PARK AND CEMETERY. 
305 
tects, it is not the lawn plan properly understood. 
Many of our finer cemeteries are still in the transition 
state, owing to a lack of appreciation of what is de- 
manded by the lawn plan, and many others are harbor- 
ing blots on their possible beautiful landscapes from 
the failure to exercise control in the matter of de- 
sign and location of memorials. Another view of the 
latter point is that the artistic value of numbers of 
fine monuments is lost because of the lack of con- 
sideration given to their setting and surroundings. 
A verv practical example of this ])hase of cemetery 
oversight, to use a mild term considering the results, 
is that of the “Alilmore” memorial in Forest Hills Cem- 
etery, Boston, Mass., one of the finest of the Xew’ 
permanent and positive interest and value to the ceme- 
tery, actually injured by the proximity of a structure 
of only personal interest to the lot owner, and which 
l)ccom(.s at the same time a severe reflection on the 
intelligence of the cemetery management, and this re- 
flection \\ill be more pronounced as years go by. It 
seems leasonable to think that in presenting this prac- 
tical example of quite a common oversight in many 
leading cemeteries, a lesson is offered that should im- 
press cemetery officials with the absolute necessity of 
advising their lot owners, as to the value and appro- 
priateness of lot surroundings, and at the same time 
point a moral to officials to the effect that a memorial 
of ])uhlic interest has a money value to the cemetery 
FIG. 2 — “what might have BEEN.’’ 
The Milraore Memorial with appropriate surrounding's and background. 
England cemeteries. The monument itself is regarded 
as one of the best examples of memorial art in this 
country and is the work of Daniel Chester French. It 
was erected in memory of Martin IMilmore, the sculp- 
tor, and as a remarkable piece of sculpture has been 
the subject of a large amount of commendatory dis- 
course and literature. 
In figure i we have a front view of the monument 
as it now stands. In its rear, on the adjoining lot, a 
massive mausoleum has been erected, so close as not 
only to leave no room for any shrubbery or planting 
to appropriately set oft either structure, but actually 
to mar the classic and beautiful lines of the Milmore 
monument. Here we have a memorial which is a 
shrine for all lovers of sculptural art, which will al- 
ways attract intelligent visitors and be a source of 
which could be judiciously discharged by the setting 
apart of sufficient space and appropriate planting. 
In figure 2 we have the “what might have been,” 
and the contrast with figure i is at least striking. 
Without comment it emphasizes what has been said 
more distinctly than words, gives the proper value to 
the memorial and tells the story of the great work 
with the lessons it conveys, and at the same time it 
does justice to the cemetery and suggests enlightened 
care. 
Ornamental planting judiciously disposed in the 
lawn system adds beauty and dignity to the grounds, 
improves the monuments by modifying effects, creates 
pleasing vistas and diverse landscape pictures, and is 
the measure of the landscape art dominating in the 
cc metery. 
