326 
PARK AND CEMETERY. 
WINTER VIEW OF RUDD LOT, MT. GREENWOOD CEMETERY. 
In the ideal condition of cemetery art, 
every monument would be designed for 
its own particular lot, and every lot se- 
lected to give proper setting to the mon- 
ument. In other words, the monument 
and the lot would be selected at the same 
time. The lot owner should have in mind 
the style and size of monument when the 
lot is bought and should select a lot that 
would afford a proper setting for the 
monument. Where the lot has already 
been purchased from the ground avail- 
able, the monument builder and his de- 
signer should study the lot and its sur- 
roundings and design a memorial that 
would harmonize with its setting. To get 
the best possible effect the landscape ar- 
chitect should be called into consultation 
and the planting, grading and improve- 
ment 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 cemetery art be attained. 
Great public monuments are planned 
in just this way; beautiful homes and 
public buildings are planned in this way. 
A cemetery lot and its monument is just 
as much of a problem in artistic develop- 
ment as a public monument or a house. 
In practically all public monuments of 
importance a sculptor works out the 
sculpture in collaboration with an archi- 
tect who develops the architectural fea- 
tures and a landscape architect who 
plans the setting. A public monument is 
never designed without a first-hand study 
of the site on which it is to stand; all 
its immediate surroundings are taken 
into consideration, and it is now quite a 
common practice for a full-sized tem- 
porary model to be built on the site 
where the work is to stand before the 
finished monument is built, so that the 
final effect may be judged exactly. Lora- 
do Taft and his corps of assistants are 
now at work in Chicago on a temporary 
model of his elaborate “Fountain of 
Time” that is to be executed and set up 
in its final location at a cost of over 
$50,000 even before the contract for the 
work is given. The effect of this model 
will determine whether the work shall be 
built in permanent form. 
The problem of harmonizing the ceme- 
tery monument with its surroundings is 
perhaps more difficult. The lot owner 
must select the lot that is within his 
means and that is available in his ceme- 
tery, and he cannot control the develop- 
ment of the surrounding lots that may 
spoil the effect of his monument and his 
planting plans. But if he exercises care 
in the selection of his lot and his monu- 
ment; has the proper designing service 
in the making of his monument; the 
proper landscape service in improving 
the lot, and exercises the same care and 
intelligence he would use in selecting a 
house, he may hope to secure the best 
results with the means at his command. 
This ideal of having the monument and 
its surroundings in carefully studied har- 
mony is not by any means a dream, for 
there are numbers of instances where it 
has been realized to a remarkable degree. 
Along the main avenues of the newer 
sections of Graceland Cemetery, Chicago, 
RUDD FAMILY LOT, MT. GREENWOOD CEMETERY, CHICAGO. 
CLOSE VIEW OF RUDD MONUMENT. 
