134 
PARK AND CEMETERY. 
FRAMING THE MONUMENT INTO THE LANDSCAPE 
Lake Ficzv Cemetery, Cleveland, Shows Rare Examples 
of Harmonising Monuments zvith Cemetery Landscape. 
Probably the greatest problem in the de- 
velopment of a beautiful modern cemetery 
is to secure the greatest harmony between 
the monuments and their landscape setting. 
Cemetery authorities who want to study 
this problem can find in Cleveland op- 
portunity to study in Lake View Cemetery 
what are probably the finest examples of 
which show carefully planned individual 
plantings made to set off the monuments 
and frame each lot into a beautiful land- 
scape picture. A cemetery lot and its mon- 
ument is just as much of a problem in ar- 
tistic development as a public monument or 
a house, and in every one of the illustra- 
tions here presented a definite planting plan 
that every monument shall be designed for 
the particular spot it occupies, after a care- 
ful study of the lot and its surroundings. 
Probably the farthest step that has been 
taken toward this end was inaugurated by 
Lake View Cemetery in opening Section 
23 , one of the choicest lawn sections of that 
highly developed cemetery. The cemetery 
WADE AND CHAMBERLAIN MONUMENTS, LAKE VIEW CEMETERY, CLEVELAND; TWO EARLIER STYLES OF LARGE MONU- 
MENTS. 
Showing ideal situations for monuments of this character, and landscape settings planned by Adolph Strauch, father of the modern 
lawn plan cemetery. 
harmonizing monuments and cemetery lawn 
to be seen in this country. 
In our article on “The Monument and 
Its Setting,” in the January issue, we called 
attention to the principle that in the ideal 
condition of cemetery art every monument 
would be designed for its own particular 
lot, and every lot selected to give proper 
setting to the monument. The monument 
builder and his designer should study the 
lot and its surroundings and design a me- 
morial that would harmonize with its set- 
ting. To get the best possible effect the 
landscape architect should be called into 
consultation and the planting, grading and 
improvement of the lot carefully planned, so 
that lot, monument and planting should be 
a harmonious, unified composition. In this 
way only can the ultimate ideals of ceme- 
tery art be attained. 
No better illustrations of these principles 
could be found than the views shown here. 
has been carried out to develop the lot and 
set off the monument as carefully as the 
lawn of a beautiful home is developed. 
These pictures show conclusively that this 
ideal of having the monument and its sur- 
roundings in carefully studied harmony is 
not by any means a dream, for it has been 
realized to a remarkable degree in each one 
of the lots illustrated. Each lot has been 
individually planted and graded to set off 
and seclude the monument, to screen out 
the background or to secure a definite land- 
scape effect. 
The maximum development of cemetery 
beauty is possible only when the design of 
the monument is suited to its particular lo- 
cation, and where the adjacent landscape 
and planting is in harmony with the lines, 
the color and the construction of the mon- 
uments. The ideal of the future that is 
cherished by progressive cemetery man- 
agers and monumental craftsmen alike is 
management, in consultation with experts 
in art and landscape architecture, has ar- 
ranged to suggest in the case of certain 
lots in this section the general style and 
type of monument to be erected. The lots 
sold under this arrangement are those 
situated on the borders of the section, or 
at certain prominent locations where the se- 
lection of an inappropriate type of monu- 
ment would seriously mar the general effect 
of the section. 
Each lot holder in this section is fur- 
nished with a plan of his lot that gives pic- 
tures of the models for the lots where 
monumental styles are specified, a complete 
keyed list of the trees and shrubs to be 
planted on each lot, and the following quo- 
tation from the rules governing headstones 
and monuments: 
“Headstones : The limit of height of 
headstones was fixed at four inches, dressed 
six-inch stub with level bottom ; no founda- 
