IOO 
PARK AND CEMETERY. 
ordinary coffin. The facilities of the cemetery chapel 
and other such accommodations will be provided 
for. 
I N other columns will be found two examples of 
memorial monuments, excellently sug- 
gestive of what can be accomplished for por- 
trait monuments designed for exposed situations. 
The desirability of busts for portrait statuary is in 
very many cases self apparent. To reiterate the 
well worn argument, modern garments do not lend 
themselves to artistic sculpture in a general sense, 
although genius can and does give us work in which 
the comparative unsuitableness of attire is lost in the 
positive intention of the work of art, displayed in 
pose, arrangement and expression. But the bust 
monument in a sense does away with the incubus 
of artistic treatment of the attire, and allows free 
scope to the sculptor to devote his art to the high 
qualities of the person as represented in his bust as 
a whole; while the possibility of making the. work 
monumental by representative accessories about the 
pedestal, makes it possible to secure artistic as well 
as characteristic monuments, adapted to public re- 
quirements both as to situation and proportion. 
For the best results in public places, the sisters, 
sculpture and architecture work hand in hand, and 
it is to this blending of artistic suggestions that the 
comparatively few really great monuments we have 
owe their distinctive qualities of great works of art. 
The other example of a cemetery memorial may be 
left to speak for itself. 
T HE soldiers’ monument recently unveiled at 
Pawtucket, R. I., suggests a word on sol- 
dier’s monuments generally in -view of many 
more to come. This monument and a very few 
others are distinguished particularly by their marked 
departure from the style of monument which has 
become conventional and common place. So 
much so, that could the majority of our soldiers’ 
monuments be gathered together in company, it 
would appear as though our monument designers 
were men of very limited ideas. When we look 
over the field and note the shaft monument, shafts 
with surrounding statues, shafts surmounted by 
single figures in attitudes which have become stereo- 
typed, we have a sameness which is positively dis- 
tasteful and reflects seriously on the taste or lack ot 
taste and knowledge which such a condition be- 
speaks for the committees or authorities in charge 
of such public memorials. Excellent examples have 
been produced, though unfortunately few in num- 
ber, of what can be done in the way of ideal statu- 
ary for soldiers monuments; statuary that conveys a 
meaning, or emphasizes a quality of human nature, 
which shall teach a lesson for all time. The duties 
and dangers of a soldier’s life, — endurance, sacrifice, 
devotion, heroism, suggest a thousand poses and 
methods of treatment, that may be given as many 
meanings by the qualified sculptor, and thus lend 
to the making of such memorials enduring repre- 
sentations of the virtues that find expression in the 
patriot soldier. The bulk of what we have are sim- 
ply effigies; judged by their best examples they are 
but models of the routine of a soldiers’ life. They 
may keep the memory green in the breast of the 
mourner, but their constant recurrence tends to 
create a lack of respect for their sponsors, and by 
extension of the idea, less appreciation of the facts 
they represent. It is time the soldier on guard, 
the soldier at parade rest, the soldier color-bearer, 
and the soldier at a perpetual attention, give place 
to some originality, wherein the soldier’s deeds 
could be extolled, not by meaningless effigies, but 
by single statues or groups, in which a virtue of 
idea connected with the soldier’s patriotism might 
be handed down in imperishable material, not only 
“in memoriam” of the deeds performed, but sug- 
gestive of what kind of a man the soldier of the war 
of the rebellion was among his fellowmen. For we 
must keep before us the fact that our soldiers’ me- 
morials are not alone for this generation. 
THE INFLUENCE OF STEAM TRAVEL ON THE 
GARDEN. 
There can scarcely be a doubt but the railway 
and the steamship have been inimical to the pro- 
gress of fine private gardening during the last half 
century. This seems particularly true in countries 
which are not centres of attraction to the tourist, 
and whose inhabitants have no especial desire to 
render them so. Fine gardening is to be seen, and 
travellers can see it and enjoy it in the centres of 
population more fully and more cheaply than they 
can maintain it. 
Thus the park and the cemetery have made pro- 
gress, while the residential gardens have declined 
in very many cases, until to-day they rank but little 
above florist’s establishments. There are a few ex- 
ceptions where the proprietors garden for the love 
of it, but it remains true that the great majority of 
those who can travel, care but little for their gar- 
dens beyond the cut of flowers, fruits and vegeta- 
bles. The fine art of gardening can be more fully 
enjoyed by them elsewhere than at home. There 
are few indeed who have deliberately set out to pro- 
duce a phase of garden scenery to which their 
children may point with pride; few indeed but feel 
it would be a most uncertain and hazardous under- 
taking. Perhaps this is due more to republican- 
ism, than to the introduction of steam. 
Republican tendencies however ought to be sin- 
