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PARK AND CEMETERY. 
DESIGN FOR A MAUSOLEUM OR RECEIVING VAULT 
By Hugh A. Price, Monumental Designer, Chicago. 
The main illustrations of the architectural and con- 
structive features of this article are “The Exterior View,” 
“An Interior View,” “The Floor Plan,” and “A Longitud- 
inal Section in Perspective.” 
The first named drawing shows the finished structure 
as it presents itself to the eye when erected, the design 
being classed as “L’Art Nouveau” more than anything 
else, and is in fact designed in accordance with the prin- 
ciples of that school. “L’Art Nouveau” as the French 
term it — more familiarly known here and in England as 
the “Arts & Crafts” movement — or “Secession” art as 
named by the Austrian, Otto Wagner, was founded by the 
latter in Vienna, Austria, and though it has had its periods 
pause in silent contemplation. Its draped bier, with march- 
ing, mournful attendants, reminds us of the Life That Is 
and of the departures from this life that the structure 
commemorates — while the Solemn Promise of The Life 
To Be is attested by the winged guardian angels with 
gently ministering hands, illumined faces and upraised 
arms. 
Here is no servile copy of a pagan temple, with hastily 
arranged crypts for the dead, but a structure that breathes 
its sacred character in every line of its architecture, and 
every symbol of its decoration. 
The Egyptian understood this spirit of grandeur and 
dignity. His religion based on mysticism — his gods the 
EXTERIOR OF MAUSOLEUM OR RECEIVING VAULT. 
of decadence, lends itself well in its belter forms to dec- 
oration and architecture. As will be seen, by the interior 
decorations especially, its principal tenet is to adhere 
closely to the natural forms of flowers and foliage — giv- 
ing “an elfish prettiness of effect,” as some one has aptly 
expressed it. 
The principles of “Secession” architecture, demanding 
simple, natural lines and honest artistry in execution, 
have served us well here. A general air of dignity per- 
vades the structure, — a spirit in keeping with its solemn 
purpose. On approaching it the lofty and deeply shaded 
portico hushes one into silence. Its sturdy columns spring 
up in simple, severe lines to the over-hanging cornice. 
On mounting the steps of the portico the decorative 
frieze extending across the front over the door bids one 
sun, the sea, the earth — he led you into a temple of co- 
lossal, lofty columns, and of huge sculptured gods, dimly 
perceived amid the deep, sepulchral gloom, and though 
his motives were the adoration of heathen gods, the ex- 
pression was perfect. Our religion of today teaches us, 
with cheer, to hope, but some of the reverence and gran- 
deur the pagan Egyptian e.xpressed in his temple, the 
writer has tried to infuse into this structure. 
Several features of the construction will commend 
themselves for their originality. The entrance steps are 
divided into two flights, ascending to each corner of the 
portico, with treads that are semi-elliptical in plan, while 
the grilled porch enclosures, and the frieze in dark-col- 
ored mosaics, all go to make up a distinctive composition. 
Coming through the entrance doors one faces the tiers of 
