471 
PARK AND 
through the application of artistic feeling. Thus the place 
of our bitter sorrow is made dear to our hearts, and by 
beautifying it the best we can, we make it a fitting home- 
stead of our beloved ones, to whom we owe gratitude and 
affection beyond the grave. 
“Even in small cities, where extensive sites are not 
available, a similar arrangement, though on a smaller 
scale, is possible. But a cemetery design showing only 
curved or, crooked walks and driveways cutting burial 
fields laid out in the old-fashioned graveyard manner, 
indicates a lack of intelligence and competence of the 
author. Many so-called landscape designs of cemeteries 
show curved lines only, and claim to be cemetery parks 
or park-like cemeteries, but in fact only make the proper 
use and administration of the cemetery more impracticable 
and unfavorable. An experienced professional landscape 
architect should be employed as an absolute necessity for 
designing and laying out the plan of a cemetery park. 
CEMETERY. 
There is a great difference between a park in which peo- 
ple are buried and a thoroughly practical design that 
answers the purpose, and in an artistic manner that is 
embellished with the splendid working material of our 
planting treasures. 
“The problem which the productive artist has to solve 
with nature’s materials, is to restore nature’s unity that 
has been destroyed by the forcible intrusion of utilitarian 
structures. What geometry has divided and dissected, 
must be united and restored by art. 
“In order to criticize a modern cemetery design, we 
must decide whether or not it is suited to meet all prac- 
tical requirements. Then considering the general impres- 
sion, we must decide whether or not art has succeeded 
in screening these merely practical requirements in the 
most beautiful and poetical manner. 
“Then the design will not only be beautiful, but also 
practical.” 
FINE SCULPTURED VASE 
The Elton Memorial Vase in Riverside Cemetery, Wa- 
terbury. Conn., previously illustrated in these pages as 
one of the most elaborate sculptured works of its kind in 
the country, has recently been completed by the addi- 
tion of two symbolic figures at the base. 
The work was executed by George E. Bissell, the 
well-known New York sculptor, and the final figures 
placed under his direction, represent Grief and Faith. 
The vase has stood for several years at the foot of the 
lake, facing the entrance to the cemetery, a conspicuous 
and beautiful object. The statues add greatly to the 
complete effect and give to the vase a grace and impres- 
siveness that are but partially indicated in the photo- 
graph. - </ 
The vase is in the decorative ecclesiastical style of 
about the fifteenth century, which gives the work the 
serious character of Christian architecture and is in har- 
mony with the spirit of places used for Christian burial. 
To intensify the purpose of the memorial and make its 
meaning clear four scenes from the life of Christ are 
illustrated in high relief on the sides of the vase. One 
represents the Infant Christ in his mother’s arms and 
the wise men (in their national costumes) presenting 
gifts to the child. Cattle are feeding at the manger 
and shepherds are near them. 
The second scene represents the crucifixion, with the 
mother, Mary Magdalene, and the beloved disciple in 
the foreground. The man at the foot of the cross is 
guiding the cross into the excavation made for it. 
This scene is followed by the entombment. In front 
is the mother embracing her dead son and Mary Magda- 
lene in an attitude of grief rests upon the disciple in 
front of her. Opposite sits a Roman soldier (represent- 
ative of Paganism), in a contemplative attitude with a Ro- 
man sacrificial altar in background. 
The last scene represents the Angel at the Sepulcher, 
saying to the mother of Christ and Mary Magdalene, 
“He is not here, he is risen.” Roman soldiers are on 
either side, some sleeping, others trembling with fear 
and one with shield before his face shuts out the blind- 
ing light emanating from the angel. 
The decorative figures forming the handles of the vase 
carry before them funeral wreaths, and the cherubs under- 
neath are supports for the vase. They are in armor 
AS CEMETERY MONUMENT 
I ELTON MEMORIAL VASE, COMPLETED. 
George E. Bissell, Sc. 
with cross on breastplates and are suggestive of the life 
of those struggling for higher ideals. 
The partially recumbent bronze life size statues of 
“Grief” and “Faith,” flanking the vase, in addition to their 
use as decorations of importance in the composition, il- 
lustrate the sentiments aroused by the scenes repre- 
sented in the panels of the “entombment” and the 
“resurrection.” Overwhelming grief is the feeling 
aroused by burial, which is followed later by that faith 
made possible by the resurrection. 
“From an artist’s point of view,” says Mr. Bissell, “the 
result of the whole work as a suitable decoration for the 
site is the first to be considered. If a success in that 
direction, unsatisfactory execution of details may be over- 
looked.” 
