359 
PARK AND CEMETERY 
AN EXAMPLE OF GOOD PROPORTION AND SIMPLICITY 
OF DESIGN. 
rist’s gravestones, the low stone enclosing wall, a few 
inches above the ground at the sides is somewhat 
higher at the foot and very much higher at the head, 
and rising diagonally from the foot to the head is a 
heavy slab, like a half-open and too long lid, the up- 
per surface being a rude device in flat metal. This 
idea of treating the whole grave 
enclosure as a box, the lid of which 
is half open, might be made grace- 
fully symbolic. In still another 
grabmal, by Ferd. Goschel, is seen 
rising from a square low pedestal 
a strange monument composed of 
geometrical forms, the uprights 
sliced in diagonal curves enclosing 
a niche and surmounted by the 
Christian monogram. In others, 
the low stone parapet enclosing the 
graves bears an iron or bronze rail- 
ing in the long wormlike curves of 
L’Art Nouveau, and the designer 
of one of these, an artist named' 
Memesio de Mogrobejo, has also 
exhibited a bronze plaque, much in 
the shape of an oyster shell, in 
which the inscription follows the 
curved lines of the surface, and is 
mourned over by a nude female 
figure modelled in high relief. 
Sometimes the stone enclosure 
rises to a height of three or four 
feet at the sides, somewhat lower in front, with 
an opening to enter, and the head wall very high, 
pierced with circular or upright openings, the same 
severe mouldings bearing the family name. At the 
angles of the mouldings may appear leaf forms, 
treated realistically ; and in one case, at least, a gigan- 
tic, somewhat archaic, angel sits in front of this head 
wall. The symbolism of the human figure introduced 
is sometimes carried rather farther than we would care, 
to see, as in Obrist's monument previously mentioned, 
or even as in the work of another sculptor, E. Barlach, 
who represents the weary mortal as a pathetic half 
draped figure drooping against the door of the tomb 
which she has reached with a last effort. As we have 
seen, the peculiar mannerisms of L’Art Nouveau have 
invaded even this domain, and its long unmeaning 
curves and vapid conventional faces or masks appear 
on gravestones and monuments in other countries, as 
in some in white sandstone recently exhibited by a 
Glasgow architect, Chas. R. Mackintosh. 
Much may be learned from examples like these, both 
of what to use and what to avoid. The lists of symbols 
permissible, the variety of innovations that may be 
introduced, are not very large, and, as in all other 
forms of art, a saving grace of sense of fitness is most 
necessary. A sense of humor also, strange to say, is 
very desirable in all commemorative or symbolic art, 
because it prevents grotesque and unreasonable com- 
binations — as in the celebrated French monument, “To 
the Victors of Wattignies,” reproduced in our illus- 
tration in which the triumphant Gallic cock at the sum- 
