82 
P A R K AND C EM E T ERY. 
When style, size and color have been 
determined, we must consider contour and 
decoration. If there are several very plain 
stones nearby, it would be well to make the 
new monument decorative, or if the foliage 
of the landscape is in a mass and very flat, 
a decorative stone should still be consid- 
ered for contrast. But if the foliage were 
of an open variety, where little patches of 
sky show through in places, then the stone 
should be very plain, as this would be dec- 
orative enough in itself; or if decoration is 
used it should be of a different character 
than the foliage; for example, if there 
were a willow tree behind with the small 
branches drooping downward, the lines of 
the monument and its decoration should be 
horizontal and vertical, which produce con- 
trast again. Should the stone be set in 
front of an evergreen or cedar tree, the 
decoration might be perpendicular. If there 
were large oak trees for the background, 
the decoration should be more dainty, for 
large branches and leaves of an oak have a 
feeling of strength and bulk. When there 
are small bushes with small, fluttering 
leaves for a background, the decoration 
must be bold. It would be a hard matter 
to fulfill all of these conditions in every 
case, but they all have their effect in pro- 
ducing a perfect monumental composition. 
To illustrate by a concrete example, let 
us imagine we are designing a monument 
for a medium sized lot where the foliage is 
thick and dark and where neighboring 
monuments are tall. This situation would 
call for a light colored stone of a low, 
broad type. Fig. 1 represents the back- 
ground with the lot in front. This is the 
first work the designer does. He makes a 
faithful sketch of the surroundings, so that 
the monument may be drawn in its actual 
setting. This gives the customer an accu- 
rate view of his lot and monument as they 
will appear when the stone is set. 
Beginning to design the contour of the 
stone, its lines should not be similar to 
other monuments that are near the lot. 
The designer should make observations of 
them and if necessary make a few sketches, 
so that he may refresh his memory when 
designing. It is generally best to study the 
form of the die first, because that member 
is more important than the pieces under it. 
Fig. 2 represents the first lines to rough- 
ly outline the die ; they form a rectangle 
with more width than height. The first 
sketch may look just about what you think 
are the proper proportions; if so, add lines 
under it and make a base. Fig. 3 ; These 
are the foundational lines that in most 
cases have to be corrected as one gets 
further along with the designing. No 
doubt there are monuments near the lot 
that have these mechanical lines which are 
only cubes of stone. That means you may 
want to rearrange the contour. The next 
four drawings show sketches to help de- 
termine just what contour would be most 
suitable. 
In Fig. 4 the cube form has been modi- 
fied. At Fig. 5 the side lines have been 
changed from straight to “S” lines, which 
are the most beautiful lines in art. Fig. 6 
shows this “S” line, but of less curve than 
in Fig. 5. The top corners have been 
rounded and also the top. which makes an- 
other form of the “S” line. A small mem- 
ber of moulding has been added at the bot- 
tom of the die, which helps the appearance 
and also takes the lines away from the me- 
chanical cube. Fig. 7 shows the die square, 
only the top corners being rounded very 
simply and the top line given a sweeping 
curve. A second base has been added to 
improve its appearance. There are endless 
lines and forms that a designer could use, 
and in most cases it would be well to try 
more than four ideas. The cost of cutting 
must be taken into consideration. One 
must know what forms cost more to cut 
from the rough than a straight form does, 
because the cost generally is very impor- 
tant to the customer. The cost of cutting 
the die in granite in Fig. 4 would be the 
same if the top and bottom were the same 
width, because the rough is taken off with 
the bull set so that the surface will result 
the same. Fig. 5 will cost a little more to 
cut because there are two curves to cut, 
but they are large ones and not much 
away from the straight. In granite the 
work would probably be one more day’s 
work for a workman. Fig. 6, with curves 
and corners, would cost more. Adding the 
moulding makes the cost considerably 
higher. There is more stone, but very lit- 
tle cuttin,g away from the cube at Fig. 7, 
Therefore, adding the second base and 
drawing the wash to be cut scotia would be 
the most expensive. After considering the 
cost, then the form of the stones, we will 
select Fig. 6 to use for example. The next 
step is to arrange the suitable decoration 
on the die, including the family name 
In beginning to work out sketches for 
the decorations, one must first find the 
general lines that will look well. It must 
be determined whether small bits of carv- 
ing placed in separated places are just 
what is wanted or whether a continuous 
form of carving is preferable. We will 
draw two circular forms at the corners, 
supposing that this is the best place to dec- 
orate. After this is done, we find that the 
stone needs something at the center to help 
balance. Then a panel for the name is 
drawn lower down, so that the decoration 
will not appear too heavy. The result of 
this, as seen in Fig. 8, is that the decora- 
tion appears too spotty. We then drop a 
line from each circle at the corner, but find 
that this does not help much. We will try 
another form with the idea that the cor- 
ners need decorating, and we draw forms 
like Fig. 9, which could be finished with a 
rosette and some leaves downward ; then 
the name will be sketched in near the top 
of the stone. These two sketches soon 
demonstrate that the corners do not need 
decorating and that it is probably longer 
and continuous lines that are needed. So 
at Fig. 10 we draw a parallel line with the 
top of the die, adding circles for the cor- 
ners and drop lines downward from each 
circle. This does not look well, for the 
reason that the lines are not decorative 
but mechanical. There is no contrast. 
It is discovered by making these long 
parallel lines that some sort of decoration 
is needed similar to them ; that it is the 
top of the die that requires the decoration. 
Then we use lines like Fig. 11, lines that 
are in contrast to the contour. Here the 
“S” lines come into practice again. The 
center of the die is sketched to hold quite 
a little carving and is found to be just the 
proper thing to use to harmonize with the 
two corners of the contour. They rise from 
the outline and the carving at the center 
goes downward, so we have still more con- 
trast. It is settled that this is the form to 
use. The letters are then to be thought of. 
They have been tried in panel form, that 
they may appear raised, but by trying them 
to look sunken, discarding the panel and 
placing them near the bottom of the die, 
they then seem to be properly placed. 
