ITbc (3arficl^ /Ibcmorial. 
 
 ^ 
 
 CoDvngnt, 1894, by the 
 
 Garfield National Memorial Association, 
 
 Cleveland, Ohio. 
 

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TLhc 6arfielt> /ll>enioriaL 
 
 SOON after the melancholy death of President Garfield, in September, iSSi. a movement was begun in Cleve- 
 land to erect a monument to his memor\'. and Hon. J. H. Wade. Senator H. B. Payne, and Joseph Perkins, 
 of Cleveland, were appointed a committee for that purpose. This committee issued an appeal to the nation 
 for contributions to build the monument, which was promptly and generously responded to. The fund thus raised, 
 with the accumulation of its interest, amounted to over $1 50.000. of which §75.000 was contributed by the citizens 
 of Cleveland, and $14,000 more from Ohio outside of Cleveland. New York gave overS'4.°oo; Illinois nearly 
 95.500: Iowa nearly §3,000 ; Wisconsin. $2,000; Pennsylvania. $1. 800; Maine, $1,600; Kansas, $1,500; Missouri, 
 $1,500; Indiana, $1,400; and Connecticut over $1,000. Montana Territory gave over $1,900. Sums ranging from 
 $4 to over $900 were given by twenty-seven other States and nine Territories. 
 
 The work of obtaining contributions was prosecuted by the committee until June. 1882. when it was thought ad- 
 visable to incorporate an association, under the laws of Ohio, under the name of The Garfield National Monument 
 Association, which consisted of the following members : Governor George Charles Foster. e.x-President K. H. Mayes, 
 Hon. J. H. Wade, Senator H. B. Payne. Joseph Perkins. T. P. Handy, Daniel P. Fells. W. S. Streator. J. H. Dever- 
 eaux, Sclah Chamberlain, John D. Rockefeller, H. B. Perkins. Hon. John Hay, and J. H. Rhodes. .\ meeting of 
 the incorporators was held luly 6, 1882, at which an executive committee of five was appointed and [. H. Rhodes 
 elected secretary. At the regular annual meeting held in June. 1SS3, a committee consisting of Joseph Perkins, 
 John Hay and H. B. Hurlburt was appointed to prepare and issue invitations to architects and artists to submit 
 designs in competition for the monument. Three prizes were offered of $1,000. $750, and S500 respectively, and 
 this invitation was issued through the Associated Press and by private circulars sent throughout the United States. 
 England. Germanv, Italv. and France. About fiftv different designs were submitted in answer to this invitation bv 
 
artists of Europe ami America, each accompanied by a scaleii letter containing a mark or motto similar to one on 
 the desitjn, so as to identify the artist and his work after the examination of the designs and close of the competi- 
 tion. This was done that the decision might be reached without personal knowledge of the authors of the designs. 
 The Trustees of the association before adopting any design, and with a view to an impartial and right conclusion, 
 called to their assi.stance two eminent, competent and disinterested architects to aid them. Mr. Henry Van Brunt, 
 of Boston, and Mr. Calvert Vau.\. of New York City, were the experts chosen. These two came, singly and at 
 separate times, to Cleveland, made a careful and independent examination, and reported their decision to the Trus- 
 tees, without any knowledge of the authors of the designs or of each others conclusions. Both experts singled 
 out the design of George Keller, oi Hartford. Connecticut, for the first prize. On the 21st of July the design of 
 Mr. Keller was accordingly adopted, and he was thereupon appointed architect of the memorial. 
 
