PARK AND CEMETERY. 
245 
ARTISTIC CEMETERY MONUMENT AND ITS SETTING 
There are few finer specimens of the higher type of 
sculptured cemetery memorial than that lately executed 
by Alexander Stirling Calder, the New York sculptor, as a 
memorial to the eminent historian, scholar and publicist 
of Philadelphia, Henry Charles Lea. Seldom in the 
history of cemetery art has a private memorial for the 
family lot in the cemetery embodied a higher form of 
symbolic sculptural expression, a more imposing archi- 
tectural setting, a more impressive situation or more care- 
fully studied surroundings. 
The site of this memorial on a side hill has given oppor- 
tunity for a most unique and impressive setting that has been 
carefully planned by both architect and sculptor. The wall 
and the difficult side hill location, instead of hindering the 
artistic effect, have actually been used to advantage. 
Recent public statues have shown some interesting exam- 
ples of complete architectural backgrounds for the figure, and 
the practice of having architects collaborate with sculptors in 
the design of pedestals and architectural accessories is now 
almost the common practice in commissions for public memo- 
rials. It is encouraging to note that even in a private ceme- 
tery memorial the same careful consideration may be given. 
It is possible in the cemetery as well as in the park or public 
square to follow the principle that a monument should be so 
placed as not only to recall grateful memories of the person 
but to be a distinct ornament to the place in which it stands. 
While definite rules cannot be laid down for the location 
of monuments any more than rules can with finality be given 
for the composition of a picture or a group of sculpture, yet 
certain fundamental principles are very evident. A monu- 
ment should be so placed that it is in proper relation, both 
architecturally and sculpturally, to the spot in which it is 
located, be it street, cemetery or park; that its commemorative 
or particular character is in harmony with its surroundings, 
and that it is and will remain a distinct ornament to the local- 
ity in which it stands. 
These simple principles are frequently entirely ignored by 
those who erect cemetery monuments. They seem to think 
that any lot or space is suitable for any kind of a monu- 
ment, provided only that it is conspicuous. Whether the place 
