PARK AND CEMETERY. 
1 7 1 
ample, a magnifying glass will show 
the next to the last stone in the first 
row to have on it 7372. G. S. Bon- 
nell, Pa., the one immediately behind 
it is New York, and the one to the 
right, Maryland. Every . state that 
sent soldiers to the front has some of 
its dead here. Thousands and thous- 
ands of heroes are here, and it is a 
sad pleasure to wander through the 
lovely place and to think that the 
brave men rest now. They have 
fallen “into that dreamless sleep that 
kisses down their eyelids still.” 
There are many stones there tell- 
ing me of those I knew, and bringing 
to mind reminiscences of the past, 
I stretched myself on the grass be- 
TEMPLE OF FAME, ARLINGTON CEMETERY, ARLINGTON, VA. 
MONUMENT TO GEN. SHERIDAN, ARLINGTON CEMETERY, ARLINGTON, VA. 
neath the monument to General Sher- 
idan, musing of the past and thinking 
of those beneath the sod of whom it 
could be said — 
li The muffled drum's sad roll has beat 
The soldier's last tattoo, 
No more on life’s parade shall meet 
That brave but fallen few ’’ — 
I could not but think that well had 
their country done for them in placing 
their remains in beautiful Arlington. 
The “Temple of Fame” and the 
Monument to General Sheridan, illus- 
trated on this page, are among the 
interesting features which attract at- 
tention. 
Joseph Meehan. 
Speaking of the leafage of trees, John Ruskin, 
the distinguished English philosopher and art critic, 
says: One of the most remarkable characters of 
natural leafage is the constancy with which, while 
the leaves are arranged on the spray with exquisite 
regularity, that regularity is modified in their actual 
effect. For, as in every group of leaves some are 
seen sideways, forming merely long lines, some 
foreshortened, some crossing each other, everyone 
differently turned and placed from all the others, 
the forms of the leaves, though in themselves sim- 
ilar, give rise to a thousand strange and differing 
forms in the group; and the shadows of some, pass- 
ing over the others, still further disguise and con- 
fuse the mass until the eye can distinguish nothing 
but a graceful and flexible disorder of innumerable 
forms, with here and there a perfect leaf on the 
extremity, or a symmetrical association of one or 
two, just enough to mark the specific character and 
to give unity and grace, but never enough to repeat 
in one group what was done in another, never enough 
to prevent the eye from feeling that, however regu- 
lar and mathematical may be the structure of parts, 
what is composed out of them is as various and in- 
finite as any other part of nature. Nor does this 
take place in general effect only. Break off an elm 
bough three feet long, in full leaf, and lay it on the 
table before you, and try to draw it, leaf for leaf. 
It is ten to one if in the whole bough (provided you 
do not twist it about as you work) you will find one 
form of a leaf exactly like another; perhaps you 
will not even have one complete.” 
