NB 
 
 1857 
 
 S78 
 
Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924068633159 
 
|_3 1924 068 633 159 
 
The Greeks with their poetic temperaments ever looked to nature tor the iheme of their art. The 
 Corinthian column in its wonderful proportions — its vigor of lines — its exquisite foliations, finds its theme 
 in the majesty and beauty of the trees. There is then a peculiar fitness in this memorial column positioned 
 as it is. It is a veritable part of its environment. This we feel to be a true expression of the memorial art. 
 
CONCERNING MEMORIALS 
 
 THEIR HISTORIC ORIGIN AND 
 PRESENT DAY ADAPTATIONS 
 
 As compiled by J. F. Stanley 
 Designer for The Leland Company 
 And accompjinied by Examples of 
 Work Designed, Executed 
 and Erected By Them 
 
 THE LELAND COMPA|\Y-SOUTH 
 
 Salisbury, N. C. Atlanta, Georgia. 
 
 303 Fifth A\exue, New York, N. \. 
 
 COPYRIGHT 1911 BY THE LELAND CO. 
 
S1^ 
 
 HE building of memorials— rude ones, of course — claimed the thought 
 of primitive man long before he could cook his food or weave a 
 garment. The sacred impulses that guided him in his pathetic attempts 
 for the perpetuity of his dead, prompt you and me to mark in an 
 appropriate way some spot in God's acre. 
 In a large way we recognize deeds of valor and seek to immortalize benefactors 
 of humanity by fitting memorials in stone or bronze. 
 
 Each ancient nation or age has given to us certain distinctive types of memorials. 
 Upon these types, with various essential modifications are based for the most part, 
 the present day designs. So easily are these origins traceable, that it occurred to 
 us you might be interested in knowing about the more prominent ones. This has 
 been our object in arranging the catalogue in type groupings and preceding each 
 type by a sketch and a brief reference to it as an historic prototype. 
 Many of these sketches with certain eliminations or adaptations, which we will 
 be glad to suggest to you, might well be reproduced, should any of them appeal 
 to you. 
 
 Special Designs The individual touch of artistry in a design will appeal to 
 you, it gives you a genuine satisfaction in the completed 
 memorial — it means dignity and distinctiveness befitting the purpose. Our de- 
 signers have made a special study of memorial art, in fact the greater proportion 
 of our orders is secured because of superiority of design. By design we do not 
 mean alone beauty of lines, intricacy of detail, or appropriateness of the theme 
 expressed; but its consistent treatment in relation to its location — in other words, 
 the proper consideration of the memorial in relation to its environment. 
 In all cemeteries you see everywhere' most unfortunate examples of beautiful and 
 costly memorials wrongly placed — and therefore, regrettably disappointing. It is 
 from such results that we protect you. On page 49 you will find still further informa- 
 tion about special memorial designs. 
 
 Range of Our Work We erect rnemorials in all parts of the country. Our 
 
 work includes the simplest, refined markers and head- 
 stones and extends to the most el^^rate mausoleum. Our prices are such 
 as make possible the painstaking care in the design and the vigilant attention to its 
 faithful execution, which memorials merit. On page 63 you will find some pertinent 
 facts concerning mausoleums. 
 
 Facilities All our work is executed in our own studios and shops, either in this 
 country or Italy. Our sculptors are men with enviable reputations; our 
 workers in stone are skilled craftsmen. The equipment of the studios is in every 
 way modern, but not so modern as to sacrifice the art side of the subject to mere 
 commercialism. 
 
 -.•t\^?VvlER67> 
 
Materials Suitable materials only are used, — the best granite, marble, stone and 
 bronze. Some of the finest of hard, clear granite comes from the quarries 
 at Barre, Vermont. We also use large quantities of granite from Westerly, R. I., 
 Salisbury, N. C, and other quarry centers — Tennessee, Italian and other Marbles. In each 
 case the stone used is that which will be the best adapted for the purpose and the 
 interpretation and preservation of the design. Our long experience is a guide to us 
 in such selections. 
 
 A Word On Ordering Should any subject in this catalogue appeal to you 
 
 or suggest an effective variation, we would be pleased 
 to advise you of its approximate cost when erected complete; or after hav- 
 ing obtained a sufficient knowledge of the memorial's proposed location, environ- 
 ment, and your wishes in the matter, we will gladly submit special designs. 
 Come to one of our offices if you can, and talk the matter over with us. If distance 
 or time prohibits, we will gladly take up the matter by mail, or send a representative 
 to see you — should that be your wish. 
 
 Of one thing you can rest assured; we will avoid annoying you by the custom- 
 ary methods of persistent and insistent "follow up" On the other hand, you 
 will be given every attention and consideration that an entirely satisfactory trans- 
 action always demands. 
 
 Number 8974 i. When rambling through old Enghsh cemeteries, 
 you will frequently come across the sun-dial used as a memorial. 
 You at once_ feel how altogether appropriate is its theme, in 
 marking time's endless march. The one illustrated above 
 we placed in Fairmount Cemetery, Spokane, Wash. 
 The oldest known dial in England is the historic Bewcastie Cross 
 m St. Cuthberts' Churchyard at Bewcastie in Cumberland. 
 
.-^ANYof the Egyptian rulers seeking to per- 
 -« j|i3)JW petuate for all time, as they thought, their 
 ^ J^-^ names, prowess and titles, erected during 
 their lifetime the mammoth obelisks and covered 
 them with the recording hieroglyphics, so myste- 
 rious to us. To these obelisks harks back the 
 origin of our present day shafts. Of the various 
 types adapted from this form our own Colonial is 
 particularly satisfying in instances where the plot 
 is restricted in size. Interesting examples are the 
 Governor Bradford stone at "Old Burial Hill, " 
 Plymouth, Mass., the Franklin shaft in Old Gran- 
 ary Burial Ground, Boston. A variant form, the 
 John Wesley tomb at City Road Chapel, Lond Jn 
 is somewhat architectural and is topped by an urn 
 
 r " )«■ , . , 
 
 1 
 
 Sketch o( the Franklin monument, beneath 
 which rest Franklin's parents. Franklin, 
 sleeps 'neath a simple slab in the Christ 
 Church Burial Ground, at Philadelphia. 
 
 Egyptian Obelisk at Luxor. It is one of 
 the many examples of the wonderful sense 
 of hne balance in proportions, in which 
 the ancient Egyptians were masters. It is 
 this mastery that turns an otherwise 
 uninteresting, long, rectangular piece 
 of stone into a beautiful memorial. 
 
Number 6974. Shaft of Barre 
 Granite erected in Fairmount Cem- 
 etery, Spokane, Wash., for Mrs. 
 Joseph Scott. The plain surfaces 
 of the shaft are relieved by 
 symbolic treatments as found on 
 some of the early Christian mem- 
 orials. These symbols give to 
 the monument an added meaning. 
 Mediaeval memorials were rich 
 in symboHsm, which after all, 
 is but another form of hieroglyphics. 
 
 Number 8704. This stately, beautifully pro- 
 portioned obelisk of Bane Granite, erected 
 in Bonaventure Cemetery, Savannah, Ga. , 
 is a splendid example of its type. How 
 perfect is the balance between the base and 
 the shaft. How entirely acceptable 
 the constrained ornamentation. 
 
JARCOPHAGUS is synonymous with a peculiar Greek limestone used 
 for coffins because it consumed the body. All low, oblong monuments 
 come under this head. They are primarily stone coffins, and originated in 
 
 ancient Egypt as murnmy cases. 
 
 This form of tomb was adopted and perfected by the Greeks. It was advanced to a 
 
 highly enriched state by the Romans, and throughout the different ages reflected the 
 
 various characteristics of the times. 
 
 One of the simpler forms, which is satisfactory with many plot arrangements, is Omar 
 
 Khayyam's tomb at Nishapur. 
 
 "W^ 
 
 Sarcophagus from ihe mausoleum of Galla Placidia in Ra- 
 venna, haly. A work of the 5th century, A. D. "Plain and ven- 
 erably simple" as this, is the pillar'd tomb of Petrarch at Aiqua. 
 
 . 1 jiV I 
 
 
 At Sidon, in ancient Phoenicia, was found this magnificent so called 
 Sarcophagus of Alexander, lavish in its symbolical ornamentations 
 done by Greek artists of the 4th century, B- C. It is now 
 in the Imperial Ottoman Museum at Constantinople. 
 
 10 
 
:*:;. , 
 
 Number 8375. Sarcophagus in Byzantine style. 
 It is of lime stone with granite sub- base. The 
 vine in the centre is a symbol of "Christ the True 
 Vine. The capitals surmounting the various 
 
 columns differ somewhat in detail. Ruskin 
 says that such treatments which are characleristic 
 of this style add to the interest of a subject by re- 
 lieving the severity and monotony of repetition. 
 Erected in Allegheny Cemetery. Pittsburg, 
 for the Estate of Elizabeth Hays. 
 
Number 9051. There is a sincerity of 
 expression and strength in the lines of 
 this sarcophagus type of the Renaissance 
 period that argues well for it. The ma- 
 terial is Westerly Granite. It was erected in 
 Forest Home Cemetery, Milwaukee, Wis. 
 
 Number 9083. One of the simpler forms of 
 the sarcophagus type. It is an all polished, 
 dark Barre Granite, a treatment which some 
 feel to be desirable. Erected in Washington 
 Cemetery at Washington Court House, Ohio. 
 
 12 
 
Number isill . T his modern style memorial with 
 its massive single block of Barre Granite, bespeaks 
 permanency. The lines are distinctive and restful 
 — the lettering is applied bronze. On the opposite 
 side th^re is a bronze panel bearing an epitaph. 
 Like the front the ends also bear panels. Erected 
 in Sleepy Hollow Cemetery, Tarrytown, N. Y. 
 
 Number 9082. To many, the rough or rock- 
 faced treatment appeals because of its ruggedness 
 — its lack of affectation. The successful execu- 
 tion of these subjects demands high skill to pre- 
 serve the line between the rough and the 
 obviously crude. The stone is Barre granite. 
 Erected in Grove Hill Cemetery, Hanoverton, 
 Ohio, for Rev. J. Townsend Russell. 
 
 13 
 
Number 8726. You will -be surprised to learn that this 
 beautiful memorial is made of but four stones, the main 
 one of which weighs twenty tons. The iinials or top 
 ornaments are not separate pieces but part of the sculpturing 
 of the solid stone. The poppy motif is the main orna- 
 mental theme, it being an ancient symbol for death. It 
 is a striking example of the exceedingly fine carving that we 
 execute in Barre Granite of a selected quality. Erected 
 in Woodlawn Cemetery, N. Y., for Miss Katherine Becker. 
 
 14 
 
Number 8824. The interesting feature ot this subject is that the bronze panel 
 is removable, revealing several niches for cinerary urns of bronze. The 
 stone is Barre Granite. Erected in Elm Grove Cemetery, Washington, Iowa. 
 
 Number 8777. A simple form of the sarcophagus type. 
 The upper block has a slight convexity which adds to its 
 pleasing effect. The material is Westerly Granite. Erected 
 in Woodiawn Cemetery for Mr. John J. Donaldson. 
 
 15 
 
Number 8334.J. Seldom has a more beautiful 
 memorial of the sarcophagus type been conceived 
 and executed even in the days of the Renaissance 
 period — a feeling of which is reflected in its de- 
 sign. Could you but see the stone itself you would 
 marvel at the wonderful delicacy with which it 
 was possible for our craftsmen to execute the 
 carvings in the Bane Granite, Erected at Forty 
 Fort, Pa., for Estate of Lawrence Meyers. 
 If you have been to Florence, and privileged to 
 see Mrs. Browning's tomb, you will recall that 
 it is a Renaissance style sarcophagus elevated on 
 six short columns. This type is a pillar'd tomb. 
 
 16 
 
Number 83 1 0. There is a strong appeal to. 
 one's sense o( the beautiful in this somewhat 
 unusual subject. 
 
 The sculptor has rendered a wonderful inter- 
 pretation; or subtle suggestion that death is a 
 temporary pause — not a sleep — only a perfect 
 peace. 
 
 The stone upon which the figure of Westerly 
 Granite so lightly leans is of Barre Granite, 
 giving a pleasing contrast in materials. The 
 palm branch forms a decorative motive in as- 
 sociation with the laurel wreaths. The gen- 
 eral treatment reflects the Renaissance types. 
 Erected for Mr. Henry Setzer in Mountain 
 Grove Cemetery, at Bridgeport, Connecticut. 
 
 17 
 
^^^^N ANCIENT Greece the prevailing type of grave stone was the Stele which 
 
 Ejlt^ took the form of a tall, tapering slab generally crowned with palmette and 
 
 \^SMj acanthus ornaments in an infinite variety of treatments. 
 
 Another form of the Stele type was broad, carrying a low gable top and sculptured 
 
 panels of figure-reliefs. When an architectural framework is added at sides also, the 
 
 form assumes that of the temple or shrine as illustrated on page 26. 
 
 With the first type is identified the St. Gaudens memorial to Whistler at West Point. 
 
 
 ^M 
 
 Roman Stele in an ancient cemetery 
 at Khamissa. A pleasing sugges- 
 tion io\ a modest memorial. 
 
 One of numerous stelae in the Ceramicus^ the chief burial 
 place of Ancient Athens. A choice example of Memorial Art. 
 
 
 18 
 
Number 8986. Grecian Stele of 
 Tennessee Marble with modern 
 base treatment. The rosettes are 
 an interesting feature of this 
 type, adding much to the 
 ■decorative effect. Erected in 
 Riverside Cemetery, Cleveland, 
 Ohio, for Mrs. Isabel M. Sack. 
 
 Number 8972. There is always a be&utiful dignity about a rightly proportioned Grecian Stele that makes it 
 particularly fitting as an individual memorial. You can well imagine the choiceness of this carving rendered as 
 it is in a fine grained Tennessee marble, of a slight pinkish tinge. An example of the work we do in our 
 New York Studio. Erected for Mrs. Grace M. Schirmer, at Princeton, N. J. 
 
 19 
 
s^ifs^NERAL banquets were one of the features of the ancient worship of the 
 ^ItN dead. In this connection it was but natural that one form of the sepulchre 
 should be the Exedra. These were semi-circular or rectangular benches of 
 varying elaborateness, beneath which the dead were sometimes placed. 
 There is an acceptable dignity about the Exedra, that is coupled with the seat as a 
 symbol of rest, offering convenience for the living who at times would gather at the 
 resting place of the departed. 
 
 The Greciari styles offer a rare beauty of architectural treatment. See page 49 for 
 an illustration of a special study in the Greek Ionic. An avoidance of solemnity in 
 the modern examples is often effected by the addition of flower vases or a sundial. 
 
 Ancient Exedra at Assos 
 
 20 
 
Number 8655. How impressive and altogether satisfying is this classic Elxedra in the Grecian 
 style. How consistent is the eissociation of the seat as the symbol of rest; the portico as an 
 entrance to another life. A touch of interest is presented in the association of the bronze urn. 
 Ejcecuted in Barre Granite. Erected for Mr. J. W.English, in Oakland Cemetery, Atlanta, Ga. 
 
 Number 8774. How entirely differentis this design from the one above, 
 yet how entirely ple2ising. What a sense of repose it reflects. What an in- 
 teresting relief to the heavy masses of Barre Granite the growing flowers give. 
 Elrected in East Cemetery, Litchfield, Conn., for Mrs. W. D. Munson. 
 
 21 
 
5EDESTAL-M0NUMENTS include nearly all upright, free-standing stones 
 of moderate height. They are polygonal in form, generally four-square, or 
 again they may be circular. Their origin reverts to the simple, architectural 
 blocks used by the ancients as supports to statues and other votive offerings. Later 
 such sculptures were done in relief on the stone itself, and at times, particularly in the 
 Roman era, a dedicatory inscription was substituted, the pedestal form still being main- 
 tained. Of this type, the more satisfactory examples are generally architectural in 
 character; modern suggestions are frequently developed into curving outlines. 
 
 
 A tower-tomb in Asia Minor. 
 
 An interesting Pompeian ex- 
 ample of the pedestal type. 
 
 22 
 
Number 8780.J. What a frank avowal of purpose has this Stillman subject. 
 Dignity and classic beauty in its every Hne. Erected in Woodlawn 
 Cemetery, N. Y., for Mrs. Joseph F. Stillman. Material, Barre Granite. 
 
 Number 8224. A modern style me- 
 morial of Barre granite. Erected in 
 Oakwood Cemetery, Syracuse, N. Y. 
 
 Number 8985. Quite modern in 
 style, of Italian marble. Erected for 
 Mrs. Joseph B.Wall at Brooksville, Fla. 
 
 23 
 
jp=|.|»MONG the Greeks and Romans, columns were frequently used as commem- 
 telr)i' orative and sepulchral monuments, either with or without a surmounting figure. 
 
 A particularly graceful design is shown in number 8734 on the opposite page. 
 
 The style is Corinthian illustrating a detail of the Grecian period. 
 
 On a large scale, the pillars of victory were in favor during the Roman ascendancy. 
 
 Trajan's column at Rome and the so-named Pompey's pillar at Alexandria, Egypt, 
 
 are the better known examples. Of more moderate size are the pillars used as grave 
 
 monuments in the Athenian Ceramicus. Of interest too, are the Venetian columns of 
 
 St. Marks and in the Piazza Maggiore at Ravenna. 
 
 Of unusual interest is the bi-columnar type of funereal 
 monuments found in Asia Minor; often used in con- 
 nection with the underground tombs above the sepul- 
 chral chamber. 
 
 The famous Pompey's pillSr probably erected 
 by Pompeius during the reign of Diocletian. 
 
 24 
 

 &*''y| 
 
 "■'iiSi'' •»■ 
 
 -1"' r'^M 
 
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 1 '..«-: ■ 
 
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 ^,.r 
 
 SSS-m 
 
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 ^^^^^^^^^^^^^^^^^^^^a-/- . 
 
 Number 8734. Limestone column 
 in the Greek Corinthian style. A 
 larger view and an extended des- 
 cription is given on the frontispiece 
 page. Erected at Harrisburg, Pa. 
 for Mrs. William A. Fleming. 
 
 Number 8384a. Ionic column of 
 Granile surmounted by a marble 
 Angel of Victory. The prime 
 motive of the column being a 
 support, some feel it to be more 
 complete when carrying an appro- 
 priate figure. Decidedly classical 
 is the use of a bronze tripod. 
 Erected in Woodlawn Cemetery, 
 N. Y., for Mr. Richard Deeves. 
 
 25 
 
v^ H ^f HE more important sepulchral monuments of antiquity were either wholly or 
 Cfxm ^^ P^^*" architectural, as miniature temples, or shrines, in such varied forms as 
 
 facades, gables, arches, altars and the like. To the ancients the shrine meant 
 a home for the dead and so quite naturally the "Temple" form itself, a beautiful and 
 idealized house, was adapted in miniature. 
 Shrines generally contained statutes, cinerary urns or tripods either of bronze or marble. 
 
 Grecian grave monument to Hegeso. 
 This simple form without the 
 sculpture is very effective. 
 
 Shrine of the Grecian Warrior, Aristonautes. 
 An urn or tripod may replace the statue — or 
 the depth of the recess may be lessened, 
 thus producing a panel effect. 
 
 S'^M f-^ ^aJlUJ^^-mm. gJeow*^ ' 
 
 
 
 -r I 
 if 
 
 r 
 
 
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 ,(^ 
 
 
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 26 
 
Number 8413. What a convincing sense of endurance this superb architectural canopy 
 of Barre Granite conveys. Its form suggests that of the usual Sikyonian tomb. The 
 bronze urn, by contrast enhances its completeness. The applied bronze letters further give 
 character. Erected in Oakland Cemetery, Atlanta, Ga,, for Mrs. James R. McKeldin. 
 
 27 
 
Number 8415. Roman Doric style executed in 
 Westerly Granite. The "Announcing Angel" and the 
 central block are in one solid piece. Erected in 
 Woodlawn. N. Y.. for Mr. Frederick W. Martens. 
 
 Number 8332. This is indeed a beautiful memorial. 
 It exemplifies to a marked degree, refinement of line 
 and form, a characteristic of classic art. Of Barre 
 Granite. Erected at Washington Court House, Ohio. 
 
 28 
 
' nvr 
 
 ^^-&o.,oTW^ 
 
 fer-^' 
 
 R.IORDAN 
 
 Number 8966. This is a pure example of the Roman Doric 
 carried out with an architectural accuracy. The material 
 is Barre Granite. The portrait, name and wreaths are in 
 bronze. Erected in Green Lawn Cemetery, Columbus, 
 Ohio, for Miss Anna E. and Mr. Albert C. Riordan. 
 
 Number 8888. The splendid proportions, dignified restraint 
 and classic beauty of this Grecian Doric memorial are impressive. 
 The introduction of the wreaths is effective. What choice 
 notes of gentle accent they arc. Erected in Spring Hill 
 Cemetery, Lynchburg, Va., for Mr. John W. Craddock. 
 
 29 
 
ECUMBENT Slabs were em- 
 ployed as lids to masonry graves 
 in the very early period of the 
 Christian Era, particularly so in the sixth 
 to eighth centuries. 
 
 A simple cross with an incised inscription 
 adorned the slab. 
 
 Later, in the early Gothic period, the 
 slabs became ridge shaped, assuming 
 somewhat of a gable top and the devel- 
 oped ornamentations were more pleasing. 
 
 In the Temple yard, London, is Gold- 
 smith's grave covered by a simple tomb slab. 
 
 
 Keble, author of "The Christian Year" 
 rests 'neath a. ridge^top tomb in the quaint 
 old church yard at Hursley, England. 
 
 30 
 
Number 8994. Limestone tomb In English Gothic Style of the 14th Century. The tomb is 
 decorated on four sides with a series of quatrefoiled panels and bears a moulded cross of charac- 
 teristic design. On the slope of base are plain panels containing the inscription in raised Gothic 
 letters. Erected for Mrs. John B. Walker in Indian Hill Cemetery, Middletown, Conn. 
 
 Number 9083. Westerly Granite slab of Early 
 Christian style, having a specially tooled finish. 
 Protestant Cemetery, Aurora, N. Y., for 
 Mrs. T. Delafield, New Brighton, S. I. 
 
 Number 8917. . Italian Marble Slab of an 
 entirely modern style. Erected for Mr. 
 John E. Parker, at Eaton, Ohio. 
 
 3] 
 
? NOTHER very interesting 
 form of the slab is tfie up- 
 
 rigfit cross-slab, which with 
 
 a raised cross on its vertical face was 
 distinctly a Scottish type. It was 
 contemporary with the High Cross of 
 Ireland. The crosses and ornamental 
 patterns were almost identical in de- 
 sign, with the High Cross, save their 
 being carved in low relief on the slab 
 face. In many cases attempts were 
 made to reproduce in stone the de- 
 sighs of the Illuminated Manuscripts 
 of the Gospels which were inscribed 
 at that period. Somewhat similarly 
 formed and ornamented, but more 
 rudely worked are the ancient sepul- 
 chral monuments of the Isle of Man. 
 
 This unusually interesting stone is in the Burial 
 Ground ot St. Madoes in Perthshire. On its 
 opposite side are carved curious symbols. 
 Such slabs abound in the North of Scotland 
 where they have been popularly called 
 "Danish Stones." 
 
 32 
 
Number 8576. This interesting cross-slab is of limestone 
 with a lower base of Westerly Granite. The stone is 
 especially tooled to secure an antique effect. Erected 
 at Holyoke, Mass., for IVIrs. Grace P. Still. 
 
 Number 8823. Simple cross-slab 
 of limestone enriched with sym- 
 bolical carvings. Erected at Short 
 Hills, N. J., for Mrs. A. R. Yorke. 
 
 Number 8722. The use of pink 
 Westerly Granite for this subject 
 gives a warm, pleasing coloring. 
 Woodlawn Cemetery, New York. 
 
 33 
 
i^^SLTAR-TOMBS originated 
 J«^|[|i with the early Christian use 
 y.K\jl\ ] of Catacomb tombs as altars; 
 later came the practice of interring the 
 martyr's remains beneath church altars. 
 In form the altar-tomb is that of a 
 slab covering the burial chest or sar- 
 cophagus; they are called table-tombs 
 when the slab is supported by low 
 pillars. 
 
 Old English Churchyards of the 1 7th 
 and 1 8th Century have many interest- 
 ing examples. 
 
 
 
 '"'Wm 
 
 
 
 An old Table-tomb in the Center Street 
 Burial Ground, Newton, Mass. 
 
 V >:-- 
 
 In Buckinghamshire at Stoke Poges, is the 
 country churchyard wherein Gray wrote his 
 famous elegy, and there, too, is the poet's tomb. 
 
 34 
 
Number 8647. This Altar Tomb of Barre Granite, is rich in ecclesiastical 
 emblems and symbols befitting the churchman over whose grave the stone is 
 erected. The bronze insert tablet at the foot bears the inscription and epitaph. 
 Erected to the Memory of Bishop Phelan, in St. Mary's Cemetery, Pittsburgh. 
 
 Number 8647. Reverse view of altar tomb 
 above, showing further symbols and emblems 
 and an elliptical bronze seal set in the head 
 of stone. This form of tomb is especially satis- 
 factory when a more important grave mark than 
 the recumbent slab or headstone is desired. 
 
 Number 8486. An old English cathedral 
 tomb of the 13th century, furnished the motif 
 for this altEu: tomb of limestone. On the 
 top is carved in relief a floriated cross. 
 Erected for James H. Hopkins, in 
 Oakhill Cemetery, Washington, D. C. 
 
 35 
 
^S^^ HE first Christian Emperor, Constantine, caused crosses to be erected in public 
 ■W™ places at Rome. This originated the practice of building wayside and 
 ^agSil churchyard crosses in stone. The greatest development of this emblem took 
 place in the British Isles. Varying in size and design, the simpler form known as the 
 Calvary, consisted of a Latin Cross set on three steps, symbolizing the Trinity. 
 Early Gothic cross-forms are particularly pleasing and suitable for execution in stone. 
 
 
 
 A restoration of an ancient 
 English Gothic Cross which 
 offers suggestions for inter- 
 esting designs in this style. 
 
 ■">«£ 
 l\^^ 
 
 ' ^i^fm 
 
 
 ^^\ 
 
 1- 
 
 Typical Calvary Cross, examples of which 
 may be seen in various places in England. 
 
 56 
 
Number 85752. A beautifully propor- 
 tioned cross worked in white New 
 Hampshire Granite. Erected for Mrs. 
 Levi P. Morton, at Rhinebeck, N. Y. 
 
 Number 8973 j. A simple Calvary 
 Cross rendered in Carrara Marble 
 for Mrs. Justin Field, in Ivy 
 Hill Cemetery, Philadelphia, Pa. 
 
 Number 88 1 9. The pedestal base of the Roman 
 Cross, offers opportunity for pleasing variations. 
 Barre Granite. Erected for Mrs. James 
 Lenox Banks, at Wappingers Falls, N. Y. 
 
 Number 8721. A rock-hewn example 
 with cross and name block in one solid 
 piece. Elected in Woodlawn Cemetery, 
 N. Y., for Mr. Robert Thedford. 
 
 37 
 
^^ S ^^ HE Celtic cross with its glorifying nimbus, the circle, and carved with inter- 
 wNfl^ lacements and other symbolical devices, finds its origin in the pre-Christian 
 f^gaP?] pillars of the Celtic period. They are numerous in all the Islands of Great 
 Britain, but Ireland's high crosses of the 9th and 1 0th Centuries, exhibit the greatest de- 
 velopment in this style. 
 
 Erected as memorials to founders of ecclesiastical establishments, these crosses were 
 really Bible stories in stone, many of the panels containing sculptures of subjects from 
 the Old and New Testaments. Others were almost entirely enriched by panels of 
 ornament apparently derived from the patterns as revealed to Solomon in the building 
 of the Temple; chain work, checker pattern, net work, the pomegranate, 
 cherubim and so on. 
 
 
 -1 
 
 
 
 
 
 South Cross at Ahenny, Tipperary, Ireland, 
 with unique all-over geometric ornament. 
 
 The Great Cross at Monasterboice, in Louth, Ireland. 
 A tenth century example of Biblical illustration in stone. 
 
 38 
 
Number 8942. All sides of this majestic Celtic Cross are wondertui m their carved mtermingling of Solomon's 
 knots and foliated motives. Note hov^^ decorative the name is, in its panel of carving — yet hov^ legible. 
 The entire subject was executed in our plant at Barre, Vermont, and shipped to San Francisco, 
 where it was erected in Cypress Lawn Cemetery, for Mr. A. N. Drown, San Francisco, Ca' 
 
 Number 8908. The simplicity 
 of this subject emphasizes the 
 beauty of the Celtic type form. 
 Woodlawn Cemetery, NewYork. 
 
 Number 8884. A reproduction of the famous St. Martin's 
 Lrosi at lona. Jewel-like in its decorative work, it is a strik- 
 ing example of the skill displayed by our workers in stone. 
 Erected atWoodlawn, N. Y., for Mr. James DwightRockwell. 
 
 39 
 
J'^SNGLO-S AXON Crosses 
 |S differed from the Celtic in 
 .. JO that they were based on the 
 
 Eastern, equal-armed or ideal cross, 
 the nimbus frequently being omitted. 
 The symbolic vine scroll was a char- 
 acteristic decorative feature, also the 
 interlaced or braid motif. 
 "This system of braided or woven or- 
 nament", says Ruskin, "is universally 
 pleasing to the instinct of mankind". 
 Again he speaks of it as giving "a 
 pleasure increased and solemnized by 
 some dim feeling of the setting forth, 
 by such symbols, of the intricacy, and 
 alternate rise and fall, subjection and 
 supremacy, of human fortune; the 
 'weave the warp, and weave the woof 
 of Fate and Time." 
 Probably the most beautiful cross in 
 the North of England is that erected to 
 Caedmon, the father of English poetry. 
 
 The Ruskin Cross in the Churchyard at Conis- 
 ton, Lancashire. Its form is typically Anglian, 
 following the lines of an ancient stone, and illus- 
 trates in its carvings the life-work of Ruskin. 
 
 40 
 
Number 897&. This cross is a 
 Welsh type. Erected at Mead- 
 ville, Pa., for Mrs. W. S. Rose. 
 
 Number 8936. Erected in a 
 churchyard cemetery near Los An- 
 geles, California, for Mrs. E. W. 
 Meaney. In design it reflects the 
 spirit of the wayside shrines so nu- 
 merous in the time of the Crusades. 
 
 Number 8308. Still another English type as seen 
 in Cornwall. Note how the slight expansion of the 
 lines of the shaft at its centre, and its contraction as 
 it approaches the nimbus, adds to its effectiveness. 
 Special tooling gives it a pleasing, soft-textured effect. 
 Erected at Ogdensburg, N.Y., for Mrs. Lew Wallace. 
 
 41 
 
JORTUARY- or grave-head crosses came into general use during the Tenth 
 
 Century, a hundred years before the Crusades. 
 
 Later the head-cross and foot piece were used in conjunction with a slab 
 covering the grave. In some instances the grave was outlined by a curb of stone 
 and the cross placed at the head. 
 
 
 Graye marker of Mrs. Gaskell 
 at Knutsford, Cheshire. 
 
 A Gothic Head Cross 
 
 An old Welsh grave cross. 
 
 Cross at Glendalough, Ireland. 
 
 lisi 
 
 UndecOrated wheel cross ■ 
 at Maughold, Isle of Man. 
 
 42 
 
Number 8779. The Roman Cross, 
 always largely in favor as a head 
 stone. Of Westerly Granite, in 
 Woodlawn Cemetery, New York. 
 
 Number 8657. Reflecting the decorative 
 scheme of late Scottish crosses. In Mt. Hope 
 Cemetery, Rochester, N . Y.. for Mr. Jos. Ailing. 
 
 Number 7739. Celtic head cioss 
 of limestone, at Newburgh, N. Y. 
 
 Number 8971 . An unusual form; 
 the Cornish cross on a low base. 
 
 Number 8945. This form of grave marking has some- 
 times been called a cradle. The grave enclosure coping 
 and base of head piece in this example are cut in one block. 
 
 43 
 
OR headstones the upright 
 tablet is much in evidence 
 in all Old Country Church- 
 yards. Our own Colonial stones are 
 very similar and have quaint carvings 
 well suited to the slate or marble 
 of which they were generally made. 
 Many of these old stones offer charm- 
 ing suggestions of design. With present 
 day methods of construction — setting 
 the butt into solid masonry foundations 
 — they become permanent markers. 
 The modern idea tends to simplicity, 
 so that the dignity of the plot monu- 
 ment may be preserved. Blit when 
 more important effects are desired, 
 the field of design is unlimited. 
 
 Gravestone of John 
 Grosvenor in the First 
 Burying Place, Rox- 
 bury, Massachusetts. 
 
 Nathaniel Morton stone 
 at Old Burial Hill. 
 Plymouth, Mass. 
 
 Memorial to Mrs. Benjamin 
 Elliott, St. Phillips Church- 
 yard, Charleston, S. C. 
 
 44 
 
Number 8631. How markedly beautiful is the refined simplicity of tKIs headstone. How 
 appropriate the cross and its use to divide the inscription (aces. The material is Barre Granite. 
 Erected for Admiral C. F. Goodrich in All Saints Cemetery, Atlantic Highlands, New Jersey. 
 
 Number 8948. One of the 
 strictly modern forms of head- 
 stones ; its severity being relieved 
 by the incised border and the 
 wreath carved in relief. Barre 
 Granite. Kensico Cemetery, N. Y. 
 
 Number 8992. This one in Car- 
 rara marble suggests the Colonial in 
 treatment. How artistically ten- 
 dered is its every detail. Erected at 
 Lyme,Conn.,for Miss K.Ludington. 
 
 45 
 
BARKERS are low stones of a sufficient size to contain the name and dates 
 legible letters. They indicate the position of the grave and are 
 generally placed at its foot, 
 
 ■■■Hi 
 
 will lAM LOCKARO 
 fiilfihl UiSURN, CO- ANTRIM 
 
 pirn HAr:!'vt:s,n. 
 
 1 
 
 Number 8348 S. Upright slab with 
 segment top. Incised lettering. 
 
 Numbi 
 gable 
 
 :r 8983. Slab marke 
 top, showing incised 
 
 ■ with 
 letters. 
 
 Number 9055. A modern design with raised lettering. 
 
 Number 8348^. The block form of 
 marker. Raised letters. Palm leaf in relief. 
 
 Number 8787. Block marker with 
 bevelled top. Incised letters. 
 
 46 
 
j^^^jSN unpretentious form of 
 ["■jEsIRm tombstone is the Boulder 
 [i^^lJfj having a plain panel for 
 records. The ruggedness of the 
 natural rock offers a pleasing de- 
 parture from the smooth chiseled 
 forms. 
 
 Emerson's grave at Concord is thus 
 marked. 
 
 Number 8970. Boulder of 
 Barre Granite with inscription 
 panel of bronze. Ejected in mem- 
 ory of Admiral Jouetl, in Arling- 
 ton Cemetery, Washington, D. C. 
 
 Number 8989. This rough faced 
 subject takes the form of the con- 
 ventional slab and shows the ef- 
 fective introduction of the simple 
 raised letters. Ejected in Arling- 
 ton Cemetery, Washington, D. C. 
 
 47 
 
Number 8904. Refinement and delicacy 
 of treatment bespeak themselves in this 
 subject, sculptured in Italian marble. The 
 design, which is particularly suited to this lo- 
 cation, goes back to the old Cathedral mon- 
 uments of Italy for its inspiration. Erected 
 for Mr. James Sprunt, Wilmington, N. C. 
 
 Number 7997. Our cemeteries contain so many 
 regrettable examples of wrongly conceived and 
 poorly sculptured figures, that one can but hesitate 
 to consider them for a memorial. That such dis- 
 appointing results need not be feared is conclusively 
 shown in this artistic rendering of the sculptor's 
 thought in Carrara marble. How tenderly and 
 understandingly has every line been handled. 
 How entirely beautiful is this whole conception. 
 Erected in Woodlawn Cemetery, New York. 
 Wm. Ordway Partridge, Sculptor. 
 
 48 
 
IJ^^yT IS an obvious fact that the best effort of the world's architects in all the 
 Bjll^ ase& has been applied in building memorials. 
 
 ^^j The very spirit which prompts the purchase of a memorial is sufficient in itself 
 to justify the use of a design of special merit. It does not, however, necessarily follow 
 that such designs make the cost of these memorials prohibitive for the many, as satis- 
 factory, artistic results may be readily realized with a very moderate ficpenditiire. 
 A simple marker or small head stone can be given additional emphasis and an 
 importance by the employment of a carefully thought out design. 
 
 In making our designs, the three paramount essentials of a satisfactory memorial form 
 the basis of its treatment — those are: permanency, beauty and harmony with its 
 proposed location and particular intent. 
 
 From the many illustrations in this book, the breadth and possibilities of design are 
 well shown. 
 
 Unquestionably the continued satisfaction given by a memorial is the more surely ob- 
 tained by those which are of special design. Such we are always prepared to submit. 
 
 Special Design, No. 5949 
 
 49 
 
'W^ 
 
 Number 8530. This magnificent canopy monument rtflceto the classical archi- 
 tecture of Rome in its artistic proportions and wealth of enrichment. A uniquely 
 interesting feature is the removable slab immediately in front, di closing an entrance 
 to the underground vault having catacombs or niches for a number of interments. 
 The main portions of the monument are of Bane Granite, on the pedestal of which 
 are inserted finely executed, bronze medallion portraits. The bronze urn symbol 
 surmount^ a pedestal of dark Quincy Granite. The enclosure rail is also of 
 bronze. The conception of the designers has been executed throughout with the 
 greatest care. It is an excellent example of the high class of memorials we do. 
 Erected in Greenwood Cemetery, Brooklyn, New York, for Estate of Annie Wiley. 
 
 50 
 
No. 9081 . In Ancient Italy .the Christian superficial cemetery was given the name Hortus (garden), 
 this word suggesting the appearance of the enclosure plctnted as it was with trees and flowers. 
 With the development of our landscape architecture, this idea has received appreciative attention, 
 and now the greater number of our cemeteries are arrainged on the plan of the geurden or park. 
 In sympathy with this park-like treatment there is an ever- increasing tendency towards adapting as 
 memorials stich garden-marble forms as are dignifiedly suited to the purpose. The pergola offera 
 unusually beautiful treatment, one of which we illustrate above, the Reibold memorieJ. There is a 
 beautiful classic refinement about this pergola and bench that can but appeal to those who are awearied 
 with the coundess repetitions of the conventioneJ types of memorials. Sun-dials, seats and flower 
 veises as accessories or in individual treatment offer further suggestions for beautiful schemes of design. 
 
 Erected in Woodland Cemetery, Dayton, O., for Estate of Louis N. Reibold. The material is 
 Barre Granite. Excluding the columns, the structure consists of but four pieces. 
 
 51 
 
This monument we erected in Forman Park, at Syracuse, 
 New York. It was presented to the city of Syracuse 
 by Mrs. W. H. H. Smith in memory of her father 
 Lewis H. Redfield, a pioneer journalist of Syracuse. 
 The material used in the pedestal of this memorial is of 
 Westerly, R. I. Granite, the statues are cast , bronze. 
 
 52 
 

 
 :M 
 
 Number 8333. The fountain as a memorial has much to be said in its favor, com- 
 binmg as it does the useful and the beautiful. There is a refinement and appreciative 
 nicety in the handhng of 'this subject that gives it distinction. It is an adaptation of 
 the Athenian Lysicrates Memorial. The fountain bovifls, bust, cresting and finial 
 are bronze. Observe how effective are these notes of punctuation in association 
 with the dense uniform color qualities of the Barre Granite. The bronze lamp 
 standards as minor points of accent also tend to relate the subject with its location, 
 which is a vital point to be considered in civic memorials. Sharp Memorial Fountain, 
 erected at Washington Court House, Ohio, for Miss Madeline B. Sharp. 
 
 53 
 
jAUSOLEUMS are monumental tombs, containing either loculi (niches) 
 or separate sarcophagi, thus providing proper protection for the dead. 
 With the mausoleum, there is a comforting sense of security in laying one s 
 loved ones away in its niches. It seems to soften the dread that comes with the 
 thought of a ground interment; 
 
 The name Mausoleum has its origin in the most famous tomb of antiquity, a magnif- 
 icent colonnaded structure of several stories in height, erected in the fourth century 
 B. C. in honor of Mausolus, King of Caria. 
 
 Normal tombs of that period were of modest dimensions, assuming the usual temple 
 style, which by its constructive simplicity, particularly suited the purpose — this and its 
 exceptional beauty of form, explains its present day use. 
 
 ^f?C "V^ 
 
 An Early Christian mausoleum of 
 the 6th century. Material is Granite. 
 
 ■ — -' — 3?!S™''''s^s*w>wHifl?™ ii',iJi„i, ' ' ~ I — ■ iiiiK«uiiHfiui»wiimui!Pii''?ii*""V,',:.,;°^^^^^^ 
 
 "Earlh proudly wears the Parthenon 
 As the best gem upon her zone." 
 
 54 
 
■rr" % ^'^ 
 
 Number 83365. ^^ t^^ Fairmount Ce.-netery, 
 at Denver, Colorado, we erected this columna- 
 ted mausoleum of the Greek Doric style in 
 architecture. In general form it hatks beuik to 
 the Parthenon. What a sense of secunty and 
 endurance it conveys, what dignity, what 
 strength the sturdy Doric columns give. At 
 the center of its chapel-like interior, which 
 is finished in light-veined Carrara Marble, 
 are two mairble sarcophagi, lined with copper, 
 which may be hermetically sealed. A similar 
 mausoleum, which we erected' in Forest 
 Hills Cemetery, Boston, is likewise of Barre 
 Granite, but contains six catacombs. 
 
 55 
 
Number 8769. One of the simpler forms of the Greek Doric style. Barre Granite. Erected for 
 Wm. A. Gnppen m Mountain Grove Cemetery, Bridgeport, Conn. Joseph H. Northrop, Architect. 
 
 'W9!W^Vff^'fW^!!W''f^' 
 
 Front view of the same subject. Note the 
 definition given to the carvings on the frieze. 
 Every detail in the design of our work 
 you can depend on being architecturally 
 correct; and skilfully rendered. 
 
 56 
 
Subject 8979^. