707 
PARK AND CEMETERY. 
NEW CHAPEL OF INTERESTING ARCHITECTURE 
NEW CHAPEL, WOODLAWN CEMETERY, EVERETT, MASS. 
The new mortuary chapel recently 
dedicated with impressive exercises in 
Woodlawn Cemetery, Everett, Mass., 
is one of the best of its kind in Mas- 
sachusetts. The building is 87 feet 
long and with its porch and carriage 
porch, 73 feet wide. 
The exterior is of concrete to the 
limestone water table or belt and 
above this it is built of Weymouth 
seam faced granite in broken range 
ashlar, of grays, browns and red 
bronzes — all squared to shape and 
pointed with round raised joints. The 
architecture is of the gothic type. The 
exterior trimmings are of limestone, 
the roof of Ludovici lead tile, copper 
flushings, gutters and conductors. 
At the front of the building is an 
octagonal tower of stone enclosing a 
staircase leading to the singers’ gal- 
lery and to the basement. 
Entering the chapel by either porch 
in front through vestibules finished 
in brick and oak with English quarry 
tile floors, is the nave, 29 feet wide 
and 56 feet long, to the chancel. The 
interior is of tapestry brick dadoes 
with gray faced brick walls and tile 
floor. There are three aisles, the cen- 
ter one being extra wide. 
The lighting of the nave from the 
front is through a magnificent triple 
glass window in memory of the Ben- 
jamin Phipps family. Six triple win- 
dows in the sides are memorials to 
various contributing families and at 
the bay end of the chancel are three 
large single memorial windows. 
On the left of the chancel is a rob- 
ing room with oak screen and on the 
right a mourners’ room and conveni- 
ences with similar screen. All the 
roof framing trusses, etc., are exposed 
and of ornamental gothic type fin- 
ished, and with wrought iron straps. 
The interior finish is of oak. Ven- 
tilation is provided for by two large 
ducts, and the building is warmed in 
winter by fresh air. Oak pews for 
150 persons are provided. The cost 
of the building was $25,000. 
One feature of the new chapel is 
the tunnel by which it is connected 
with the receiving tomb, and through 
which the casket will be taken. 
The architects were Loring & 
Phipps, the builders James T. Wilson 
& Son, and Horace J. Phipps & Co. 
furnished the memorial windows. The 
treasurer of Woodlawn cemetery is 
Mr. Roscoe Pierce and the superin- 
tendent is F. F. Marshall. 
MASTERLY FIELD MEMORIAL 
MR. FRENCH’S 
Daniel Chester French’s memorial to the late Marshall 
Field just completed on the Field family lot in Graceland 
Cemetery, Chicago, and illustrated on the opposite page, 
will easily take rank as one of the most impressive private 
memorials in the world. The art world will in time give 
it place next to the wonderful sculptured Presence in the 
Adams memorial of Saint-Gaudens in Rock Creek Ceme- 
tery in Washington, and Mr. French’s Millmore memorial 
in Boston known in its many reproductions as “Death and 
the Sculptor.’’ These two have long been regarded as the 
two finest private memorials in America, and the Field 
memorial may well be recognized as the third member of 
the higher race of sculptured cemetery memorials. 
In his stately memorial monumental works Mr. French 
has more than once given evidence of a peculiar sensitive- 
ness to the peculiar qualities required for these enduring 
and silent testimonials to the dead, — the touch of awe, the 
high elevation, the sense of stillness, and remoteness from 
hurrying human affairs. In none has he succeeded better 
than in the Field Memorial and in this instance these 
good artistic qualities are supplemented by the beauty of 
the architectural and landscape setting; the beauty of spac- 
ing and proportion set off by long lines and enhanced by 
the curiously just flow and fall of the lines of the seated 
figure. Both the sculptor and the architect, Mr. Henry 
Bacon, of New York, in this monument to Memory, seem 
to have excelled in those qualities in which they have 
previously been justly distinguished. 
Probably no cemetery memorial in America has received 
such a carefully planned and impressive landscape setting. 
The lot is one hundred feet wide and eighty-eight feet 
deep and is bordered by a wealth of trees and shrubs 
that make the finest effect in a cemetery that is noted 
for the skilful landscape treatment of its park sections 
and of its many fine memorials and tombs. The im- 
pressiveness of the beautiful figure is greatly enhanced 
by the effect of gazing into the silent pool in front, the 
first use of water effects in the composition of an individ- 
ual cemetery memorial in this country. The pool is about 
eight by sixteen feet and is surrounded by a curbing of 
sea shell granite from Maine, the same material that is 
used for the low curbing about the lot, and for the benches 
at either end of the lot. The pedestal proper, supporting 
the bronze figure, is of Waushara, Wisconsin, granite. 
Reliefs on either side symbolize Equity and Integrity. 
Charles G. Blake & Co., of Chicago, were the contractors 
for the erection of the work, and the bronze was cast by 
Jno. Williams, Inc., of New York. 
