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VoL. IV. CHICAGO, JUNE, 1894; No. 4- 
CONTENTS. 
♦DEATH AS A FRIEND 37 
♦THE MCKAY MAUSOLEUM. PITTSFIELD. MASS.-ROCK- 
LAND CEMETERY. NEW YORK 40 
♦DICKSON MEMORIAL CHAPEL AND CONSERVATORY. 
GREENLAWN CEMETERY. SALEM. MASS. -MEMORIAL 
TREES 41 
CEMETERY PLANTING.— V.-ORNAMEN TAL CEMETERY 
MONUMENTS CO.VSIDERED AS TRADE FIXTURES.... 42 
♦THE MONUMENTAL CROSS 43 
THE LAW WITH REGARD TO REMOVAL OF BODIES 44 
ANNUAL CONVENTION OF AMERICAN CEMETERY SUP- 
ERINTENDENTS-DECORATION DAY 45 
CEMETERY NOTES- TREASURED TEARS 46 
RULES AND REGULATIONS-CEMETERY REPORTS 47 
CREMATION-QUESTION BOX-PUBLISHER'S DEPART- 
MENT 48 
♦Illustrated. 
Death as a Friend. 
Daniel French’s beautful plaster cast “The Angel 
of Death Staying the Hand of the Artist” in the 
Sculptors gallery at the World’s Fair, drew from 
the Rev. Jenkin Lloyd Jones an eloquent discourse 
on “Death as a friend,” in which he discussed art 
and its effect on religion, referring to the above piece 
of work as his inspiration. From this discourse we 
extract the following: 
“ ‘The Angel of Death Staying the Hand of the 
Artist.’ You all remember it. You must often 
have noticed how it held in thoughtful reverence 
its ever-present cluster of students and admirers. 
Its story is an interesting one: Designed as a 
monument for the grave of the lamented young 
sculptor, Milmore, who died in Boston some years 
ago, it was intended to be put in granite and 
placed in Forest Hills; a destiny scarcely to be 
wished for it. It deserves to be put in rarest mar- 
ble; it is fitting that it should commemorate a de- 
votee of the sculptor’s art, but let it be kept mid the 
haunts of the living, rather than relegated to the 
abode of the dead. * * * Let us in im- 
agination go again into the Art Palace at Jackson 
Park and look intently at this masterpiece, that we 
may catch its Easter message. Note the young 
sculptor quivering with inspiration, intense, eager, 
impetuous. He must not be interfered with. He 
cannot stop. The half-formed lines under his chisel 
are peremptory; he must proceed. But lo! there in- 
terposes a deeply hooded figure, strange but graci- 
ous, gentle but imperious. Her outstretched hand 
arouses impatience on the part of the artist; but the 
arrest is commanding. It stays his mallet in mid- 
air. The mighty wings suggest a visitant from be- 
yond the ken of mortal. The poppy in her hand 
speaks of Lethean rest. There is a great change 
pending. A mystery strange and wonderful sur- 
rounds her. The sphinx growing so strangely beauti- 
ful under his chisel, every line in its contour a mat- 
ter of such absorbing interest to him, seems to be 
unnoticed by her. She comes from beyond the vale 
which the syhinx symbolizes. She has come to solve 
the riddle which the sphinx propounds. He is life, liv- 
ing; and the sphinx is the problem of life, the mission 
of life, the something to do, to perfect, the goal to 
gain, a task to be accomplished. She is the An- 
gel of Death. She seems apathetic to all this; to 
the strong young life in his veins, to the work he is 
striving to accomplish. Yet there is that gentleness 
and sympathy in her whole bearing that proves 
“Contrariwise she loves both old and young. 
Able and weak — affects the very brutes 
And birds — how say I? — flowers of the field — 
As a wise workman recognizes tools 
In a master’s workshop, loving what they make.” 
“And still she is inexorable. Whatever her 
message may be, one thing is sure: it cannot be a 
message of hate. Whatever her mission may be, it 
cannot be a fell one. Death is here, butit is a friend 
not a foe. Here is power inevitable, unflinching; it is 
not, however, malevolent, but benevolent. Here is a 
benign figure. 
“We have come to the first great and obvious 
lesson which this art prophet gives us. This group 
would have been impossible at any other period of 
the Christian era. It shows a conception of death 
quite foreign to that which has inspired what is 
known as Christian art as well as so-called Christian 
theology. The masters of brush and chisel in 
Christendom have heretofore reveled in the grotes- 
que, the hideous and the hateful, whenever they have 
undertaken to portray death. * ♦ * 
has remained for this age of humane instincts, * 
* * to restore to us the diviner concep- 
tions of pagan Greece, which made of death twin 
angel of sleep, and to enlarge upon that conception 
making death an inviting spirit, a welcoming angel. 
“And is not art justified by science? This 
