TUI P ARK AN D 
rosettes and other minute details of the die. After this 
prodigal expenditure of labor, that it should be desecrated 
by modern “headed block" letters in the family name is 
unfortunate. Only deeply incised Roman letters should 
be used in inscribing monuments of classical design. 
If raised letters be insisted upon, bronze Roman let- 
ters may be applied at a very trifling excess in cost above 
stone-cut letters. 
The growth of interest in the Celtic cross memorial 
is happily widening in America. These stones, as well 
as other forms of Runic and Celtic art always supply a 
distinctive note in a huddle of hackneyed and mediocre 
monuments. Celtic ornament is contemporary with the 
“Bronze Age” in England. The conversion of Britain to 
Christianitjr, extending over two hundred years, generally 
influenced native arts. The earliest development of Cel- 
tic art is traced to Irish manuscript of the eighth cen- 
tury, appearing in stone in the ninth, tenth and eleventh 
centuries. In Gothic architecture, the Norman and Early 
English periods are rich in Celtic detail of its later 
phase. 
Figure 13 illustrates a cross of stately proportions and 
POLISHED AND HAMMERED MONUMENTS OP THE 
"‘STELE” TYPE WITH BRONZE LETTERING. 
typical involute decorations worked out with infinite 
skill and fidelity to ancient examples. 
Characteristic atmosphere abounds in the exceptionally pure 
specimen of Celtic treatment shown in Figure 14. The 
interlacements and bosses are in perfect scale, and the 
semi-circular projections inside the nimbus add an historic 
value. 
Figure 15 is an altogether interesting cross, although 
radically different in configuration and detail from Celtic 
prototypes. 
Apparently a modern German influence has operated in 
the design and decoration of this cross. 
These cross designs should represent ideal memorials 
to those English and Milesian Americans who desire to 
venerate their mother country in an enduring tribute. 
The Hawgood monument is an eloquent example of 
“not how cheaply but how good” a monument may be 
made, being one of a series of sarcophagi treated similarly 
as to form, but varying as to the style of the richly deco- 
rative frieze at the base of die, all reflecting the individ- 
ualistic skill of their creator, the late Joseph Carabelli. 
FINE EFFECT IN ALL-POLISHED QUINCY GRANITE, 
WITH BRONZE LETTERS. 
Perhaps the only criticism the captious might find in 
this design would be the use of the cyma mould at the 
base of the die concavity. Mounted upon a base of flat 
projections, the “wash” being given a rough granular or 
“atmospheric” surface, excepting an inch margin finely 
hammered, at its edge, this rose-girt die would more 
effectively come into its own. (See illustration.) As 
contrasting specimens of concaved monuments we present 
Figures 16 and 17, both of which we feel compelled to 
catalogue as grave offenses. The first, our four-footed 
friend with the five-foot name, qualifies in the bath tub 
class. The feet (forgetting the family name) are the pre- 
vailing features, but do not affiliate with the die, or the 
“dollar-down” furniture carving that hobbles them. Judg- 
ing from the proportions of the name letters, it was not 
the intention of the owner to take any chance on the 
liability of posterity to get past without reading the label. 
Claw-footed sarcophagi of history seem to have demanded 
a lavish incrustation of Renaissance carving. 
The dies of Figures 16 and 17 show unhappy and un- 
architectural contours, the flare at the top of the same 
being a peace-disturbing element, conducive to beet- 
ling brow and high waist line effects, neither of which is 
desirable in good monument design. 
GOOD COPY OF FAMOUS TOMB OF SCIPIO, WITH 
INAPPROPRIATE LETTERING. 
