" would be better 
 
 without the ornamental serif. 
 
 2.52 Round raised. Well spaced. 
 
 253 Classic Roman. Serif on "N" neglected. 
 
 254 
 25:5 
 256 
 257 
 
 258 
 
 250 
 
 260 
 261 
 
 262 
 263 
 
 264 
 265 
 260 
 
 Square raised. "R" rather clumsy. 
 
 Roman letters well spaced and executed. 
 
 Round rai.seil ornamental letter. 
 
 Square raised letter with polished face. Well spaced. 
 
 Half raised letter reflecting Roman ty[)e. In excellent 
 
 taste. 
 An exceptionally good example of French Anticiue 
 
 "V" sunk. 
 Raised script. Well executetl. 
 Too deeply sunken. A narrower bar would have 
 
 been more acceptable. Scotia svmk. 
 "V" sunk in polished surface. ■ * 
 
 Scjuare raised Roman letters. The "A" appears a 
 
 trifle broad. 
 Classic Roman letter with grooved face. 
 A good example of roimd raise<l Roman letters'. 
 Round rai.sed letters, unusually in keeping with panel, 
 
 A suggestion for a panel on rock face. 
 
 220 ] 
 
276 
 
 :EPWARP^ BARMRP R4I^LINC. 
 PEC. 22. i85^'5'-Seft. 28. 1^0? 
 
 HI5 WIFE 
 
 |akGH.i8.i87I-FEB.24.i^^ 
 ^ ■ 268 
 
 290 
 
 PICKFORD 
 
 27 
 
 7 291 
 
 BECKER 
 
 278 
 
 
 279 
 
 292 
 
 ."^le 
 
 !??r' 
 
 ;"■'■■ 1 ■ ' "^ 
 
 r 
 
 ^^^y^.:^ 
 
 T 5, ■'•''■ " 
 
 
 
 
 280 
 
 Miiezkel- 
 
 293 
 
 =.=£xi4i»i' 
 
 l^iJD®^S 
 
 281 
 
 294 
 
 282 283 tCl^OOklZLUf 
 
 P7l ? fl*^ 
 
 .. _...^ 272,^ J-Jj£liIi£;iTfIH:mi ■ StAUGHTER ^ 
 
 liiTi^sTiH:;^- -^ 284 ,285 
 
 273 
 
 STALLMAHl 
 
 274 
 
 
 
 286 
 
 287 
 
 m- VvlFE 
 
 |^?5m^^^iiT| '^^^ L^^^'flnlflJI 
 
 275 
 
 288 
 
 296 
 
 268 
 269 
 
 271 
 272 
 273 
 274 
 
 275 
 276 
 
 277 
 278 
 
 279 
 
 2S0 
 
 2S1 
 
 282 
 
 Incised letters in panel. Bars of letters a trifle heavy for 
 
 incised lines of panel. A fine example of panel. 
 Well-executed Roman letters on tooled panel. 
 Raised letters, Scotia top. "(_)" a trifle small, otherwise 
 
 good. 
 Round raised letters in low reUef, on sunken jianel. The 
 
 low relief greatly improves this style of letter. 
 A fine example of incised Roman letters in plain panel. 
 Classic Roman letters l^eautifully executed. 
 Square raised plain Block letters. 
 Raised Egyptian plain Block letters with polished face in 
 
 sunken panel. 
 Round raised letters in sunken panel. "C" rather clumsy. 
 Ornamental letters. All right for Celtic work. 
 Roman letters, incised. 
 Roman letters. A raised center of balance would improve 
 
 "K." 
 Square raised letters. Poorly spaced. 
 A suggestion for a panel. Letters well executed, hut rather 
 
 large for panel. Torch appears a trifle stiff. 
 Bars of letters not parallel, as they should be. 
 Well-spaced square raised letters. 
 
 283 
 
 284 
 285 
 286 
 
 287 
 288 
 2S9 
 
 290 
 291 
 
 294 
 295 
 
 Classic Roman, incised. Very pleasing. 
 
 Well-spaced plain Block letters. A fine example. 
 
 Incised Roman letters. 
 
 Ornamental letters. Not particularly beautiful, but well 
 executed. 
 
 A fine example of round raised Roman letters. 
 
 Round raised. "C" a trifle top-heavy. 
 
 A beautiful panel. Bars of letters a trifle heavy, crowding 
 this long name. 
 
 Classic Roman letters. AVell spaced and executed. 
 
 Applied Bronze letters. A fine example. 
 
 Square raised letters, incised centers. Triangular orna- 
 mentation on each side of name a suggestion of the sepa- 
 ration of words in Latin inscriptions. 
 
 A case where round raised script letters have been pleasingly 
 used. A good style of panel. 
 
 A suggestion for a panel. 
 
 A case where the festoon is not 
 cases shown, but there is stil 
 Name rather close to festoon. 
 
 Well-spaced and executed letters 
 appear clumsy. 
 
 so overheavy as in other 
 rofnii for improvement. 
 
 Easily read and do not 
 
 [ 221 
 
314- "'■" 316 
 
 ^SHTrj^Ji PORTER _____^ , 
 
 miL^^^^Tv* BALDWIN ^r-JIW^. ^J^-^\-d^^^^\ 
 
 31 R 
 
 mi5rii5»?3]QiT» II.' 
 
 319 
 
 320 
 a^AMILTOIJ 
 
 
 
 k 
 
 303 
 
 321 
 
 324 
 
 333 
 
 297 
 
 298 
 
 299 
 300 
 301 
 302 
 303 
 
 304 
 305 
 
 306 
 307 
 
 308 
 309 
 310 
 311 
 312 
 313 
 314 
 
 Round raiseii letters not well spaced, but otherwise very 
 good. The ornament in this case is not undesirable. 
 
 Script letters ; a style usually undesirable, but this is a fine 
 example. 
 
 Artistic ornamental letter in keeping with panel. 
 
 AVell-executed classic Roman letters on a beautiful i)anel. 
 
 Roman letters on pleasing bronze panel. 
 
 Roman letters of bronze. 
 
 Square, raised letters in grooved panel, .\ppropriatc for 
 Celtic work. 
 
 Ornamental letter; a trifle heavy. 
 
 A fine example of the dainty effect of round, raised letters, 
 carefully spaced and not too heavy. The letters are set 
 off to advantage by this daintily tooled panel. 
 
 Ornamental letters on a tooled background. 
 
 Tooled letters on a sunken tooled panel. Good fr»r Celtic 
 work. 
 
 Well-executed, scjuare, sunken letters. 
 
 Square raised letters, incised centers. 
 
 Square raised letters, well spaced. 
 
 Square raised letters, on rock-faced surface. 
 
 .An unusual panel of Old English; well executed. 
 
 Roman letters incised in a beautiful panel. 
 
 Round raised letters; a trifle heavy. 
 
 31.5 
 316 
 317 
 318 
 319 
 
 320 
 321 
 
 322 
 323 
 324 
 .■S2.5 
 326 
 
 327 
 328 
 329 
 330 
 331 
 332 
 
 333 
 
 Square sunken Roman letters. 
 
 A pleasing suggestion for a panel. 
 
 Square raised letters, grooved center. 
 
 Classic Roman letters. An arrangement for a .single name. 
 
 Round raised letters in sunken panel. The rosettes are not 
 
 an improvement. 
 Round raised, oritanu'ntal letters in sunken panel, 
 A suggestion for a panel. Square raised letters with incised 
 
 center. 
 Beautifully executed and well-spaced Ronuin letters, incised. 
 Half raised RoTnan letters, well sjjaeed. 
 Ornamental letters, polished surface, in jianel. 
 .\ beautiful bronze panel. 
 A suggestion for a i)anel. .\n unusual arrangement for 
 
 small " c." 
 A fine example of Old English. 
 Half raised Roman letters in an effective panel. 
 Well-spaced square raised letters, grooved center. 
 ()ld ICnglish in a beautiful panel. 
 
 Well-spaced and executed round raised Roman letters, 
 r'lassic Roman letters. A suggestion for two names on a 
 
 panel. 
 Ornamental letters. Wl right for Celtic work. 
 
 2'2£ ] 
 
MOULDINGS AND COMPARISON OF 
 ARCHITECTURAL ORDERS 
 
BEAft MOULDING 
 
 ct; 
 
 
 ■ OCEE - 
 
 -.' 
 
 =3 
 
 
 
 
 
 
 
 
 -1 
 
 
 
 
 m 
 
 Oi' 
 
 
 
 < 
 
 It, 
 
 
 
 »- 
 
 
 
 
 z 
 
 
 
 
 
 
 
 lij 
 
 u. 
 
 ■ oc;ee- 
 
 / 
 
 ? -^ 
 
 
 
 ■covt. / 
 
 
 1 
 
 . DEHTlLS - 1 
 
 
 .....s 
 
 ^ — 
 
 ■ To^u: - 
 
 ^, 
 
 > 
 
 i C .J T 1 A . 
 
