ART AND ABERRATION IN .CEMETERY MONUMENTS 
By Albert Woodard 
The first and dominating thought in monument design 
should be modesty. The hallowed environment of “God’s 
Acre” does not invite sensationalism in its architecture. 
Has it never occurred to the reader that the plainer 
monuments, simply inscribed, have touched the real chord 
of sympathy, when extravagantly elaborate and ostenta- 
tious structures have awakened little interest beyond a 
speculation as to their probable cost? The office of the 
monument is a melancholy one. Like a powerful story 
it should express its message in simple and dignified terms. 
Literally, the ideal monument should be a prayer in 
granite. The keynote of repose in the sarcophagus type 
is a low, broad proportion, coupled with a temperate fit- 
ness in the use of ornament, and irreproachable work- 
manship in the treatment of all surfaces and angles. Fig- 
ure 12 is illustrative of the effectiveness of this quiet, 
horizontal style as a peace-promoting element among 
narrow, stilted erections. Medieval letters and decorations 
add a distinctive charm to this memorial. 
The selection of granite has much to do with the suc- 
cess of a design. Even in the standard granites, Barre 
for example, there is so wide a range of color and tex- 
ture, that the crowning effect of carving is often defeated 
by the injudicious selection of stock. 
Manufacturers often sacrifice, through misguided thrift, 
the opportunity for producing best results in carving by 
the use of light Barre, some grades of which are peculiarly 
lifeless in delicate carving or fine mouldings, and only 
adapted to large, plain masses such as mausoleums, en- 
trances, pergolas, shafts, etc. The immaterial difference 
in cost between light, and medium or dark stock should 
not be considered, if good carving and satisfied customers 
are desired. All pieces composing a monument should be 
carefully shaded to uniformity. 
The darker granites, especially those of coarser structure, 
as Quincy, Missouri and all colored granites, should be 
used chiefly in all polished effects. We may except very 
bold carving like heavy capitals, Celtic ornament, etc. As 
imposing examples of results attainable in polished treat- 
ment, we present the Whitney, Bartholomae and Bord- 
ner monuments, the first named showing the adaptability 
of polished Quincy granite to the reception of applied 
bronze work, the more or less harsh contrast common in 
the association of bronze with the lighter hammered 
granites being absent. Note how restfully the bronze 
decoration on the Whitney monument blends with its 
polished surfaces, while that adorning the face of its 
sister memorial, the Furman, more aggressive on the 
hammered background, does not so readily dissolve itself 
in the serenely classic outlines preserved in these beau- 
tiful stelae. As most bronzes ultimately blacken, it is a 
question if brass or gilt bronze is not more desirable for 
decorating light granite and marble. The Bordner sar- 
cophagus, a fairly faithful reproduction of the Scipio 
tomb, is remarkable because of the eccentrically extrava- 
gant outlay of time and skill necessary in polishing the 
THREE FINE TYPES OF MODERN CELTIC CROSS MEMORIALS, 
