PARK AND CEMETERY 
360 
A PURE CELTIC CROSS, FREE FROM FOREIGN ORNA- 
MENT. 
mit is much larger than the cannon which he sur- 
mounts. The severity of design must never degener- 
ate into mere poverty, so that the empty spaces, the 
bare surfaces, are never too large. It is generally true 
that the structural and architectural severity of mould- 
ing, that in which the edges are sharply cut or gently 
bevelled, is better than the more formless lines and 
curves which the “New Art” so generally affects. 
Very good examples of this proportion and simplicity 
may be found in the illustration of the Pearson monu- 
ment and that to William Henry Young. 
Of that very difficult motif, in which the natural 
boulder is used, and in which the difficulties of design 
and of utilization are very great, a good example may 
be seen in the Smith boulder monument where the 
sharp edges of fracture of the rock are skillfully 
adapted to harmonize and support the severe lines of 
the bronze tablet. The characteristics of the Celtic 
cross are so definite that care should be taken, when 
it is used, to avoid any alien details, as heraldic or nat- 
ural forms, or even too evident “Roman” lettering. 
The very familiar combination of white marble and 
green foliage seems to be abundantly justified ; bronze 
furnishes nearly always an excellent complementary 
color to those of Nature, as do, with a little care in 
selection and placing, the various colored marbles and 
the mosaics, and the grays and blues of granite — the 
latter probably more harmonious and consonant when 
unpolished. In the introduction of human or super- 
human figures of course the highest qualities of the 
sculptor’s art are required — the mere rendering of a 
good “model,” clad in a loose gown and finished with 
an evidently artificial pair of wings, not being suffi- 
cient. 
SUGGESTION FOR A FAMILY MEMORIAL OF CLASSIC 
DESIGN. 
AN ARTISTIC BOULDER MONUMENT. 
The second cause, which may lead to even greater 
modifications in the aspect of our cemeteries than the 
growth of artistic appreciation, the increase in the num- 
ber of cremations, has not as yet produced any great 
visible result. In Paris, where the Societe pour la 
Propagation dc I’lncineration was founded as far back 
as 1880, the modifications in the great central ceme- 
tery of Pere-Lachaise appeared as a tall crematory 
furnace installed on top of the hill and of a municipal 
columbarium, erected in 1895. The latter, quasi- 
classic in style, took the form of a lofty white marble 
arcade, or porch, the wall side filled up with cells about 
two feet square for the reception of the urns contain- 
ing the ashes. The panels closing the cells bear the 
name and date of the occupant. 
William Walton. 
A 