 ( 
 
 ( .TOR.:- •> 
 
 ROMAN CORIHTHIAN 
 
 ROMAN IONIC 
 
 ROMAN DO(?IC 
 
 CPECIAN DORIC 
 
 GRECIAN IONIC 
 
 GRECIAN CORINTHIAN 
 
 COMPARISON OF THf: ORDERS 
 
 [ 224 ] 
 
■■'■W^«?>'*^«!lH?»^»» 
 
 (.*-.«•: im^ltar^ttdsHs**. 
 
 '•in ' HI' iin I'liirif.' '■Ill '■.III Mil -wj m 
 
 MMI 
 
 m:«'^^^'%^i!i,^iiif^'^'<«f^K%^'^ii; . 
 
 10- 
 
 ^' g 5^gsgUi;>>i ? i^->i\3,LiA:A^^ 
 
 12 
 
 »fc i i> 1 , T ii. v . : iii t i\-\ ■\sk,i; i k,\,%,i,\ Unit ti>i>.i'j>;;i 
 
 iummmmiiWMmm 
 
 
 t^M^.^^&,M^&Mj^^M,'^.^^^^^ 
 
 :^iJ^iE>^ilN^{ f: ^ 1!^ 
 
 24',.-'-;'r «'.; "-"'-- 
 
 t^^iiii^ 
 
 
 f^yae^rgg^^ll^jg^j rag^sg^'ii^ 
 
 ^l^jUj^lgjl^^g^ 
 
 Hl"'^; 
 
 j^ ;i i 4 i 1 J * i 4 i ii 1 
 
 ;'^%^..-..- ^v.l:..y,>v^^.v-.Y^, -Y^-,j„,^-^- 
 
 4S 
 
 SI 
 
 SUGGESTIONS FOR THE EXRICHMEXT OF :\IOULDIXGS 
 
 (For names of niouMiiifjs, see pai;e '2.'30i 
 
 [ iir. 
 
"^^[^f'W/i WMifrilfr 
 
 
 m%mj%m^xm)A» 
 
 w{WM,w^^^w^w^w 
 
 mv(W^m^\^]m^m}mjmm,in . 
 
 73 
 
 "^ 1 1 
 
 
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 !^^^^fe 
 
 wjmmM 
 
 UM 
 
 
 :'^^?!fJJ5rj5i^^^^?!|»^^'^>?^^ 
 
 «»rw?»'»'«'»'»»'?f'*r(i«***w»«>B»'#«r»r««*^»fs 
 
 ^' .;^ ■' ^r J.:.- T-> 
 
 IWPPPSf^iPi^H^WI 80 n n (^ ^ (^ \ Wy---v"W!|-^i"U- 
 
 'Tfrrrr 
 
 HHIi^BiSS 
 
 
 
 -— i*'^, >*-^^ ^--^^ >^>S4 .,-,j~<. ♦•v^^ 
 
 mmsm-mmm 
 
 69 
 
 t^3t 
 
 fe^ 
 
 vV \V 
 
 
 ki<i 
 
 jWt 
 
 
 
 
 
 
 
 
 
 
 70 
 
 
 
 
 1^ 
 
 c 
 
 n _, 
 
 1 
 
 i 
 
 
 
 
 
 
 
 
 
 71 
 
 ^Mi? 
 
 4-' 
 
 v:3^< \ 
 
 M 
 
 
 
 fi 
 
 » 94. 
 
 
 SUGGESTIONS FOIi THl-; F.MUC ILAIHXT OF .AIOULDIXGS 
 
 (Fur naiiio dI' iiiuiiltliiii^s. M-t- \ni'^v ^2.'3(Jj 
 
 [ '2'2.i ] 
 
96 a B Btt«yi>^vv^^*^r^^vi^v > ^v><w -«^Wr!^wWi#lH;:l%^ 
 
 r^y.^gjl'.- 
 
 >r'"^i 
 
 109 iiiliiijlii.Ub.1 til tin liilizi|lii 
 
 110 
 
 >y;-^>- ^ «a»Wtt 
 
 -511051515151^515 
 
 100 
 
 i ™[PMM 
 
 -t^ I 
 w 
 
 104 
 
 
 106 
 
 SfGGESTIOXS FOR THK EXRICHMENT OF MOULDIXCiS 
 
 iF'or names of mouldings, see paj^e ^loK)) 
 
 [ '>^' ] 
 
119 iisSiijOHi^a^^^ 
 
 120 x:S^i::$3l:SlvN. s.:-.,:%z:-n: 
 
 
 124 
 
 125 '*:>" 
 
 ■M^frwMw,.j..^j wjn 
 
 S^gg^^ 
 
 
 !BijM|iii.« i ,jiijj jii , .jwjiig>pa0^.ir^p i J ! iffl- i . ijiru ipiMiFirrpM 
 
 129 S^<^ ',^-^* W,^ W >*' ^*^^ 
 
 jMyjaaaaw yaw 
 
 .,. — Si— ^ 
 
 138: 
 
 P^'^S^^lP*^, 
 
 
 C-'.'^w^jT'- '>*fc*0' '5L»-/i5^ ^*^JE^- 
 139 i^;VV\ „//».- </i»,.,^#*7 ■r^w'r'/ r'J«-'^/ 
 
 140 »* 
 
 ■C ':".-*' Iff .^ 1^ .'^'V ■>'■' 
 
 
 -'i>..«i?!^3iraMttani^»»u>-- ' .' 
 
 142 
 
 ..ftiirliTii 
 
 =i65'^^4^^- i^H^v^iV-^^*? 
 
 x\^-. 
 
 
 SUGGESTIONS FOR THE ENRICHMENT OF MOULDINGS 
 
 (For names of mouldings, .see page 230) 
 
 [ 228 ] 
 
•msW 
 
 14.6 
 
 
 i^% 
 
 :Sm^. 
 
 \A7 yy 
 
 SijfeC. .:?-<^; feit;.,.-^ :g^.'^-^ 
 
 ?^^ 
 
 ^;«g* '■■J 
 
 '^J^ii^,,^^si^J^::'^:^isJ^. 
 
 id^jAaA^ii 
 
 152 
 
 153 jglkd!BJb-lCl]bdl:iig:'lij^:^'Uii.- : i::j'^iX 
 
 
 f p p f'T'-.r' r'r'p r rf'T 
 
 
 IB!»»WBWWal>^WW 
 
 
 :,^IJ^iSt^t^ii£. 
 
 PBW-T; 
 
 uxcu: 
 
 w3Kn? ■ '^^r™" 
 
 StTGGESTIONS FOR THE EXRICHMEXT OF MOILDIXGS 
 
 ( For names of mouldings, see page '2.'iO ) 
 
 [ '2'29 ] 
 
Memorial Art — Ancient and Modern 
 
 NAMES OF MOULDINGS. PAGES 2^25 229 
 
 1 
 
 2 
 3 
 4 
 5 
 6 
 7 
 8 
 9 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 17 
 18 
 19 
 20 
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 26 
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 29 
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 42 
 43 
 44 
 45 
 46 
 47 
 48 
 49 
 50 
 51 
 52 
 53 
 54 
 
 58 
 59 
 60 
 61 
 62 
 63 
 64 
 65 
 66 
 67 
 68 
 69 
 70 
 71 
 72 
 73 
 74 
 
 78 
 79 
 80 
 81 
 82 
 83 
 84 
 
 "Bead" or "pearl" moulding. 
 
 "Bead and reel" moulding. 
 
 "Bead and reel" moulding. 
 
 "Bead and reel" moulding. 
 
 "Bead and pearl" moulding. 
 
 Bead. 
 
 Bead. 
 
 Rope. (Bead moulding.) 
 
 Spiral ribbon. (Bead moulding.) 
 
 Rope. (Bead nioulding.) 
 
 Spiral ribbon and bead. (Bead moulding.) 
 
 Spiral ribbon and thread. (Bead moulding.) 
 
 Braidei.1 ribbon torus. 
 
 Interlaced torus. 
 
 Interlaced torus. 
 
 Torus of guilloche. 
 
 Torus of guilloche. 
 
 Torus of guilloche with rosette. 
 
 Torus of guilloche with rosette. 
 
 Torus of guilloche with rosette. 
 
 Torus of guilloche. 
 
 Torus of guilloche. 
 
 Egyptian sf^uare sinkage. 
 
 Egyptian S(.iuare sinkage. 
 
 Egyptian sfiuare sinkage. 
 
 Torus of acanthus and spiral ribbon. 
 
 Torus of acanthus and spiral ribbon. 
 
 Torus of acanthus. 
 
 Torus of laurel. 
 
 Torus of laurel. 
 
 Torus of conventionalized laurel. 
 
 Torus of laurel. 
 
 Torus of laurel. 
 
 Torus of leaves. Byzantine. 
 
 Torus of oak and laurel. 
 
 Torus of oak. 
 
 Torus. 
 
 Cavetto or cove, crown moulding. 
 
 Conge, crown moulding. 
 
