PARK AXD CEMETERY. 
Wales, and it is interesting to note that 
this little tablet is considered by main- 
authorities to be one of the finest ex- 
amples of this type of cross — and 
indeed of Celtic art in general. 
I am able to give the following 
few dimensions of the original ; 2-7 
across the face at the ground line, the 
sides tapering to 2-0, where they meet 
the wheel, which is 2-4 in diameter. 
The total height is six feet. A very 
slight entasis has been given to the sides 
of the Pratt, which, perhaps, lends a lit- 
tle added interest over its prototype. 
The rugged, tooled surface has not been 
given to the ornament of the Pratt, a 
feature which greatly improves any 
copy of these ancient stones. This mod- 
ern reproduction of the stone at Mar- 
gam stands in Crown Hill Cemetery, 
Indianapolis. It was designed and exe- 
cuted by the Tiffany Studios, of New 
York. 
The JENCKES Cross-slab: This in- 
teresting cross tablet was produced by 
John E\ans & Co. of Boston, and 
is an excellent illustration of the ef- 
fective results obtained by tooling the 
plain surfaces as well as the carved. 
One of the most interesting touches in 
this work is the device for balancing up 
the two inscriptions of an unequal num- 
ber of lines. When the last date shall 
have been inscribed on the left side of 
the cross, there will be a total of six 
lines, whereas the already completed in- 
scription on the right requires but four 
lines. The artist has so perfectly de- 
veloped the ornament in the tw'O unnec- 
essary lines that one hardly notices the 
device. The Evans company very 
courteously gave us the following di- 
mensions and explained that their name 
for the surface treatment is “chiseled" : 
2-2 X 0-6 at the bottom, 1-10 x O-o at the 
top ; the total height, 3-8. 
The OLCOTT Headstone : No less 
than a dozen friends of the writer, men 
in varied w'alks of life, find in this 
simple, unobtrusive headstone an appeal 
w'hich they with difficulty define. Aside 
from any symbolical significance, the 
appeal can no doubt be traced to the 
perfect balance and unity, modesty and 
refinement. Unless one is gifted wfith, 
or has acquired, a sense of understand- 
ing, no amount of language in the at- 
tempt to analyze a composition will 
aw-aken appreciation ; and yet there are 
some elements in this impressive head- 
stone that even a novice must sense. 
Reminiscent of the early “pillar stone,” 
the Olcott bears a simple, unadorned 
cross and nimbus, the shaft terminating 
in a circle enclosing the Sacred IMono- 
gram. A feature which stamps this as 
the work of a master designer is the 
very slight projection given the back- 
ground at the lower extremity of the 
cross. This touch not only suggests a 
support for the cross treatment, but it 
relieves the plainness of the face, gives 
strength to the composition and tends 
to emphasize that portion of the stone 
which bears the inscription. The wavy, 
yet finished, surface of this headstone, 
together with the uncertain outline, 
lends an air of age to the work which is 
in complete harmony wfith the theme. 
This design might w'ell be developed on 
a larger scale, adapting it to the pre- 
requisites of a family memorial. If the 
designer undertaking this task will re- 
ligiously adhere to the subtle touches 
which make the Olcott so satisfying, he 
should produce an altogether beautiful 
work at small outlay. 
The JUDSON Memorial: This me- 
morial is verj' similar to a cross slab 
that stands in St. Calmag's Buteshire. 
In photographing the Judson, it 
was neces.sar\- to fix the camera 
in a position which rather empha- 
sizes the rounding outlines of this 
work. The interstices of the cross- 
arms contain clusters of the “Classic 
Vine," while the graceful cross ter- 
minates in a horizontal panel which 
many of us could scarcely refrain from 
fPUlGHT CROSS TABLET, MT. AUBlTtN CEJI ETFttY, CAMBRIEGE, MASS. 
