49o 
PARK AND CEMETERY. 
ANOTHER FINE CEMETERY LANDSCAPE BOOK 
\\'e have frequently pointed out in 
these pages the advantages of line 
landscape pictures in promoting the 
progress of the modern lawn cemetery 
and in educating the lot owners and 
the public on modern features of ceme- 
tery management. There is no more 
impressive way of teaching the value 
and the beauty of the modern park 
plan cemetery than by the publishing 
of handsome landscape pictures taken 
on the grounds. The fine illustrated 
books issued by Woodlawn Cemetery, 
Xew York, Forest Lawn, Omaha, 
Neb., Graceland, Chicago, and other 
modern cemeteries have been noticed 
in these pages. 
The latest of these fine books, is 
the one just issued to chronicle a 
ten-year report of Alleghany Ceme- 
tery, Pittsburgh, It is in every way 
worthy of the best that has appeared 
in the way of cemetery literature and 
contains much valuable descriptive 
and historical matter. In typography 
and illustrations it is to be classed as 
a de luxe specimen of printed matter. 
Superintendent William Falconer has 
laid himself out on every feature of 
the book in the same thorough man- 
ner in which he lays himself out at 
all times on the care of the grounds. 
The pages are nine by twelve inches 
in size, and the chief illustrated fea- 
tures are some thirty-eight full page 
half-tones, engraved in the highest 
quality and taken with an artistic eye 
to the landscape pictures that have 
been developed in the grounds. One 
of the pictures shown on our cover 
is a typical landscape view in “The 
Ravine,” one of the choicest land- 
scape sections of the cemetery. The 
other view shown on the opposite 
pa.ge is the family lot and monument 
of the late Charles E. Speer, a for- 
mer president of the board. This is 
a good illustration of the fine art of 
setting off monuments by appropriate 
planting, and like many of the other 
illustrations is an example of the suc- 
cess with which this cemetery plans 
to give every prominent monument 
and lot an appropriate framework or 
setting of vegetation. Mr. Falconer 
is firm in the belief that a bare monu- 
ment in the cemetery is as repugnant 
as a treeless pretentious mansion on 
a naked prairie. Hardy trees and 
shrubs where such can be used ad- 
vantageously and without detriment 
to neighboring lots, are freely planted 
in this framework, and as auxiliaries 
or to add richness to the effect, palms 
oi other tropical subjects are exten- 
sively used in summer. The manner 
in which the tall monuments shown 
m this picture and the trees that back 
them been so grouped as to assist the 
work of blending the monuments in 
the landscape is especially notable. 
It is the purpose of this ten-year 
review to show the lot owners and 
the citizens of Pittsburgh that the 
cemetery has kept pace in progress 
with every advanced idea in cemetery 
management that has been developed 
m the country. Every corner of the 
grounds is maintained with spotless 
cleanliness and order. In the thrift 
of its thousands of young trees and 
happy shrubs ; the smooth, richness 
of the lawns; in the beauty and come- 
liness of the lot adornments, Alle- 
gheny Cemetery is a real oasis of 
vegetation in the Iron City. The 
varied and beautiful landscape pic- 
tures in this book may well be a pride 
to Pittsburgh. 
We shall show in future numbers 
others of these pictures and tell more 
of the interesting features set forth 
in the book. 
ORIGINAL FORM OF CLASSIC MAUSOLEUM 
One of the most elaborate and beautiful of the many 
fine mausoleums in Woodlawn Cemetery, New York City, 
is the Robert Graves Memorial chapel recently erected 
by Robert Graves as a memorial to his wife. 
The structure is a pleasing departure from the prevail- 
ing type of design, and the construction, the cemetery 
CRAVES MEMORIAL TEMPI.,E, NEW YORK CITY. 
authorities say, establishes a precedent for future mor- 
tuary chapels. 
The general form and architectural style of the struc 
ture was suggested by a building of Greek antiquity 
known as the “Tower of the Winds.” 
In plan, the chapel is octagonal and twenty-eight feet 
in height. From a simple base of three projecting stays 
the walls rise vertically to a height of twenty-two feet. 
Monolithic pilasters at each corner and the mouldings of 
the window trims furnish the only break to the simplic- 
ity of the walls. Crowning the structure is a pyramidal 
roof, surmounted by a carved finial, which provides, by 
numerous apertures, a system of ventilation. Complet- 
ing the exterior finish are double doors of open panelled: 
design and classic window grilles, all of heavy bronze 
In the center of the white marble floor, bordered with 
Greek designs in soft-colored mosaic, stands an altar 
tomb containing receptacles for two interments. This 
tomb IS also of pure white marble, simple in design and - 
unornamented, save by a border of bronze olive leaves. 
The enveloping wall and roof stones are cut to fine sur- 
faces on the inside. 
The chapel is lighted by seven windows of Favrile olass 
designed by Louis C. Tiffany. The central window, which 
contains “The Eternal City Among the Clouds,” is iiv 
the ease opposite the entrance of the chapel. Gorgeous 
colors, in the center of which floats a white cross, mingle 
with the radiance of the “Heavenly City,” and' cas^ a 
weird glow of blue, purple and golden tints. 
The exterior of the structure is of light Barre granite. 
The general designs were suggested by Mr. Graves anci 
the Leland Company of New York were the contractors. 
