House & Garden 
larly rich in memorials to the dead, and Swe¬ 
den seems to have offered no exception to the 
rule. In the cathedral at Upsala a fitting 
Monument to Gustavus 
Vasa, that great old 
builder, was raised by 
his son Eric XIV. The 
typical form of the altar- 
tomb was seized upon 
as most suitable. Raised 
on a base of steps, with 
enrichments of bronze 
and with the shields 
painted in heraldic 
colors, the red marble 
tomb carries the recum¬ 
bent effigies of the long 
bearded old monarch 
and of his two wives. 
At the corners four obe¬ 
lisks rise, giving the 
whole composition an 
aspect, which if it were 
not tor its stateliness 
might remind one of a 
four-post bed. The 
order tor the work was 
given in 1562, to a 
Flemish artist, Willem 
Boy, who promptly took 
himself to Antwerp and there spent fourteen 
years upon it. In The Monument to Catha- 
rina Jagellonica , also in the Cathedral of 
Sigismund I. of Poland and Bona Sforza 
of Milan. In spite of the curious discrepancy 
in scale between the altar-tomb and its pillared 
niche and in spite of the 
slight connection of the 
two, there is no doubt 
that the work was all 
executed at one time. 
I ts materials are so varied 
as to be worthy of note. 
The recumbent figure 
of the Queen is of white 
marble; the tomb of 
white, of black and of 
rose colored marble. 
Bronze plays a promi¬ 
nent part in the design, 
the sides and little pil¬ 
lars of the tomb being 
of it as well as all the 
back of the niche, the 
shields of the archivolt, 
and the wreath beneath 
the necking of the rose 
colored shafts. 
Thus far we have 
spoken only of the 
work of the early 
Renaiss ance ending 
about 1650, although 
nearly half of the book is devoted to build¬ 
ings of a later date. Little of this latter work 
is calculated to greatly excite one’s admiration 
Index. 
1— The Falcon Tower. 
2— -The Vasa Tower. 
3— The Church Tower. 
4— The Prisoner's Tower. 
5— The Queen’s Wing. 
6— The Knight’s Wing. 
7— The Captain’s Wing. 
8— The Regent’s Wing. 
9— The Great Kitchen. 
Upsala, we have another example of the work 
of Willem Boy. The monument was raised 
by John III., shortly after 1583, to the 
memory of his first wife, the daughter of 
unless it be the Palace of the Tessin Family, 
d his palace, which was finished in 1702, oc¬ 
cupies a curiously wedge shaped piece of 
ground. Its plan, nearly symmetrical as to 
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