 The design was but a slight sketch or study drawn to a very small scale, but sufBciently in detail to give a 
 general idea of the proposed memorial, in the development of which Mr. Keller was allowed ample latitude. He 
 felt that here was an opportunity given him not only to erect an imposing naonument, but to do something for the 
 advancement of art in America. To this end he visited in the fall of 1884 many of the famous monuments in 
 Europe, of both ancient and modern times, and in studying them improved and perfected his design. In October, 
 1 885, the contract f<3r all of the cut stone and mason-work was awarded to Thomas Simmons, of Cleveland, and the 
 work of excavation for the foundation begun. Before any of the foundation-stones were laid the trenches were 
 inspected by several distinguished engineers, and approved by them. As the work progressed, criticisms on the 
 foundations were made to the etTcct that they were not sufficiently secure and rested on a perishable surface. 
 These criticisms resulted in the appointment of a committee of three by the Civil Engineers' Club, of Cleveland, 
 who, with the aid of Architect Keller, thoroughly investigated the subject, and on June S, 18S6, the committee 
 made report that the weight of the structure was not nearly so great as had been represented, and that it was not 
 at all likely to settle by reason of insecurity of the foundations. A special report was also made by General W. J. 
 Mc.\lpine, Engineer, of New York City, the highest authority in the country on foundations, in which he declared 
 the foundations " to be entirely safe against unequal or objectionable settlement." At the annual meeting in 18S6, 
 after the above examinations and reports had been made, Mr. Keller submitted to the Board of Trustees a modi- 
 
lied plan of the memorial, wiili a view to still lurtiier improvirii; the desii^n. so as U) have less the appearance of a 
 lower or observatory, and to give it a more tomb-like character, befitting its purpose. The proposed modification 
 was fully considered and discussed, and was unanimously adopted by the board. The memorial as it now stands 
 completed testifies to the wisdom of this decision, for there is nowliere in the country' one approaching it in 
 monumental eflect. 
 
 The memorial is situated in Lake View Cemetery, in the suburlxs of Cleveland, on a high ridge of ground over- 
 looking a region of country closely associated with Gartields memory. It is a striking feature in the landscape, a 
 landmark visible from afar, and one that will always live in the memory. It is built of the native sandstone of Ohio, 
 and its form is large and imposing — a circular tower 50 feet in diameter rising boldly in the air to its summit, 180 
 feet from the ground. It is elevated on a broad stone terrace, which is reached by a flight of wide-spreading steps 
 that form a dignified approach to the memorial. At the base of the tower projects a square porch, decorated 
 externally with a historical frieze, which is within easy view from the terrace and ground. This frieze is divided 
 into panels containing life-size bas-reliefs that represent in a language understood by all the career of Garfield — 
 as a Teacher, a Statesman, a Soldier, a President and the last panel represents his body lying in state in the 
 Rotunda at the Capitol. 
 
 The life of Garfield, not unlike that of many distinguished Americans, was full of variety, showing nearly all 
 the characteristics of our national life, and those the sculptor, Mr. Casper Buberl, has cleverly reproduced. The 
 five panels contain over one hundred figures, all life size, and present an epitome of Garfield's life in a most graphic 
 manner. The first panel shows him as a young man in the middle of a countn,- school-room, teaching the boys of 
 his neighborhood. On the wall hangs a map of the United States and a portrait of George Washington. .\n out- 
 line of the Hartford Soldiers' Memorial Arch, drawn on a black-board, is a reminder that Ohio was formerly a part 
 of the western reser\'e of Connecticut. One boy recites his lessons, another is at the black-board, while the rest of 
 the class is variously occupied at dilTerent tasks. The portrait of Garfield in this panel is an accurate copy of a 
 photograph of him at that age loaned for the purpose by Mrs. Garfield. The second panel is a brave and brilliant 
 episode in the life of the dead General, where he rode to General Thomas with a despatch, through a hail of death 
 and against the protests of Rosecrans, to accomplish one of the most dramatic incidents of the civil war, at the 
 