 Cynia recta, crown moulding. 
 
 Thumb, binding moulding. 
 
 Ovolo, supporting moulding. 
 
 Cyma reversa, supporting moulding. 
 
 Echinus, supporting moulding. 
 
 Half round, binding or separating moulding. 
 
 Scotia, separating moulding. 
 
 Half hollow, separating moulding. 
 
 Fillet, separating moulding. 
 
 Cavetto, prone moulding. 
 
 Cyma recta, prone moulding. 
 
 Cyma reversa, prone moulding. 
 
 Ovolo, prone moulding. 
 
 " Egg-and-tongue." 
 
 "Egg-and-dart." Renaissance. 
 
 " Egg-and-leaf . " 
 
 " Egg-and-dart." 
 
 " Leaf-and-tongue " or "Lesbian cymatium." 
 
 " Leaf-and-tongue." 
 
 " Leaf-and-tongue." 
 
 " Leaf-and-tongue." 
 
 ' ' Leaf-and-ilart. ' ' 
 
 Water leaf. 
 
 " Leaf-and-tongue." 
 
 ' ' Lcaf-and-dart . ' ' 
 
 Water leaf. 
 
 Foliate link border. 
 
 Foliate link border. 
 
 Foliate border. 
 
 Foliate link border. 
 
 Foliate link border. 
 
 Foliate border. 
 
 Foliate border. 
 
 Leaf band. 
 
 Leaf band. 
 
 Egvptian lily leaf and bud border. 
 
 Egyptian lily leaf border. 
 
 "Running tlog " or "\'itru\'ian wa^'e," modern form. 
 
 Interlaced band. 
 
 Foliate undulate band. 
 
 Chain band. 
 
 Interlace border. 
 
 Modern evolute-spiral band or "running dog." 
 
 Vertebrate band. 
 
 Reciprocating fret. 
 
 S5 
 
 86 
 
 87 
 
 88 
 
 89 
 
 90 
 
 91 
 
 92 
 
 93 
 
 94 
 
 95 
 
 96 
 
 97 
 
 98 
 
 99 
 100 
 101 
 102 
 103 
 104 
 105 
 106 
 107 
 108 
 109 
 110 
 111 
 112 
 113 
 114 
 115 
 116 
 117 
 118 
 119 
 120 
 121 
 122 
 123 
 124 
 125 
 126 
 127 
 128 
 129 
 130 
 131 
 132 
 133 
 134 
 
 135 
 
 136 
 
 137 
 
 138 
 
 139 
 
 140 
 
 141 
 
 142 
 
 143 
 
 144 
 
 145 
 
 146 
 
 147 
 
 148 
 
 149 
 
 150 
 
 131 
 
 152 
 
 153 
 
 154 
 
 155 
 
 156 
 
 157 
 
 158 
 
 159 
 
 160 
 
 161 
 
 162 
 
 163 
 
 16<1-1 
 
 167 
 
 168 
 
 169 
 
 Eg>'ptian lily and leaf border. 
 
 Border-L'Art Nouveau. 
 
 Border-L'Art Xouveau. 
 
 Foliate, "running dog" or evolute-spiral band. 
 
 Foliate, undulate band, Byzantine. 
 
 Disc band. 
 
 Evolute-spiral band, Renaissance. 
 
 Egyptian lotus and bud border. 
 
 Acanthus border. 
 
 Acanthus and lily border. 
 
 Adaptation of acanthus. 
 
 "Bead" or "pearl" banding. 
 
 Undulate acanthus band. Renaissance. 
 
 Undulate foliate band. Bvzantine. 
 
 LTndulate foliate band. Renaissance. 
 
 Undulate foliate band. Renaissance. 
 
 Undulate foliate band. Renaissance. 
 
 Undulate foliate band. Renaissance. 
 
 Modern undulate foliate band. 
 
 LTndulate foliate band. Romanesque. 
 
 Foliate border. Romanesc[ue. 
 
 Festoon border. 
 
 Modern form of fret. 
 
 Reciprocating fret. 
 
 Intersecting fret. — 
 
 Reciprocating fret. 
 
 Unsymmetric or current fret. 
 
 Unsymmetric or current fret. 
 
 Unsymmetric or current fret. 
 
 Intersecting fret. 
 
 Intersecting fret. 
 
 Zig-zag band with acanthus. 
 
 Foliate border. 
 
 Festoon border. 
 
 Acanthus adaptation of astragal. 
 
 Interlaced band. 
 
 ^'crteb^ate band. 
 
 Interlaced band. 
 
 Foliate ^'ertebrate bancl. 
 
 LTndulate \vy band. 
 
 ^'erteb^ate laurel band. 
 
 L'ndulate band of acanthus. 
 
 Laurel band. 
 
 L'ndulate band of acanthus. 
 
 Band of fleur-de-lis. 
 
 Roman rosette band. 
 
 Convolvulus band. 
 
 Passion-flower band. 
 
 Acanthus adaptation of astragal. 
 
 Link border of palmette leaves, honeysuckle, < 
 
 anthemion. 
 Evolute-spiral or "wave scroll." 
 Interlaced band or "guilloche." 
 Interlaced band or "guilloche." 
 Border of acanthus. 
 Modern link border acanthus. 
 Link border. 
 
 Palmette or honeysuckle link border. 
 Palmette or honeysuckle cresting border. 
 Palmette or honeysuckle and lil}- link border. 
 Palmette or honeysuckle link border. 
 Palmette or honeysuckle and lily link border. 
 Classic Palmette or honeysuckle and lily link bordc 
 Anthemion or honeysuckle and lily cresting border 
 Palmette or honeysuckle and lily link border. 
 Palmette or honeysuckle and lily hnk border. 
 Palmette or honeysuckle and lily link border. 
 Passion-flower band. 
 Leaf-and-dart. 
 Fret and rosette band. 
 Foliate border. 
 
 Modern undulate band of ccan-oh-ulus. 
 Foliate border. 
 Acanthus border. 
 .-Vcanthus border. 
 -\canthus border. 
 Cresting border L'Art Xou\eau. 
 Band of oak lea^•es. 
 Festoon band. 
 Imitation (.lentils. 
 66 Dentils. 
 
 Dentils formed bv ends of trigh-jihs. 
 Dentils. 
 Triglyphs and metopes with rosettes 
 
 ^2,30 ] 
 

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 e9?* - 
 
 ■'^wT' 
 
 '•^l 
 
 J .^'^i 
 
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 7^ 
 
 51 
 
 
 
 
 
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 f>,T-»-r>^ l*SV-:v?i »;;;=>5rr^ 
 
 SUGGESTIONS FOR ORNAMEXTATIOX OF CROSSES 
 
 [ 233 ] 
 
GLOSSARY 
 
GLOSSARY 
 
 KEY TO PRONUNC 
 
 able, rare, (il, firk, risk: ere, end, mal; 
 
 Abacus iuh'd-kus), ii. The s<|uare upper plale upon llie 
 capital of a column, supporting the architra^'e. 
 
 Abutment id-bid' tiieni), n. The solid pari of a [)ier or 
 wall which supports an arch and receives its thrust or lateral 
 pressure. 
 
 Acanthus (d-kdn'lhus), ri., yhir. Acanthi (d-J:dii'thJ) or 
 Acanthuses (d-hin'-thus-es). Ilerliaceous prickly planls 
 found in south of Europe, Asia Minor, India. rvea\'es in 
 conventionalized foriu used for ornamentation. 
 
 Acropolis (d-kroj/o-Iis), it. The upper or hifjher part 
 of a Grecian city. Used especially of the citadel at Athens. 
 
 Acroter {dk'rv-ter or d-kro'ter). Same as Acroterium. 
 
 AcROTERiuM (dk-ro-W ri-um) , n., plur. Acroteria 
 {dk-ro-te'r'i-d). One of the small pedestals for statues or 
 other ornaments placed on the apex and at tlie basal ani^les 
 of a pediment. 
 
 ^Egis ie'j'is), n. A shield or protective armor. 
 
 Aglet (dg'let), n. A taf{ of a lace or of the points, braids, 
 or cords. 
 
 Aiglet {dg'let), n. Same as Aglet. 
 
 Akroter, n. Same as Acroter. 
 
 Alpha (al'fd), n. First letter of Greek alphabet, and 
 hence used to denote the bej^inning. 
 
 Amazonian idm-a-zd'nl-an), adj. Bold; warlike; of 
 masculine manners. 
 
 Amphiprostyle (din-phii>'rii-stll), adj. Having cohunns 
 at each end but not on the sides. 
 
 Anchor, n. Symbol of "hope." 
 
 Angels. Symbolic of messenger.s between God and man. 
 
 Annulet (an'u-lH), n. A small flat fillet encircling a 
 column, etc., used by itself or with other mouldings. 
 
 Anta (dn'-td), n,, plur. Antae (a^'-fe). A species of j^ier 
 produced by thickening a wall at its termination, treated 
 architecturally as a pilaster, "^dth capital and base. Temple 
 is said to be "in antis" when side walls are extended beyond 
 cella and terminate in two antte with columns between. 
 
