PARK AND CEMETERY 
] Hi 
with it altogether, threats to compel 
us to alter the name; while borough 
councils have questioned the validity 
of the license and the right to start 
at all. Consecration is another point 
which rather complicates matters. 
There are even persons now who are 
bold enough to assert no forethought, 
no energ}% or no sinceritj- of purpose 
is needed to bring about such issue. 
Very few expenses are or should 
be incurred by borough councils 
when forming a burial ground. There 
are no promotion expenses beyond 
solicitor’s costs, the purchase of the 
land, and the lajung same out. Con- 
' The majority of modern German 
cemeteries are laid out on unattract- 
ive plans, with a tiresome uniformity 
in the outlines of their grounds and 
an excessive display of enclosures, 
railings and highly polished stones. 
They rarely afford to open eyes and 
hearts the charm of quiet beaut3^ 
German artists of recent years have, 
however, devoted more attention to 
the decoration of cemeteries than the 
sculptors of anj' other country, and 
there is an increasing number of com- 
petent minds in Germany devoting 
themselves to the improvement of 
cemeteries and monumental art. The 
Central Cemetery (“Zentralfriedhof”) 
of Hamburg has already grown into a 
park, impressive in its solemnity, 
whose variegated grounds enclose 
burial plots of well studied design. 
The citj- of Munich since 1904 has laid 
out four municipal cemeteries, with 
many specimens of impressive archi- 
tecture, and more recently the Forest 
Cemetery (“Waldfriedhof”), giving 
great promise of future beauty, in 
which even the graves and tombs and 
their ornamentations shall be designed 
in accordance with artistic require- 
ments. There is a notable increase 
in the number of artists who are will- 
ing to devote truly artistic effort not 
merel}^ to a few impressive monu- 
ments, but likewise to more unob- 
trusive tombstones. This movement 
has more recently been placed in evi- 
dence before the masses in various 
expositions. The Wiesbaden Society 
of Plastic Art (“Wiesbadener Gessell- 
schaft fiir bildende Kunst”) has en- 
tered upon a systematic campaign for 
the purpose of enlightening both pur- 
chasers and producers. In fact, it was 
its president. Dr. von Grolman, who 
first proposed the special exposition 
recently held in Berlin, of which we 
show some illustrations. 
trast this with the demands and wor- 
ries with which IMr. Kellawaj- and 
mt'self were surrounded at the out- 
set, some of which I have told >'0u. 
Despite all, we commenced business 
with higher fees prevailing for inter- 
ments, etc., than has been the case 
with concerns started under similar 
conditions. I have in front of me a 
newspaper advertisement of a ceme- 
terj', some twent3^ 3-ears established, 
setting forth private graves can be 
purchased from .“253. During the few 
weeks our venture has been in exist- 
ence a large number of private graves 
have been sold at a good figure, but 
The e.xposition is divided into two 
departments. Four hundred illustra- 
tions of old and new tomb monu- 
ments and cemeter3- grounds are ex- 
hibited under the glass roof of the 
inner court of the Collection build- 
ing. In the garden abutting on the 
Museum Extension building. No. 8 
Prinz Albrechtrasse, more than 50 
tombstones, made from the designs 
of living artists, were distributed over 
grounds laid out by IMessrs. Koerner 
& Brodersen in accordance with a 
plan for a cemeterv- designed by Mr. 
Franz Seeck, government architect. 
Neither the works of art exhibited 
in this garden nor the illustrations 
and sketches shown in the inner 
court have any claim to absolute nov- 
elty or are meant to represent any- 
thing never seen before. Both in out- 
never less than £2 ISs. Cd. The num- 
ber of interments to date surpass the 
most sanguine e.xpectations of the di- 
rectors; the3- will total a thousand be- 
fore long. 
From these few facts 3-011 will de- 
duce that we have not fitted a square 
plug in a round hole, and probabh- 
our ne.xt balance-sheet will prove a 
revelation of economical management 
and show what can be done with a 
small amount of cash well used. One 
thing of which I am conscious — 
all the difficulties I have recited have 
hitherto acted as deterrents to others 
to embark on cemeter3- making. 
ART IN BERLIN 
line and conception most of them 
show the influence of old examples 
from ancient and early Christian art 
down to the German baroque style 
and imitation of classic art. The de- 
signers, some of whom are architects, 
others sculptors, and among whom are 
even found some painters, have 
availed themselves not only of well 
conceived architectural outlines, but 
likewise of plastic ornaments or fig- 
ures within artistic bounds. Several 
designers have restricted themselves 
to beautiful decorative inscriptions, 
the most simple and most effective 
means for creating an artistic impres- 
sion. All the designers concur in 
their effort to keep the main outlines 
of each individual stone with all its 
architectural and plastic ornamenta- 
tions in one uniform st3fle. Only 
GERMAN IDEA OF A MODEL CEMETERY. 
Section of Exposition of Cemetery Art In Berlin. 
GERMAN EXHIBIT OF CEMETERY 
