PARK AND CEMETERY. 
the foundation is at present being prepared for a 
memorial which will cost sixty-three thousand dol- 
lars. The time was not long ago when this price 
could not have guaranteed artistic work from Amer- 
ican hands, just as the time may not be far distant 
when art will be the birthright of every individual, 
availed of or not availed of during life, but certain in 
great or humble form to mark his resting place, for 
in the words of a great French humorist, “the 
highest honor that can be paid a man in his life- 
time is to erect a tribute to his memory when he is 
dead.” 
Stained glass is as varied as painting on canvas, 
and the difference between the “antique” or painted, 
and the opalescent glass might be compared to the 
difference between the old gothic painters whose 
sombre colorings had no aim as coloring but was 
merely a necessary medium for giving form to the 
figures they wished to represent, and the Venetian 
painters to whom color in itself was a delight and 
an expression of thought. 
There are several distinct varieties of glass — ■ 
English, German, Venetian, but the opal “which,” 
as Mr. Will H. Low said not long ago in an ad- 
dress on the subject, “is so American an art that 
from patriotism we should know all about it,’’ is 
being used almost to the exclusion of the painted 
glass in the finest windows. 
The process of making the glass is a very inter- 
esting one, and some very beautiful effects are seen 
when what is to become “drapery glass” is poured 
out in smooth sheets and then deftly turned and 
waved in such a way as to make the substance into 
lines and exquisitely graceful folds. One of the 
most fascinating as well as the most difficult details 
of the work is the fitting together of the different 
pieces of glass which are to form the design, adding 
a thickness here to gain depth of coloring, chang- 
ing a piece there, building and rebuilding in the 
frame until the glass reproduces the exact coloring 
of the cartoon beside it. 
This glass is easily distinguishable from painted 
glass not only from the light and richness of the 
coloring, but from its seemingly warped surface 
and the milky patches that from the outside of an 
unlighted building seem unprepossessing enough 
unless they happen to give an effect of mosaic. 
Wire netting which is often used to protect expen- 
sive windows from stones or other accidents and the 
proverbial small boy, tends to dispel this unpleas- 
ant teature without dimming the translucence of the 
glass. 
Curiously enough this American departure is 
rather more antique than “antique” glass. And 
again I cannot refrain from borrowing from Mr. 
Low, ("how much better had I stol’n the whole.”) 
187 • 
“The art of making stained glass dates back to 
the tenth century and at first was however rudely 
the representation of objects, ornament or figures 
by transmitted light through pieces of various colored 
glass. As time went on an alleged improvement 
was made by painting certain portions of the glass 
to give more reality to the picture and rotundity to 
the modelling. This painting with vitrifiable colors 
has in other countries reached a degree where a 
stained glass window is almost a painted picture, 
but as a pigment on glass always tends to dull and 
darken its transparency, efforts were made about 
fifteen years ago to make windows of small pieces 
of glass so arranged that they would of themselves 
make all the differences necessary to the represen- 
tation of figures and objects. This effort has been 
crowned with such success that to-day there is in 
our better windows no painting except such as 
serves to model the heads, arms and hands of our 
figures. Every fold of drapery, every leaf and 
branch of a tree, every flower or object represented 
is done by cunningly adjusted pieces of glass each 
receiving and transmitting the light undisturbed by 
the comparative opacity of paint. Where the colors 
of the glass are in themselves too strong or crude, 
or where it is desirable fo modify one color by ano- 
ther, recourse is had to placing a second thickness 
of glass on the surface, or in extreme cases more, 
but when the sunshine falls through a window of 
this description you may know that no corrosive 
element of time can attack it and that barring frac- 
ture and destruction it will glow five hundred years 
hence as the windows which were put into the cathe- 
dral of Florence in 1434 gleam and glow in the sun- 
shine of to-day.” 
The accompanying illustration is from a design 
made by Mr. Low and executed by the Tiffany 
Glass Company for the Chapin Memorial Chapel in 
Hope Cemetery at Springfield, Mass. The window 
is eight by fifteen feet, and even the black and white 
reproduction, which gives no sense of coloring nor 
the light that would be found in a photograph taken 
from the window itself cannot dispel the uplifting 
spirit of peace which the figures and the great over- 
arching wings impart. 
Marguerite Tracy. 
In the central park of Battle Creek, Mich., stands what was 
once a Quaker burial ground, but which has long ceased to be 
used, and from neglect and vandalism has become an eyesore. 
It comprises about tw'o acres and would be a prize for building 
purposes. A real estate man conceiving the idea of a bonanza, 
proceeded to investigate with a view to scheming for a bargain, 
but while he could find the old trustees, the heirs to the lots had 
multiplied so much, and the prices asked for the various parcels 
so exceeded all present values that his prospects vanished. The 
property may have to be taken by the city in a few years and 
would form an excellent park site. 