 Antefix idn'te-fiks) or Antefixa idn-te-fiks'd), plitr. 
 Antefixes [dnfe-fix'-ez). (A) Ornaments placed below 
 eaves of a temple and perforated for escape of water. (B) 
 Upright ornaments at regular intervals above eaves to cover 
 ends of the joint tiles of the roof. 
 
 Anthemion {dti-the' ini-on) , n., plur. Axthe.mli (un-the'- 
 mi-d). A floral ornament. See P.vLMErTE, or honey- 
 suckle. 
 
 Antiquary idn't'i-kiva-ry), n. One devoted to the stuily 
 of ancient times tfu'ough their relics; one who searches for 
 and studies the relics of antiquity. 
 
 Apse (ops), «., plur. Apses (dp'-.s-ez). (A) A domed end of 
 a church back of altar. (B) The bishop's seat in ancient 
 churches. 
 
 Apsis {dp'-.ns), plur. jVpsides (dp'-si-dez). Same as 
 Apse. 
 
 Arch (arch), ii. A curved member made up of separate 
 wedge-shaped solids with the joints between them dis- 
 posed in the direction of the radii of the curve; used to 
 support a w^eight above an opening. 
 
 Architr.ave (arkl-irdr). n. (A) The lowest part of the 
 
 lATION OF VOWELS 
 
 er ; Ice, It: deer, or, d<hl : u^e, nrtjc, its. 
 
 entablature, or tliat part which rests Immediately on the 
 column. (B) A moulding above a door or window. 
 
 Arte.misia Idr-te-mlth'l-a). ('on.sort of [Nlausolus. Prince 
 of ('aria, about 3.50 B. C. 
 
 A.STR,AG.AL (d,i'trd-!/dl), n. A small convex moulding of 
 rounded surface, generally from half to three-(|narters of a 
 circle, cut into beads; often used with egg-and-dart mould- 
 ing. Also called "bead moulding." 
 
 Atl.antes [dt-ldn'-tez), n. Figures or half figures of men 
 used as columns or pilasters to support an entablature. 
 Female figures are called "caryatids" or "caryatides." 
 
 Band, /(. (A) Any flat low moulding, broad but not 
 deep. (B) Any continuous tablet or series of ornaments in 
 a wall or on a building. 
 
 B.AKROW (hdr'b), n. A large mound of earth or stones 
 o\'er the remains of the dead: a tiunulus. 
 
 B,\s-reliei-" (bd're-lef or hds're-lef). it. Sculpture in low 
 relief. 
 
 Bead (bed), n. A small round mould often cut like 
 pearls on a string. 
 
 Bead and Reel. A small round moulding decorated 
 with alternating bead anil two small discs. 
 
 Be,vk Moulding. A moulding with a downward pro- 
 jecting edge to allow water to run off. 
 
 Beni-Hass.a.n [bd' -ne-kds' -sdii) , n. A village on the Nile 
 River near which ancient rock-cut tomtjs were found. 
 
 Boss {bds.s-), n. A protuberant ornament such as a stud 
 or knob. 
 
 Buttress ibut'tres), n. A projecting mass of masonry, 
 used for resisting the thrust of an arch, or for ornament. 
 
 Cable (kd'-bl), n. A circular moulding cut to resemble 
 rope. 
 
 Calyx (td'-/Ti-s), «., plur. Calyxes ikd'-lLr-e.'.-). The 
 outer covering or leaf-like envelope of a carved flower 
 ornaiuent. 
 
 ('andelabruvi (kdii-de-ld'briiiii), u., plur. Candel.abra 
 (kdn-de-ld'brd). An ornamental candlestick having several 
 branches. Usually had three legs often in form of a beast's 
 claws. 
 
 Cap ikdpt), n. The uppermost of a series of parts, such as 
 the cap of a column, door, etc. Sometliing covering the top 
 or end of a thing for protection or ornament. 
 
 Capital (kdp'-i-tal), n. The uppermost jjart of a column, 
 pilaster, or pillar. 
 
 Caryatid (kdr-i-dt'id),ii.,plur. Caryatides [kdr-i-dt'-ulz). 
 A draped female figure supporting an entablature, used in 
 place of a column or pilaster. Male flgures used in same 
 way were called "Atlantes." 
 
 Cataco.mb (kdt'-d-kdm), n. Ancient subterranean bury- 
 ing places consisting of passages with side recesses for 
 tombs; especially those near Rome, on Appian Way, sup- 
 posed to have been the place of refuge and also interment 
 of earh" {.'hristians. 
 
 Cavetto {kd-vet'to), >i.. /ilur. Cavettos (kd-fet'loz). 
 A concave hollowed moulding chiefly used in cornices, in 
 which the curve, usually a quarter circle, is much less pro- 
 duced than that of a scotia. 
 
 [ '^3,3 ] 
 
M e m r i a I Art — A n c i e n t and Modern 
 
 Cella isii'-d), II., plur. Ceixae (.S('/'<'). The interior 
 chamber of an ancient Greek or Roman temple which 
 contained the image of the deity to whom the temple was 
 sacred. 
 
 C'exotaph (scn'u-ldf), n. An empty tomb or monument 
 erected in honor of some person who is liuried elsewhere. 
 
 ('H.APEL (ckd'-pel), II. A lesser place of worship; a pari 
 of a church, or a cliurch subordinate to another church. 
 
 Choraoic (A-o-ra/'i/,-), adj. Pertainini; or belonging [o, or 
 in honor of, a choragus. 
 
 C'HORACirs (kd-mfi'-iii-), n.. plnr. Choragi iko-rd'jl). A 
 chorus leader, especially one who at liis own expense pro- 
 vided one of the dramatic choru-ses at Athens. 
 
 Chrisma (krlz'-md). n. A cross formed by a combination 
 of the two Greek letters "chi" (X) and "Rho" ^P), corre- 
 sponding lo "CH" and "R" of [he word "Christ." 
 
 Cinerarium ts'in-c-rd'-ri-iiiii), n., plur. Cr.\ER.\Ki.\ (.slii-c- 
 ru'-n-d). .V place to receive the ashes of the cremated dead. 
 CiXER.VHY (.<)hi'-cr-a-n). ailj. Used for ashes, especially 
 those of [he cremated deail. 
 
 Cl,vs.si(' ildds'-'ik), adj. Of the first rank. A model; 
 pure; retinefi. 
 
 Cl,^w. II. The foot of an exedra, etc., in shape of a claw. 
 Often called a "candelabrum foot," because for steadiness the 
 candelabrum had three feet often in form of a beast's claw ; 
 also called a "wiiigeil lion's j)aw." 
 
 CoLOX.N.VDE ikol-o-iidd' ), II. A series of columns placed 
 at regular iiiter\"als. When in front of a building it is called 
 a "portico"; wlien surrounding, or carried about three 
 sides of a building, a "peristyle." 
 
 Colu-Mbarium ikol-i'iiii-bd'r'i-uiii). »., plur. CciLrMEARiA 
 [kol-um-hd' ri-d) . A structure of vaults lined with reces.ses 
 for cinerary urns; also, in plural, (he niches in .such a 
 structure. 
 
 CoLL'.M-V (kol'-uin). n. A cylindrical support for a roof, 
 ceiling, statue, etc. ; and composed of base, shaft, and capital. 
 It is of circular section except as it is fluted or channeled. 
 Egyptian and Grecian Doric columns have no bases. 
 
 CoLU-MMATiox I ko-lum-in-d'.^kuii), n. The system of 
 arrangement of columns in a structure. 
 
 CoMP(j.siTE lkuiii-j/u.i'-'it), adj. An order of architecture 
 made up of the Ionic order grafted upon the Corinthian, 
 i. e., the Ionic volutes on a Corinthian column. 
 
 CoxiSTAXTixE (kon'stan-lin). n. \ Roman Kmperor. 
 r27'2-3:37 A. D.) 
 
 Corbel ikbr'-bli), ii. A short piece of timber, iron, stone, 
 etc., jutting out from a wall to form a bracket or support. 
 The lower part is sometimes cut in the shape of a face or 
 other figure. 
 
 CoRixTH ikor'iiilli), n. A city of (jreece on the Isthmus 
 of Corinth. The site of early Greek Doric temples. 
 
 CORIXTHIAN (kdr-'iidh"i-dii). adj. Most slender in pro- 
 portions of Cla.ssic orders; invented Ijy Greeks but more 
 commonlv used l)y Romans. Characterized by [jrofusc 
 ornamentation. 
 
 CoRXiCE (kor'-iils), n. .-Viiy moulded or otherwi.se deco- 
 rated projection which crowns or finishes the ])art to which 
 it is affixed; as the top part of an entablalure, cloor, window, 
 
 house. 
 
 CoROXA (ko-ro'nd), »., plur. Coronas iko-rd'ndz). The 
 large flat member of a cornice of considerable projection to 
 carry off rain. .Sometimes called the "drip." 
 
 Cove f/,-o/'), //. .V coiica\"e moulding. 
 
 Cromlech ikroin'-lek), n. A momnnent of rough stones 
 composed of one or more large ones sup|)orted in a horizontal 
 position upon others. They are found chiefly in countries 
 inhabited by ancient Celts and are of a period previous to 
 the introduction of Christianity into the.se countries. 
 
 Crcss. Symbolic of death. For kinds of crosses, see 
 chapter "The Cro.ss." 
 
 Cruciform (kriJd'ii-forin), adj. Cross-shaped. 
 
 Crypt (kript), n. A vault wholly or partly under ground ; 
 especially, a vault under a church, used as a place of inter- 
 ment; a grave or tomb. 
 
 Cupoi^A. (ku'pd-ld), n., plur. Cupol.^s il;u'-po-ldz). A roof 
 having a rounded form, hemispherical or nearly so; also a 
 ceiling having the same form. Wlu'ii on a large scale it is 
 usually called a "dome." 
 
 Cyma i.n'iiid). II. A moulding, the jjrofilc of which is a 
 double curve or wave-like in form. 
 
 Cy.ma recta (si'ind rfk'fa], ii. \ cyma hollow in its 
 up[jer part and swelling behjw. 
 
 Cy.ma rever.sa i.niud rc-rcr'-.m), ii. \ cyma swelling 
 above and hollow below. 
 
 Cy-.matium (.n-md'shl-uiii). n. X capping or crowning 
 moulding in classic architecture. 
 
 Dado idd'du or da'do), ii. (A) The die or square part in 
 the middle of the pedestal of a column between the base 
 and the cornice; also the jiart of a pilaster between the 
 plinth and the impost moulding. (15) The lower part of 
 the wall of an apartment when adorned with mouldings or 
 otherwise decoratetl. 
 
 Decagox id'ck'd-iiuu). ii. A plane figure having ten 
 sides and ten angles. 
 
 De.mosthexe.s (de-iiio.'i'-tlif-iu'-). ii. \n .Vthenian orator. 
 B. C. 385-3'22. 
 
 Dexticul-^te (den-tik'u-ldte), adj. Containing dentils. 
 
 De.xtil iden'-iil), n., plur. Dextiijs. One of a .series of 
 small square Ijlocks or projections on cornices, in an orna- 
 mental band, used particularly in the Ionic, Corinthian, and 
 Composite orders. 
 
 Detail ide'-tdl), ii. The parts of a plan usually drawn 
 on a larger scale for the use of workmen. 
 
 Dl\meter idi-din'-e-fcr}. n. The distance through the 
 lower part of the shaft of a column, used as a unit for measur- 
 ing all the parts of an order. 
 
 Di.ix.A. idi-d'nd or di-dii'-d). it. A virgin goddess who 
 presiiled over hunting, chastity, and marriage. 
 
 Du.xa Propyl.\e.^ (di-dn'-d pirop-'i-le'-d), ii. Name of 
 a small Greek temple at I>leusis, a city in ruins, twelve miles 
 from .\thens. 
 
 DiA.srYLE idl'd-siU), n. An edifice in which three diame- 
 ters of the columns are allowed for each inter-columnlation. 
 
 Die (V/i), »., plur. Dies idi'). The culiical part of a 
 pedestal between the liase and cornice; the dado. 
 
 DioxY.sus ((/i-()-)u'.SH.s'), II. All ()lym|)ian god, originally 
 of vegetation; later, god and giver of the grafie and its wine, in 
 which character he was worshipeil with orgiastic rites and 
 concei\"ed as leader of a wild rout of satyrs. A later name 
 of Dioiiy,sus is "Bacchus." In early art he is figured as a 
 bearded man ; later, as youthful and efl'eminate. The 
 thryrsus, ivy, and panther, and, with reference to wine, the 
 vine and wine bowl are his commonest attributes. 
 
 Difter.^l Id'ip-ter-dl). adj. An etlifice having a double 
 row of columns all round. 
 
 Di.sr td'isk), n. \ flat circular plate or surface. 
 
 236 ] 
 
Memorial Art — A n c i e n t a n d M o d e r n 
 
 Disk, //. Suidc as Disc. 
 
 Doric {do'-rik), adj. 'Hie tlt'avie•^l and simplest ol' the 
 three principal orders of architecture. 
 
 Drip (dr'tp), ii. A lnv^c flat niernhcr of the cornice, jiro- 
 jectin*^ so as lo throw ofl" water and j)revent il Ironi niniiini,' 
 down the side of the hnildin^^. 
 
 EAVK>i ierz), II. The cil^^es or lower borders of the roiif 
 of a Imildin^r, which project licvond the walls and casi olV 
 the water that falls on the roof. 
 
 EciiiNt'S ic-ki'tii'i.^), ti.. phir. Iv'iiiNi ir-hi'-ui). A forni 
 of moulding quarter round, Init i>ro|)erly called "echinus'" 
 only when carveil with egg-and-dart ornaments. The 
 name jiossihly alludes to the sha[)e of the shell of the sea 
 urchin. 
 
 K<;(i-AXD-DART. A classic moulding decorated with an 
 e(T(T-shaped ornament alternatinj^ \vith another in Ihc form 
 of a dart, an anchor, or tongue. Used only to enrich the 
 ovolo; alsocalleil "e<;j,r-and-anchor " and "eirK-and-toni^nie." 
 
 J^LET'.si8 (c-/r('-.s'(.s-). Ruins of an ancient Greek city, 
 twelve miles northwest of Athens. Famous f(.)r Ihc secret 
 rites ill Ininor of Cei'es which were there eelehrated. 
 
 Elevation (cl-e-rd'shiin), n. A <reome(rical [)rojection 
 of a huitdin<^. or other ohjecl. on a ])lane perjiendicular to 
 the horizon. (See paji^e "-^T. 1 
 
 ExcARPUS ieii-kdr' pfis), ii. plitr. Excarpi {(•ii-ldir' jn). 
 An ornament on a frieze or capital, consistini^^ ol: sculptured 
 festoons of fruit, flowers, leaves, etc. 
 
 P^xtablature ihi-fdiy-ld-tiir), ii. That part of an order 
 which is over the columns, includin^^ the architra\"e, frieze, 
 and cornice. 
 
 ExTASis {(■n'td-s'is-). II. An almost Imperceplilile swclliiii; 
 of the shaft c)f a colunm. 
 
 Erf.<i[tiikiox Icr-i-I.-'fln'dii). n. Same as i^REcirrnEU.M. 
 
 EHEriiTHEi/M irr-rL--llir'-dr/i). n. A teiiijile on the 
 Acropolis at Athens, of the Ionic onlcr. 
 
 Ex E OR A (c!r-.si''-drd), ii., /i/iir. Exkorak irL'-.^r-ilrc). 
 (A) A room for conversation, more or less open, like ;i 
 [lorlico, and furnished with scats. (Ii) An out-of-door seal 
 or bench planned to hrini; many people to^:;ether. Derived 
 from Greek, meauiui; literally miade) out of a seat. 
 
 Facade (/fi-.wr/') or ifd-sdil'). ii. The front of a hnildmi;, 
 especially the principal front havin^^ some architectural 
 pretensions; or, if treated architecturally, any face upon a 
 street or court. 
 
 F?:SToox ( fca-fixjii'), n. A carved or moidded ornament 
 representing^ a trarlanil or \vrc:ith of flowers, fruits, or leaves, 
 wound with a ril)hon anrj hanij;iii<,f in a natural curve. A 
 festoon of flowers is symbolic of incutory. 
 
 Fillet ifW-lrt), /i. A narrow, flal meudier: especially, 
 a fiat moulding separatiui; other mouldings; also the si)ace 
 between two flutings in a shaft. 
 
 Eixial if}u'}-di), n. lA) A terminating or crowning 
 detail; a buneh of foliage or other ornament tiiat forms the 
 up[>er extremity of a pinnacle, canopy, gable, or the like. 
 
 F'lute (flilt), n. A channel of curved section; often 
 applied to one of a vertical series of such channels used to 
 decorate columns and pilasters. 
 
 Flutixg (flfit'-iu(j), n. Decoration by means of flutes or 
 channels. 
 
 Fret {fret), n. An ornament consisting of small straight 
 lines or bars intersecting each other at right or oblique angles, 
 often of solid fillets or slats intersecting each other. (See page 
 
 Frieze ifrcz), n. (A) The part of (he cntablalnrc between 
 Ihe architrave and cornice. It is a flal Mirface either uniform 
 or broken by triglyi)hs, and often enriched by sculpture. 
 (H) An>' sciilptin-ed or riehl>- oriianieiilcd l)and in a build- 
 ing. 
 
 P'uirr AM) \'iXE. Symbolic of the personality of Jesus 
 Christ. 
 
 EliLSTrM i frds'-ldf/i), n., jj/iir. Fiir.sTr.MS. The part of 
 any solid next to Ihe base, formed bv entting olf the lop. 
 
 FrxEHEAL { fn-Hi" rr-dl). iidj. Ferlaining to a funeral. 
 
 Fylfot if'd'fol). n. Same as Swas'iika. 
 
 Gable (ijd-h!), n. (A) I'he vertical, triangular pcjrtion of 
 the end of a building, from the level of the corniee or eaves 
 to the ridge of ihe roof. AUo a similar end not Iriangidar 
 in shape; the end wall of a buihling. (H) A decorative 
 member having the slia})e of a triangular gable. 
 
 (iARcaiYLE {ijdr'iiod). n. A waterspout projecting fr(jm 
 the roof gutter of a building, often carved grotesipiely. 
 
 (iLVPii {(lHJ), u. A sunken channel or groove. 
 
 (txeiss i.7iJs], )i. A crystalline rock consisting of quartz, 
 feldspar, and mica arranged in planes so that it breaks easiiv 
 into coarse slabs. 
 
 (ioR<;ET (f/or'-yr/). n. A piece of armor for defending 
 the throat and sometimes the ui>pcr part of the lirca.st. 
 
 Greek Fret. Sec Eket. 
 
 (iRiLLE {'/r'ih. A latti<-e or grating. 
 
 (JriLLociiE iii'i-ld.s-Ji'). 71. (A) An ornament in the form 
 of two or more ban<ls or strings twisted over each ittlier in a 
 continueil series, leaving circular ojicnings which are fllh'il 
 with round ornaments, i Ii ) An\ pattern nia<le bv inter- 
 lacing curved lines. 
 
 (iiTTA {ijdt'-td), II., j'liir. diTTAE i(idt'-fc). Small orna- 
 ments in the form of a frusjnm of a cone but sometimes 
 cylindrical, attached to the lower end of the lriy;ly[)lis, and 
 also to the lower faces of tin- nmlulcs, in the Doric order; 
 also called "drops." 
 
 (Itttae liAXi), //. The band from wliieh the gutts" liang. 
 
 IIalicarxassih {// dl-'i-lrdr- lids' i'is). Ancient city, (.'aria, 
 Asia Minor, modern liudrum. 
 
 Harpy ihnr'p)), n., j/!nr. Harpies ihdr'p'iz). A uKmster, 
 representeil as having a woman's head and upper part of the 
 body and a bird's wings, tail, leg, ;uid claws. 
 
 Hexastyle ihck'.sd-.^fih, ,idj. and n. Having six c(«hmms 
 in front. 
 
 Hieko(;lyph {hicr-d-ijl'if], n. Same as hieroglyphic. 
 
 Hiero(;lyphic {fri-cr-o'ijl'if'-'ik), ri. A character in 
 picture writing; or writing in whicli each character is a 
 representation of the object itself or of a symliolic idea asso- 
 ciated with it. The character may aNo rcju-esent an alpha- 
 Ijetii- sound or a complete svllable. 
 
 High Relief. Sculpture in whicli the projection of the 
 figures from the background is half or more than half the 
 natural circumference. 
 
 HoxEYSUCKLE [h I'lu'l-snkl \ . II. All ornamenl consisting 
 of foliated forms arranged in a radiating cluster, l)ut fiat, as 
 in relief scul])ture. Also called Axtiie_miox and Ealmettk. 
 
 Horse. Synfl)olic of haig journey of death. 
 
 Hypaethkal or Hypethkal <h'ip-r'lhrd! or hl-pc'thrdh, 
 iidj. Open to the sky; not roofed over. 
 
 HvposTYLE (h'ip'-(i-s(d or hi'pth.srd), adj. Having roof 
 rest upon rows of columns, as great hall at Karnak. 
 
 niS. A symbol or monogram representing the Greek 
 contraction of "Jesus." In ignorance of iN ori>dn it is 
 
 [ ^37 ] 
 
Memorial A r t ~ A n c i e n t and Modern 
 
 often regarded as an abbreviation of the Latin phrase mean- 
 ing "Jesus, Saviour of uien," or of "In Hoc Signo vinces." 
 
 Impost (im'-post). n. The top memt)er of a pillar, pier, 
 wall, etc., upon which the weight of an arch rests. 
 
 Intercoliimni.^tion On-ter-ko-lum-m-d'.ihiin), n. The 
 clear space between two columns, sometimes the distance 
 between their centers, measureil at the bottom of their shafts. 
 
 Intramur.^l Cin-frd-mu'rdl). adj. Within walls. 
 
 Toxic (l-on'-tk), adj. Pertaining to Ionic order of archi- 
 tecture. The distinguishing feature of this order is a 
 capital with spiral volutes. 
 
 Ivy. Symbolic of memory, also frienrlship. 
 
 K.4.RX.\K (hdr'-ndk). Village on right bank of Nile, 
 upper Egypt; part of site of Thebes. Famous for its great 
 temple. 
 
 Keystone ike'ston), n. The central or topmost stone of 
 an arch, which being the last set in place is regarded as 
 binding the whole together. 
 
 Laurel (16/ el), n. A plant who.se foliage was useil by 
 the ancient Greeks as a ^lecoration; symbolic of glorv. 
 
 Le.^f .\n"d D-iRT. A form of egg-and-dart moulding 
 enrichment in Avhich a leaf takes the place of the egg. 
 
 Lilies. Symbolic of resurrection ; also purity. 
 
 Lin'tel (lin'-tel). A horizontal member spanning an 
 opening. 
 
 Lotus ilo'-tus), n. An ornament much used in p^gyptian 
 architecture, generally asserted to have been suggested by 
 the Egjptian water lily. 
 
 Lunette ilu-net'}, n. Any crescent-shaped surface, 
 especially the piece of wall between the curves of a vault and 
 its springing line. 
 
 Lysicr.^tes (li-sik' ra-tez) . The Greek choragus who put 
 up at his owm expense the famous choragic monument 
 bearing his name. 
 
 IVIausolus imo'so-lus). King of ('aria, lo whom was 
 erected the ilausoleum of Halicarnassus about 450 B. ('. 
 
 Member, n. Any part of a building, such as pier, colunni, 
 lintel, moulding, etc. 
 
 Metope imet'-o-pe), n., pliir. Metopes (inet'o-jjez). The 
 space between two triglyphs of tlie Doric frieze, wliicli 
 among the ancients was often adorned with carved work. 
 
 Miter (mJ'ter), n., also spelled Mitre. .\ joint formed 
 by two beveled ends or edges. 
 
 MoDiLLiQN imo-dll'yiiii}. n. The enriched block or 
 horizontal bracket generally found under the cornice of the 
 Corinthian and (.'omposite entablature and sometimes less 
 ornamental, in the Ionic and other orders; so callerl because 
 of its arrangement at regulated distances. 
 
 ^lOLDiNG imold-ing), n. A plane or curved narrow sur- 
 face, sunk or projecting, used for decoration by means of 
 the lights and shades upon its surface. 
 
 Monolith (mon'o-tith), n. .K single stone, especially 
 one of large size, shaped into a [lillar, statue, or monument. 
 
 Monolithic i mnn-6-lith' -V; ) . adj. Consisting of a single 
 stone. 
 
 Motif (mofef'}, n. The theme, central, or dominant 
 feature. 
 
 Moulding, n. Same as Moldlvg. 
 
 Mutule (mu'tfd), n. A projecting block worked under 
 the Corona of the Doric cornice, in the same situation as 
 the modillion of the Corinthian and (omposite orders. 
 Mutules possibly represent rafter ends in an original wooden 
 construction. 
 
 Xiche (mch), n. A hollow or recess, generally within 
 the thickness of a wall, for a statue, bust, or other orna- 
 ment. 
 
 XiKE Apteros (ni'ke ap'tero.i). A temple on the Acrop- 
 olis built in honor of Nike, goddess of victory. ALso 
 called the temple of "Wingless Victory." 
 
 Xi-MBUS (niin'hus), n., plur. Xi.mbuses or Xi.mbi (n'lm'hi). 
 A circle or di.sk of rays of light around the heads of divmi- 
 ties, saints, etc. ; also around a cross. 
 
 Obeli.sk (db'e-llik), n. An upright four-sideil pillar, 
 gradually tapering as it rises, and cut off at the top in the 
 form of a pyramid. 
 
 OctostyLe (ok'to-slll), ii. An edifice or portico adorned 
 mth eight columns, or a range of eight columns across the 
 front. 
 
 Ogee io-je'), n. A moulding consisting of two members, 
 the one concave, the other convex. It has a profile in the 
 form of the letter S. 
 
 O.mega ip'-me-gd or o-mf.'iid), ii. The last letter of the 
 Greek alphabet; hence, "the last." 
 
 OpiSTHODOME (o-iHs'tho-ddiii). H. That part of the cella 
 of a temple farthest from the main entrance and often used 
 to contain its treasures. 
 
 Order (or'dcr), n. A column, ba.se, and ca|)ital with its 
 entablature considered as a type. One of the five principal 
 styles of construction and ornamentation of columns used by 
 the ancient Greeks and Romans. 
 
 Outline, n. The line that marks the outer limits of a 
 figure or object; a sketch without shading. 
 
 Ovolo io'vo-lo). It. A rounded moulding whose .section 
 is a quarter of a circle; also calleil a "<iuarter-rounil." 
 
 P.vlm ipdm), n. A plant so called becau.se the leaves 
 resemble a hand; symbolic of victory. 
 
 P.\lmette I pdl-inef'), n. The conventional ornament or 
 anthemion resembling the palm leaf used in Grecian decora- 
 tion. 
 
 P.vNEL. A sunken, raised, or tlusheil com]iartment with 
 a moulded or other margin, as in ceilings, wainscotings, 
 faces of monuments, etc. 
 
 Papyrus {pd-pl'ru.i), «., pl)ir. Papyri t/id-in'ri). A 
 plant native to Kgypt and adjacent countries, with a smooth 
 triangular stem and a large comi)omid umbel with drooping 
 rays. 
 
 Parthenon i pfir'tbe-noii). ii. .\ Doric temple on the 
 .\croi)olis at Athens, built in honor of Athena about 4.j(t 
 B. C. Ictinus and Callicrates were the architects. It is 
 considered the nearest perfect structure ever put up. 
 
 P.vssiON ^'INE. Symbolic of the crowning e\ent in the 
 life of our Lord. So called from a fancied resemljlance of 
 the parts of the flowers to the instruments of Christ's cruci- 
 fixion. The corona represents the crown of thorns, the 
 stamens and pistil the nails of the cross while the five .sepals 
 and five petals represent the ten faithfid disciples. 
 
 Pedestal (phl'cs-tdl), ii. The base or foot of a column, 
 statue, vase, or the like; the part on which an ui)riglit 
 work stanils. It consists of three parts — the base, the die, 
 the cornice. 
 
 Pkdi.ment (ped'l-incid), n. The triangular ornamental 
 facing of a portico, or a similar decoration over doors, 
 winilows, etc. 
 
 Pel.vsgic (pc-lu.s'j'ik). ailj. .Vlso written Pelasgian 
 {pl'-lds'j'i-dn). Pertaining to the Pelasgians, the earliest 
 inhabitants of Greece. 
 
 [ ^>'.iH ] 
 
Memorial Art 
 
 Ancient and Modern 
 
 Penden-tive ipcii-dfii'tii-), n. The |.ortion of a vault 
 lielween the arches under a dome. 
 
 Pentelic (pcn-fH'lk), ailj. Apphe.l lo wliite marble 
 quarried on Mt. Pentelicus near Athens. 
 
 Pergola (per' no-Id), ii. An arbor or trellis Ireated 
 architecturally as with stojie columns or similar massive 
 structure. 
 
 Pericles (pcr'l-Idez). An Alhenian statesman l)orn about 
 40.3 B. C; died, ii9 B. C. During tlie age of Pericles, 
 literature, art, and politics reached highest development in 
 Greece. 
 
 Peripter.il ( pc-rtj/tcr-al), adj. Having a row of columns 
 on all sides. 
 
 Peristyle tpfr"i-.stil), n. (A) A range of columns with 
 their entablatiu'e. (B) A building with a range of columns 
 encompassing it. 
 
 Perspective tper-.spck'tii:), n. (A) The art of drawing 
 an object on a i)lane or curved surface exactly as it appears 
 to the eyes. (B) The apparent meeting of [)arallel lines as 
 their distance from the ob.server increases. 
 
 Phii)i.\s [ful'i-as). A famous Greek .sculptor and director 
 of art work in Athens, who lived from about VW to VM 
 B.C. 
 
 Pier (per), ti. (A) Pillars, posts, or a mass of solid 
 stonework for supporting an arcli. (B) A [)iece of wall 
 between two openings. 
 
 PiL.\STER (pl-la.s'tcr), II. An upriglit architectural mem- 
 ber, rectangular in plan, structurally a pier, but arclii- 
 tecturally treated as a column, and projecting from the wall 
 only one-third or less of its width. The liases, capitals, and 
 entablatures of pilasters have tlie same parts as those of 
 columns. 
 
 PiLL.vR (ptl'dr), n. A pier or column intended to sup- 
 port an arch, roof, statue, etc.; a firm upright, insulated 
 support for a .superstructure. "Pillar" is a general term 
 for a stay or sujiport, while "column" denotes a pillar of 
 particular order or type. 
 
 Pl.^.N' (plan), II. The representation on a plane of a 
 horizontal section of anything, often drawn on a small scale. 
 
 Pl,vne (plan), n. That which is without elevation or 
 depressions: level, fiat. 
 
 PL.4TFORM (plat' form), n. .Something which has a level 
 surface and is raised above the surrounding level. 
 
 Plinth ipllnth), n. A square, block serving as a 
 base for a statue, vase, etc.: or, the lowest part of the base 
 of a column. 
 
 Plumb (pliini), adj. Perijendicular, that is, standing 
 according to a plumb line. 
 
 Podium (po'di-um). ii. A low wall serving as a fonuda- 
 lion, substructure, or terrace wall. 
 
 Polystyle (pdl'i-stil), adj. Having many columns. 
 
 Poppy. Symbolic of .sleep; hence, of death when death 
 is looked upon as a sleep. 
 
 Porch (porch), n. A covered entrance to a building, 
 commonly inclosed in part, and projecting out from the 
 main wall with a separate roof. 
 
 Porphyry (p6r'fl-ri), n., pliir. Porphyries. A rock con- 
 sisting of a compact base through which crystals of feldspar 
 are scattered. There are red, purple, and green varieties. 
 
 Portico ipdr'ti-l-o), n., plur. Porticoes (porfi-kdz). A 
 covered space inclosed In- columns, at the entrance of a 
 liuilding. 
 
 Prism ipriziii), n. A solid, the two bases of which are 
 
 eifual jiolygons in parallel planes and the lateral faces, 
 [tarallelograms. 
 
 PrcjportiO-N I prd-j)dr'.sliiin). ii. Tlie relation or adapta- 
 tion of one portion to another or to the whole, as respects 
 magnitude; a harmonizing relation between parts. 
 
 Propyi^veum (prup-i-le'um), n.. plur. Propyl.\e.\ (prop-i- 
 le'd). .\ny court or vestibule before a liuilding, especially 
 the entrance to such a court or \*estil>ule. 
 
 Prosce.N'IU-M IjirD-se'iri-iini), n.. jiliir. I'HOScENI.ii I pro- 
 .v''in-d). The stage of an ancient theater. 
 
 Prostyle (pro'sttl). ii. A jiortico in whicli the columns 
 stand in ad\'ance of the building lo which they belong; or, 
 a structure having columns in front only, Init acro.ss the 
 wlnjle front. 
 
 Pseudo-peripter.u.. {sudo-pe-rip'ter-dl), adj. Imper- 
 fectly perijjteral; a temple having the columns at the sides 
 attached to the walls. 
 
 Pterom.v {tc-ro iiid). ii. The space between the cclla 
 wall and the columns of a |ierislyle. 
 
 Purlin i pi'ir'Tiii). ii. .V jjiecc of timber exicnding from 
 end to i^iul of a liuilding or roof, afToss and under the rafters, 
 lo su])port them in the middle. 
 
 Py'L^^.x l/nloii). It. .V struclure forming an entrance lo 
 an Egyptian temjile. It consisted of a gateway, on each 
 side of which stood a tower in the .shape of a truncated 
 pyramid, covered with sculi»ture. The tower itself was 
 sometimes called a pylon. 
 
 Pyr.vmid ipijr'd-iitul), n. A .solid body on a triangular 
 or polygonal base w-ith triangular faces meeting at a point. 
 I'sed for lomlts in ancient Eg\'pt. 
 
 Pyr.\mid.\l t pj/r-rdm"i-ddl). iiilj. Having the shape of a 
 pyramid. 
 
 <^U,\DRIG.\ ikirdit-ri'ijd). n.. plur. Qu.\i)RiG-iE ikirod-rf je). 
 .V car or chariot drawn by four horses abreast. 
 
 R.\m's He.^d. a Roman ornament connectetl with use 
 of ram as a sacrificial animal. 
 
 Rect.vxgl-l.\r {rck-tdii'iju-ldr). adj. Ha\'ing right angles. 
 
 Rectilinear ireli-fi-lin'e-dr), adj. A plane figure 
 boundeil by straight lines. 
 
 Reglj:t (reii'lii). ii. A flat narrow moulding used to 
 separate parts of compartments or panels from one another, 
 or to form knots, frets, etc., or to cover joints between boarris. 
 
 Regula ircij'fi-ld), »., plur. Regulae {rcij'fi-le). .\ sliort 
 hand or fillet with guttie or drops on the lower siile and 
 placed just lielow the tienia of the Doric arcliitrave. 
 
 Relief (re-lt'f). ii. The projection of figures, ornaments, 
 etc., from a background. Kinds of relief are named accord- 
 ing to the degree of projection as high, bas-relief, etc. 
 
 Replica (rep'ri-kd). ii. A co|iy of an original picture 
 done by the hand of tlie same master; a re[)roduction, fac- 
 simile or very close copy of an original work of art. 
 
 Return [re-turn'), ii. The continuation of a wall or 
 moulding in a different or opposite direction. 
 
 Rosette iro-zet'). ?i. .Vn ornament in the form of a con- 
 ventional rose, or other design of circular form, used as a 
 decoration. 
 
 Running Dm;, ii. A moulding ornamented with a wave- 
 like ornament, evolute-spiral. (See Chapter on Mouldings 
 and Com[)arison of the .Vrchiteclural Orders.) 
 
 Sarcophagus {.fdr-h-df'd-iii'i.s), n., plur. Sakcoi'Iiagi 
 isar-kofd-ji) or S.^rcophaguses. (.-V) .\ species of lime- 
 stone used among Greeks for making coffins. It was so 
 called liecau.se it consumed the tlesli of bodies deposited in it 
 
 -!l) ] 
 
Memorial Art — Ancient 
 
 a n 
 
 d M d e r 
 
 n 
 
 within a few weeks. It was also called Lapis Assius or 
 AssiAN Stone. (B) A tomli or coffin of slone. 
 
 Satyr (safer: sa'tcr), n. A sylvan ileily represented as 
 part man and part horse or i^joat, and given to riotous merri- 
 ment and lascivionsness. Salyrs are fomid especially in the 
 train of Dionysus. 
 
 Scipic) [s\p"i-o). The name of two Roman generals who 
 lived several hundred years before Christ CSS^-fSi B. (.'. 
 and 1K,5-1'29 B. ('.), and whose sarcopliai,n were found in a 
 torn!} near the Ap|)ian Way. 
 
 Si'oTiA iskb'slu-d). ti. A coiK-ave moulding used in the 
 base of a column l)etween the fillets of two tori and else- 
 where. Its .section i.s a segment of a circle, often a segment 
 greater than a .semicircle. The word mean.s "darkness" or 
 "gloom," and is applied to this shaped mo\dding because of 
 the dark shadow it cast.s. 
 
 SEpfi.rHER or Sepulchre ixi-'piil-ker), n. k pla<-e in 
 which a lumian body is interred, or a place destined for that 
 pur])ose. 
 
 Sepuu'iihal i.ie-j)i'il'kn'il). mlj. I'erlaining to burial, the 
 grave, or to monmuent.s erected to the memory of the dead. 
 
 Serif (.sc/T/), )i. One of the fine lines of a letter, espe- 
 cially one of the fine cross strokes at the top or bottom. 
 
 Serpext. Used on ancient tombstones as .syml)ol of 
 death. 
 
 Shaft, //. The part of a colunui between the capital and 
 the base. 
 
 SHEU..S. Symbolic of resuri'cction. 
 
 .Shri.se isJinii), II. An altar or sacred [ilace. 
 
 SoFFir isof'U). II. Ceiling; the umlerside of eiital)la- 
 turcs, archways, cornices, etc. 
 
 Spiny {.spiit'l), adj. Full of spines; thorny. I'sed in 
 speaking of .some forms of acanthus. 
 
 St.\r. Symbolic of Christ, also of life. 
 
 Stele Iste'le), ii.. /iliir. Stei.ib {.i-le'lez). An upright .slab 
 or headstone generally terminating in a cresting ornament; 
 or, a small cohmm or pillar without base or capital; used 
 as a monument, a Diilestone, etc. 
 
 StO-'i i^to'd). II. .\ portico, usually long, walled at the 
 back anil with a front colonnade, near some public place. 
 Designed for a sheltered ])ronicnade. 
 
 Styl(>h.vte ^.^fi'ht-hdf). n. The continuous l>ase or pave- 
 ment on which rests a range of colunms. 
 
 Sr.N"-i)L\L. An instrument to show the time of day by 
 the sliadow of a gnomon on a ))late. 
 
 Slx Dlsk. .\ winged disk, the symbol of the sun god, Ra. 
 On memorials it is symbolic of the Power that can recreate, 
 and means "God, Lord over all. Creator." 
 
 Sw-V.stika Cross (.iwd.'i'i'i-h-d), n. A CJi-eek cross, with the 
 arms bent at right angles all in Ihe same direction and each 
 prolonged to the height of the parallel arm of the cross. 
 Also called Fylfot. (See figs. \.i,H, Chajiter "The Cross."; 
 
 T.\BLE To.MB, //. A slab resting on four jjillars. 
 
 Tae.via (fe'ii'i-d), n.. /iliir. T.\exiae (tc'iu-e). A small 
 flat fjand at the bottom of the Doric frieze separating it from 
 the architrave. The guttiE are attached to the ta?nia. 
 
 Taper (td'pcr), n. A gradual diminution of thickness in 
 an elongated object, such as a column, obelisk, etc. 
 
 Tau Cross (ton cross). So called liecairse it is in the 
 .shape of the Greek letter "tau," which is the .same shape as 
 the English letter "T." (See fig. 10, Cha])ter "The Cross." ) 
 
 Temple (tem'p'l), n. An edifice erecte.l in honor of some 
 deitv for the worship of such. It was usually regarded by 
 the ancients as a residing i^lace of the deity whose presence 
 was .symbolizeil bv a statue or other sacred token. 
 
 Tetrastyle (m'rd-slll). „. A building with four columns 
 in front. 
 
 TiiEODORir (tke-d,l'„-rih-). King of the O.strogoths. 
 4,54-.5'-26 A. D. (See page '29.) 
 
 Thyrsus (thdr'su.i}. "., plnr. Thyrsi ithi'ir'-.n). A .staff 
 entwined with ivy and surmounted by a pine cone or by a 
 bunch of vine or ivy leaves with grapes or berries. It i.s an 
 attribute of Dionysus and the Satyrs. 
 
 To.MB imm). ii. (A) A pit, house, or vault for the deail 
 bodies of human beings. (B) A monument erected to the 
 memory of the dead. 
 
 To.MBAL (tixiiii'dl). (III/. Pertaining to a tomb. 
 
 Torch. I'pright, symbol of eternal life. Inverted, 
 symbol of death. 
 
 Torus (fn'm.^. /(., phir. Tori ild'rJ}. A large moulding 
 of convex ]>rofile, commonly occurring as the lowest mould- 
 ing in the base of a column or pilaster, next above the plinth. 
 The torus is often enricheil with leaves, reeds, etc., bound 
 with ribbon. F.sed in this way it is .symbolic of "union" 
 and "strength." 
 
 Triclixiu.m llri-clliri-nin). »., plur. Triclixia (trj- 
 rl'iii'i-d). A couch for reclining at meals; also, a room 
 furnished with such couches, on three sides. 
 
 Triglyph (trl'ijl'if), II., plur. Trr^lyphs. An ornament 
 on the frieze of the Doric order, repeated at regular intervals. 
 Ivich triglyph consists of a rectangular tablet slightly pro- 
 jecting, and divided nearly to the top by two parallel and 
 per[)endicular gutters or channels called "glyphs" into 
 three parts or spaces. .\ half channel is also cut upon each 
 of the perpendicular edges of the tal)let. Triglyphs alternate 
 with metopes. 
 
 Tripod {tri'pod), n. Any utensil, vessel, or object sup- 
 ported on three legs. 
 
 Tumulus Itu'mu-liis), ii.. jilur. Tu.muli (tiVmu-li). An 
 artificial hillock, especially one raised over the grave of a 
 per.son buried in ancient times; a barrow. 
 
 Turret itur'ci), n. \ little tower, often a merely orna- 
 mental structure at one of the angles of a larger structure. 
 
 Tu.sr,\x (tns'kdn), iirlj. .\pplieil to one of the most 
 ancient and simple orders of architecture. 
 
 Vault (rolt), n. An arched .structure of masonry usually 
 forming a roof or ceiling. 
 
 Vertical (rdr'tl-kdl), adj. Perpendicular to the plane of 
 the horizon; ujjright. 
 
 Volute tro-lot'), n. A kind of spiral scroll-shaped orna- 
 ment used on the Ionic, Corinthian, and Composite capitals, 
 of which it is a principal ornament. 
 
 Waixscot (irdii'skdt), n. A wooden lining or lioarding of 
 an interior wall and usually paneled. 
 
 Wash tirdsh). n. The expo.sed ]iart of the upper face of 
 a monument's base when given a slo|)e to shed water. 
 
 Wave CJrxament. A Greek ornamentation of wave-like 
 cm'ves regularly repeated. Used on a band or frieze. 
 
 WixuED Sux Disk. See ,Srx Disk. 
 
 Wreath. Symbolic of memory. 
 
 XP. For meaning of monogram formed with these 
 letters, see Ciirisma. 
 
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