PARK AND CEMETERY. 
199 
ORIGINALITY IN 
The common types of design for ceme- 
tery monuments are at present very much 
overworked. We are in need of some- 
thing newer and more effective in the way 
of architectural combinations and better 
proportions in our cemetery monuments. 
In showing these special German designs 
we believe there is much in the way of 
suggestions for working out some newer 
forms of the monumental tablet style of 
memorial that seems at present to be mak- 
ing itself felt in the better class of cem- 
etery monuments. German artists have 
been particularly succcessful in some of 
their designs of cemetery memorials in 
producing graceful architectural forms for 
small and medium size memorials, and a 
careful study of these will, we believe, 
bring some ideas of value into American 
monumental art. These forms are not al- 
ways suited to our styles of memorials or 
to the arrangement of our cemeteries. 
The American designer will, however, 
easily perceive where details can be adapt- 
ed to our needs and he will be able to 
utilize artistic architectural suggestions in 
a way that will make them entirely appro- 
priate to our styles and our cemeteries. 
The movement for improving cemetery art 
in Germany has been much more active 
than it has in this country. The designs 
shown here were selected in a competition 
of the Society of German Artists and 
Architects and executed exclusively in that 
country by the national organization of 
German granite workers. They are ad- 
mirably suggestive both in designs and in 
the methods of securing them, of work 
that may be done in this country by asso- 
ciations of all those interested in the pro- 
duction of more artistic cemetery memor- 
ials. 
The prize German design for a Gothic 
tablet inscribed “Anton Ernst Wermann,” 
illustrated, is one of the cleverest adapta- 
tions of genuinely beautiful architectural 
proportions and grace of line to the small 
tablet form of memorial. To some tastes 
the decoration which cuts away the cor- 
ners of the tablet may appear a little heavy 
or out of place, but it will readily be ap- 
parent that this corner decoration could be 
omitted and the corners finished like the 
rest of the face of the memorial without 
impairing the design. The curving slope 
of the cap, the appropriateness and grace 
of the cross decoration and the lettering- 
will find favor with nearly everyone who 
sees this interesting little design. It is the 
work of P. Hempel, of Dresden, and was 
selected in a competition of German art- 
ists and architects, and is executed in Ger- 
many exclusively by the Association of Ger- 
man Granite Workers, to which organiza- 
tion we are indebted for the courtesy of 
reproducing in this country this design and 
the others shown herewith. 
The little tablet with a flower receptacle 
GERMAN CEMETERY MONUMENTS 
in the base, shown on the next page, is an 
unusually fine architectural form. This de- 
sign is by L. Fuchs and was selected in a 
competition of German artists and archi- 
sioner). illustrated on the page fol- 
lowing, shows an unusually interest- 
ing and ornamental effect in treating 
the cap of an otherwise severaly plain 
PRIZE GERMAN DESIGN FOR GOTHIC TABLET. 
tects. The interesting cap and base treat- 
ment and the sunken die are suggestive of 
decorative effects that might be secured 
by American designers who are clever at 
adapting design ideas to our styles of 
cemetery memorials. This memorial is 
executed in hammered Labrador granite. 
The memorial to “Kurt Hein, Konig- 
licher Baurat” (Royal Building Commis- 
monumental tablet. The architectural can- 
opy that encloses an urn, with its polished 
pilasters and rarely expressive little pol- 
ished relief figures, is designed and ex- 
ecuted with remarkable artistic skill. The 
inscription, in a delicate raised letter, is so 
well balanced and well placed as to also 
contribute substantially to the decorative 
effect. This was executed in black Swe- 
