PARK AND CE.MIDTE.RY 
187 
the dual purpose which it serves, in that it provides 
refreshment for both man and beast, the tin dipper on 
the pump having a special charm for the thirsty traveler 
on a hot summer’s day. The suggestion should be 
heeded by anyone erecting a roadside watering place, 
and a chance provided, wherever possible, for the oc- 
cupants of the carriage to refresh themselves by a drink 
of cool water. It goes without saying that a watering 
trough for roadside use should be high enough for 
horses to drink without being unchecked. The old- 
fashioned troughs, like the one shown in the cut, failed 
in this respect, and many a thirsty horse has lost his 
drink because of the reluctance of the driver to get out 
and uncheck. 
GROUND PLAN. 
RECEIVING TOMB. FAIRLAWN CEMETERY, NEW YORK. 
The receiving tomb for Fairlawn Cemetery, on 
Long Island, New York, shown in illustration and 
plan on this page, was recently erected in that cem- 
etery, twenty-seven miles from New York City. 
It is a handsome side-hill structure, thoroughly 
modern in construction and pleasing in design. It is 
of Concord granite, 45-0x27-6x23-0 in exterior dimen- 
sions and arranged for ninety catacombs. The in- 
terior is in six sections, three on each side of an aisle 
nine feet wide, each section containing 15 catacombs 
3-0 wide by 5-0 high. 
The walls are lined with opalite tile, with floor of 
mosaic, and all parts of the catacombs are executed in 
marble. 
The structure was designed and erected by Pres- 
brev & Coykendall, 169 Broadway, New York. 
Artistic ParK Statuary The 
Mr. Hermon A. MacNeil has added much to bis 
reputation as a sculptor of Indian types in the superb 
group illustrated on the next page, recently erected 
in the City Park in Portland, Ore. It is in every way 
a worthy successor to his “Sun Vow.” There is 
poetry of form, depth of thought, and romantic charm 
in every line of it, and, standing as it does in the most 
appropriate setting possible, in the highest point in 
the park amid the lordly trees, the Indian’s compan- 
ions, it is one of the treasures of the city that pos- 
sesses it. Sculpturally the group is all that it should 
be — a compact, dignified composition, and rarely mod- 
eled. The stern, unbending figure of the old man, and 
the eager, alert welcome of the youth a\ his side, offer 
Coming of the White Man.” 
an opportunity for contrast that the sculptor has used 
with fine appreciation. 
The group is named “The Coming of the White 
Man,” and represents the Indian chief Multnomah 
and a companion looking for the approaching white 
man. Multnomah, who ruled his own tribe by his 
oratory and the neighboring tribes by the strength 
of his arm, has been warned that there are white 
men . coming through the Columbia River gap. He 
runs with the lightness of youth up a knoll to see 
them, and is accompanied by a young brave. The 
sculptor chooses the moment when they catch the 
first sight of the approaching strangers, Lewis and 
Clark. The chief, his face lined with character, stands 