battle (jf Chickamaii5^a. Clarfield as an orator the artist has cllcctivc-ly portrayefi. He has chosen a peculiarly 
 American custom for his subject, not representing him as addressing monotonous rows of Congressmen in the 
 Representative Chamber, delivering a formal address on some stale occasion, but he has chosen to represent him 
 as speaking to the people at an out-door mass-meeting, stirring them by the power of his oraton,-. He stands in 
 the centre of the composition on an impromptu platform, which is decorated with the American flag. Seated at 
 his left hand are the chairman of the meeting and other prominent citizens, and on the right are the reporters 
 busily noting the words of his speech. This forms the central group of the composition. On either side of the 
 platform are crowded the listening multitude, representing all ranks of life, and in all stages of emotion, affected 
 by the eloquence of the speaker. Some are thoughtful, as if impressed by a deep feeling of what they hear: some 
 are enthusiastically cheering, and wave their hats, while others look intently on the orator, unwilling to lose a 
 word of his speech. Banners and mottoes are borne aloft, and the whole scene is alive with excitement, while in 
 the centre stands the manly form of Garfield, who seems to have just ended a stirring speech, and waits for the 
 applause to subside. The fourth panel, which occupies the position to the extreme right of the faqade, is the 
 crowning triumph in the career of this successful American. In the centre are Chief Justice Waite and Garfield, 
 one hand on the Bible, and the right lifted to heaven, as he takes the oath of office. Behind him sit e.x-President 
 Hayes and Wheeler, and behind the Chief Justice, Arthur, soon to be elevated to the Presidency by the assassin's 
 act. General Sherman, Hlaine, Carl Schurz, Logan, Senator Sherman, Evarts, and other noted men are distin- 
 guished among the throng of peo[)le. The last panel represents the bier of the assassinated President, and is a 
 composition that will touch the sensibilities of the coldest beholder. Death is the impressive incident. The grief 
 of age. the tender sympathy of the child, the warmth of woman's sorrow, the sturdy pain of the old soldier, the 
 tear of the young boy, the silent grief of the sentinel knight — all arc graphically portrayed. On each side of the 
 porch bearing this decorated frieze are staircase turrets that give access to a balcony which commands an exten- 
 sive view of the surrounding country. 
 
 The tower itself is crowned with a conical-shaped stone roof, enriched with bands of sunken tile-pattern orna- 
 ments. .An order of arcadcd niches enriches the top of the tower under a boldly designed cornice. These niches 
 contain twelve colossal allegorical statues representing the twelve signs of the zodiac which mark the suns path, 
 
signifying thai llic memory of Garfield shall be as enduring as lime. A band of shields bearing the arms of ihe 
 Stales of the Union extends around the tower, just below the feel of these statues. The porch is entered through 
 a wide and richly decorated recessed portal, anti within is a vaulted vestibule, with a pavement in stone mosaic, 
 leading to a mortuan,- chapel which occupies the entire space enclosed by the outer circular walls of the lower. 
 Those who have seen the shrine of Edward the Confessor in Westminster Abbey, Thomas .\ Hecket's at Canter- 
 bury, or Edward the Seventh's Chapel, can imagine how splendid they must have been in olden times. The chapel 
 of the Medici in Florence is the richest interior in Italy, and the Albert Memorial at Windsor is splendid in stained 
 glass, sculpture, and decoration. These are mentioned, because there is a popular idea that color and decorati<jn 
 are entirely out of place in a memorial, and nothing but cold white marble, black lines, and general gloom should 
 pervade such an interior. 
 
 The chapel of the Garfield Memorial is glorious with stained glass, golden mosaic, and rich decorations in beauti- 
 ful colored marbles. Here the architect has called to his assistance the artist, sculptor, mosaicist, and glass-worker, 
 to carry out a complete scheme of polychromatic decoration, thus creating one of the richest interiors in the world. 
 This chapel, or memorial hall, is circular in form, and contains a marble statue of Garfield, standing on a ped- 
 estal in the very centre of the chamber. .Arranged in a circle around the statue is a row of massive deep red- 
 colored polished granite columns, which support a dome that forms a noble canopy over the statue. .A circular 
 aisle extends around outside these colunms. permitting the spectator to survey the statue from all points, and to 
 study the story^ of a rich marble mosaic frieze, which forms a band of color just above the circle of columns, having 
 for its subject the funeral procession of the dead President. This processional frieze is entirely executed in stone 
 mosaic formed of different colored tessera.-, the name given to the small pieces of stone of which the mosaic is 
 composed. The ancients rarely, if ever, used stone mosaic for wall decorations where pictures or figures were in- 
 troduced in the design. It may be considered as a modern use of this beautiful material, and this frieze is the first 
 work of the kind in this country on so large a scale. Indeed, there are but few examples in Europe of such impor- 
 tance. The color of the ground of this frieze is a deep red, and the figures are of a cream or buff color in difTerent 
 shades, boldly outlined in black. Other colors are u.sed sparingly for the hair, wreaths, and elsewhere, to give 
 effect to the composition — all the natural colors of the stones used. Over 200.000 tesserx- were required to make 
 
this mosaic alone. The pavement surrounding' the dais on which the statue stands is also executed in stone 
 mosaic in beautiful |)atterns and color, and the dais is made of what is known as sectile mosaic, in which the elab- 
 orate desittn is made of rare and beautiful marbles shaped to the outline of the pattern and highly polished. 
 
