110 PARK AND CEMETERY. 
MODEL CEMETERY and MONUMENTAL ART EXHIBITS 
The most intelligent and systematic ef- 
forts toward elevating the standards of art 
in cemetery monuments in modern times 
are to be found in the model cemetery 
exhibits that are held periodically in Ger- 
many. 
Leading organizations in every art and 
industry pertaining to the development and 
adornment of the cemetery and public of- 
these two latest expositions of the memorial 
arts. 
In speaking of the cemetery part of the 
recent Breslau centennial horticultural ex- 
hibition, a leading landscape architect and 
horticultural authority writes in one of the 
foremost horticultural journals of Ger- 
many : 
“The central feature of the entire Bres- 
one another that really impressive effects 
were created. 
From the adjoining highway the visitor 1 
passed into the entrance hall to a platform 
from which the view showed a grass plot 
bordered with hedges and bordered on two 1 
sides with rows of formal pyramids of 
box. Opposite the entrance stood the main 
building which forms the dominating fea- 
'-'Ruhestci*tQ 
ARTISTIC DESIGNS FOR SMALL MARBLE TABLETS, SHOWN AT BRESLAU MODEL CEMETERY EXHIBIT. 
W. THUST, GNADENFREI, GERMANY, IN GROSS-KUNZENDORF MARBLE. 
ficials whose work is in any way related to 
cemetery or memorial art co-operate in the 
laying out of model cemeteries and in the 
placing of artistic monuments, executed in 
the final material, in fitting relation to their 
landscape surroundings. 
Nearly every great national exhibition of 
horticultural and gardening art has a cem- 
etery section, and the expositions of archi- 
tecture and the building trades give prom- 
inence to specimens of monumental art 
executed in practically all of the materials 
commonly used in that country. 
Two recent exhibitions of cemetery art 
held respectively in Breslau and Leipsic 
are especially instructive, not only in what 
they actually showed, but in the manner in 
which the various interests co-operated for 
the success of the exhibits. 
The cemetery officials, the City Building 
Inspector, the Superintendent of Buildings, 
the Association for Home Protection, the 
Building Trades organizations, the Asso- 
ciation of German Granite Workers, all 
took leading parts in the production of 
lau horticultural exhibition was undoubt- 
edly the cemetery section. Of all attempts 
so far known to me to further the ideas 
of the general public regarding questions 
of artistic cemetery arrangement, this 
Breslau exhibit occupies first place. Horti- 
cultural Director Erbe, the energetic presi- 
dent of the municipal cemetery, who is re- 
sponsible for the direction and horticultural 
appearance of this model cemetery, which 
with its magnitude of almost 2 Yz acres 
meets the burial requirements of a city of 
10,000 inhabitants ; City Building Inspector 
Behrend, who designed the plan and build- 
ings, and Government Superintendent of 
Buildings A. Gellhorn, who, in connection 
with the Schlesicher Verein fiir ITeimat- 
schutz ( Silesian Association for Home Pro- 
tection) planned the historical section, have 
by intelligent co-operation accomplished a 
result that brought forth unanimous ap- 
proval.” 
The grounds were laid out with skillful 
utilization of existing conditions, and their 
different sections merged so naturally into 
ture of this part and the central point of , 
the entire arrangement. It was in every 
way an impressive landscape picture. 
The main building, in front of which was 
a small court with a pool of water, con- 
tained a hall in which sixteen bronze urns 
with a ceramic wall backing were set up. 
Three adjoining apartments contained’ 
plans, drawings and photographs, illustrat- 
ing many aspects of cemetery art in Silesia. 
This exhibit was completed historically by ! 
the construction out of doors of a com- 
plete old village burying ground and of a 
historical section. The latter sections were 
especially interesting. They were located 
under shady groups of trees on the western 
edge of the cemetery. A large number '. 
of finished memorials, selected with fine 
discrimination, from the simplest metal 
cross to the richest ornamented stone sar- 
cophagus, showed what was accomplished 
in the past in Silesia in this field. These 
could be seen by the side of examples of 
the blacksmith’s art, and a number of cast- 
iron grave monuments dating from the time- 
