provided against common cemetery errors. Grass — 
and trees, and ornamental shrubs, distributed with 
judgment and taste over a handsome, rolling sur- 
face — with good roads winding around in different 
directions, wherever they are absolutely needed, 
compose the principal features of a landscape which 
always gives true pleasure, and has a wonder- 
fully calming and joyous effect upon the mind. All 
this can be had in the cemetery, as well as in a 
public park, without at all detracting from the 
sacredness and privacy of a true city of the dead. 
But it is evident that the planting and removing 
of trees and shrubs must be mainly in the hands 
of one person — one mind must direct the whole, or 
the scene will be marred, if not ruined, by inju- 
dicious plantings, lienee the rules we have adopted, 
giving the managers power to enter upon any lot, 
and remove whatever shall be detrimental to the 
good of the whole. 
“Forest trees, as a rule, are unfit for the occu- 
pied parts of a cemetery. To some this may seem 
a heresy, but time, which proves all things, will 
HANDSOME 
The Von Zedtwitz memorial, illustrated 
in the photograph herewith, is one of the 
finest private memorials that has been 
erected the past year. It embodies an un- 
PARK AND CEMETERY. 
vindicate the assertion. In the unoccupied and 
ornamental parts of the grounds — and there always 
should be left ample space for such purposes — 
larj e trees may be grown, single trees, or groups, 
or thickets. In our cemetery we have abundant 
space for ornament, on the slopes of hills too steep 
for lots — and we have belts, and thickets and 
groups, and noble old trees, of the growth of a 
hundred years. These are sacred in our eyes. But 
in the portion of the ground laid out in lots, we 
want no forest trees, or other large trees — no trees 
we cannot keep under control. We want the air, 
the sunshine, the green grass, and we want to 
protect all erections which the hand of affection 
has placed upon a lot. All monuments standing 
near, or under large trees, are continually in 
danger of destruction, and they are frequently dis- 
and from dampness engendered in such localities, 
colored, and sometimes ruined by drips from trees 
“We range ourselves, therefore, on the side of 
those who favor the landscape plan — but on a 
modified form. We do not forbid all structures 
in October, 1909, and Mary Elizabeth 
Breckenridge Caldwell, the Baroness Von 
Zedtwitz. The contract was made by the 
baroness, who died in December, 1910, some 
17 
upon a lot except the central monument, although 
we approve of it; but we discard inclosures, we 
keep the corner posts low, we commend the cen- 
tral monument, and we provide for the glorious 
grass carpet, free from litter and weeds, and a 
judicious planting under the control of the man- 
agers. Time will do t lie rest. The smooth, shaven 
lawn; the proper distribution of small trees and 
ornamental shrubs, kept constantly pruned; the 
preservation or cultivation of single trees, groups 
or thickets, in places set apart for such orna- 
mentation; the soft, grassy walks between lots; the 
winding, well kept roads, and the more or less 
lofty and elaborate central monument, showing 
through the rich green foliage here and there, 
and all kept, every lot, in perfect order — this is 
our idea of what a cemetery should be, and it is 
what we aim for in Homewood Cemtery.” 
We shall show in later issues other illus- 
trations and matter from the Homewood 
book. 
MEMORIAL 
the Harrison Granite Co., of New York 
City. 
The architectural treatment of the 
piers that form the ends of the exedra 
EXEDRA CEMETERY 
BARONESS VON ZEDTWITZ MEMORIAL, LOUISVILLE, KY. 
usually dignified architectural rendering of 
the exedra form of memorial and the sym- 
bolic group that forms the central feature 
of the design is an original conception by 
Gilbert Bayes, the well-known London 
sculptor. 
The memorial stands in Cave Hill Cem- 
etery, Louisville, Ky., and is substantially 
30 by 20 feet in ground dimensions. The 
statues, about 8 feet high, are portraits of 
Mary Guendaline Byrd Caldwell, who died 
months subsequent to making the contract, 
which was executed at her chateau in 
Thun, Switzerland. This important group 
is cut from one piece of Italian marble 
and was executed under the personal su- 
pervision of the sculptor in London, Gil- 
bert Bayes, who has produced many impor- 
tant works and been awarded prizes by 
art societies in England. 
The work was executed and erected by 
and of the back of the surrounding wall 
embody interesting variations of design 
in this popular form of memorial, and 
the details have been successfully 
harmonized with the general style of 
the work throughout. The burning 
funeral urn and its support that sur- 
mounts the posts at either side has been 
very effectively utilized as a symbolic 
decoration. 