 The dome and the panels on the side wall, which correspond with the illuminated glass windows, are incrusted 
 with glass or Venetian mosaic on a golden ground. This kind of mosaic admits of a much more brilliant coloring 
 than stone mosaic, as the pieces which make up the mosaic are made of colored glass. The gold pieces are made 
 by applying a thin sheet of gold-leaf over the glass, and then spreading a film of glass over the gold, so that the 
 gold is imprisoned between the two layers of glass. This, broken into small cubes, forms the pieces of which the 
 background is made. The luminous efTect of this mosaic dome is beautiful as it gleams in different degrees of 
 brightness, according to the cur\e of the surface or the changing position of the observer. The central panel of 
 the frieze, opposite the entrance, represents Columbia and her daughter States in attitudes of grief, grouped round 
 the bier of the dead President. Right and left is a procession, comprising all sorts and conditions of men. bring- 
 ing their tributes of love and respect to lay them on the bier of General Garfield. To the spectator's right are 
 Senators, Representatives, framers of the countrj's laws, preceded by an allegorical figure of " Law"; followed in 
 the next panel by " [ustice." preceding a group of members of the Supreme Court. Beyond comes a figure of 
 •■ Concord, " emblematic of the sympathy felt by all nations of the world at the untimely fate of the illustrious 
 statesman, the nations being indicated by ambassadors from Europe, Orientals, Indians, and Pacific-Islanders in 
 their distinctive costumes. 
 
 Starting from the centre again, to the spectator's left hand we see "War." followed by types of the military 
 and naval services lowering the national banner at the feet of their lost commander ; in the next panel " Litera- 
 ture." preceding the author, the lecturer, the teacher, and pupils of each sex. Next comes an allegorical figure of 
 •• Labor," bearing a spade and a steam-engine, indicative of hand and machine labor, and heading a group composed 
 of artisan laborers, male and female, canal-boatman, etc. The panel furthest from the centre group symbolizes the 
 distant parts of the Union, where a veteran of the war. and his aged wife, unable in person to join the throng that 
 wends its way to the President's tomb, send a son as their delegate to deposit their offering of admiration and 
 respect for the leader's memory. 
 
The dome, wlikrli is also inlaid with X'ciictian mosaic in its entirety, is again significant of the sorrow (.f a 
 whole people. In the alternative sections, at their proper cardinal points, arc winged figures of North. South. Ea.st 
 and West: at the base is a band of wreaths conjoined, corresponding in number to the States and TcrriKjrics of 
 the Union, on a ground of red and white stripes of the .\mcrican flag. These wreaths are alternately of laurel and 
 immortelles, emblematic of earthly glor)' and heavenly immortality. The stars form a band in the upper portion 
 of the dome. The ceiling of the circular aisle outside the row of columns is also vaulted and decorated in color, 
 and a high wainscoting in polished Xumidian marble runs around the chamber beneath the rich stained-glass 
 windows which stream a flood of mellow light over the whole interior. Over the entrance door are seated figures, 
 in glass mosaic, of "War." fully armed, and "Peace" holding forth the olive branch. Underneath "War" 
 and " Peace" is the inscription: "Erected by a grateful Country in memory of James Abram Garfield. 3oth 
 President of the I'nited States; Scholar. Soldier. Statesman. Patriot: Born 19th Nov.. 1831; Died 19th Sep.. 
 iSSl." 
 
 The four panels, two on either side of the door, together with the ten windows, contain standing female 
 figures with distinctive emblems, representing fourteen States of the Union. /. <■.. the thirteen original States, and 
 Ohio, the native Stale of General Garfield, the arms of each State being blazoned on a shield below the figures. 
 The series commences on the proper left hand of "Peace " with " Ohio." bearing a log cabin where Garfield first 
 saw the light. The next window is dedicated to " New Hampshire." holding an a.xe : at her feet, timber and rolls 
 of cloth, products of the State. Then " Massachusetts." the centre of literature, on her brow the poet's crown, and 
 bearing a scroll ; by her side, books and early printing-press. " Rhode Island." decked with jewelry, the product 
 of her industr)-, and holding a jewel casket; cotton goods at her feet. "Connecticut." with the Charter Oak, 
 globes and educational books, clocks, etc. " New York," in her left hand the Statue of Liberty, in her right an 
 ocean steamer, at her feel scales and other emblems of her commercial pre-eminence. " New Jersey." displaving 
 a piece of silk ; beside her. specimens of pottery and glass. " Pennsylvania " carrying a lamp and supp<irting a 
 cog-wheel, for her wealth in mineral oil and her iron indu.siries. " Delaware " bears a basket laden with fruit. 
 " \'irginia, ■ the tobacco plant and bales of manufactured leaf. " North Carolina " exhibits cotton and corn. " South 
 Carolina" rice and sugar-cane and Southern fruits. " Georgia " is represented with a saw and a pine-tree, in allusion 
 
to her many saw-mills. "Maryland" bears a model of ihe White House at \Vashingt(jn. the residence of Garfield 
 when he had risen from his humble origin to the First Citizen of the American Republic. 
 
 The plain surfaces of the walls are painted to harmonize with the other decorations and the mouldings and 
 carved-work are picked out with color and gold. The statue of Garfield is made the soul of the monument. The 
 whole design leads up to and is concentrated in this central figure. The monument grows out of this kernel, as it 
 were, which is enshrined in its heart, and the chapel surrounds and rises above it, and proclaims it to the world. 
 Alexander Uoyle, the designer, was born in Sleubenville. Ohio; began the study of sculpture in Xew York and 
 spent several vears in Italy, where he won an enviable professional reputation. In the crj-pt underneath the mort- 
 uary chapel is placed the body of Garfield, away from the public gaze, and safe from the invasion of that privacy 
 which should always surround a place of sepulchre. 
 
 Mr. Keller was ably assisted in his w^jrk on the memorial by John S. Chappie, architect, of London, under 
 whose super\-ision, during Mr. Keller's absence in this country', much of the mosaic-work and stained glass was 
 executed. Mr. Casper Buberl, of New York, was the sculptor of the e.xterior historical panels which so tellingly 
 illustrate the career of Garfield. The cartoons for all the mosaic-work and stained glass were made by H. \Valter 
 Lonsdale, an eminent artist living in London, but who was born in .Xmerica. The mosaic-work was executed by 
 Messrs. Burke cS: Co.. of London, Paris, and New York, who keep employed a large force of Italian mosaicists. 
 Messrs. Worrall & Co., of London, executed the stained gla.ss. The chairman of the executive committee. Hon. J. 
 II. Wade, has been from the beginning patient and untiring, and brought to the discharge of the arduous duties 
 imposed on him good common sense and sound judgment. To him is largely due the successful completion of the 
 work. The entire amount expended by the Trustees in and about the Garfield Memorial, including the sidewalks 
 to the Cemetery entrance, roadways, grading and sodding the lot, supervision, etc., is about §200,000. 
 
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 NOHTH AND SOUTH FRIEZES OVER PORTICO. 
 
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 <j|r7ARriFL.D Ai's AIM ORATOR. ^) 
 
 
 
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 MIDDLE FRIEZE OVER PORTICO. 
 

 
 FRIEZES OVER PORTICO. 
 
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CORRIDOR, CUSTODIAN'S OFFICE, ETC. 
 
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 THE DOME OF MEMORIAL SHRINE. 
 
MEMORIAL WINDOWS. 
 
MEMORIAL WINDOWS. 
 
MEMOHIAL WINDOWS. 
 

 INTERIOR FRIEZES. 
 
MEMORIAL WINDOWS. 
 
 SOUTH CAROLINA. 
 
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 IN THE CRYPT. 
 

 INTERIOR FRIEZES. 
 
DISTANT VIEW OF MEMORIAL. 
 
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 PORTRAITS OF OARFIELO AND MOTHER. LOQ CABIN AND FAMILY HOME, LAWNFIEUD. 
 
Cleveland harbor. 
 
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SUPERIOR STREET, CORNER WATER STREET. 
 
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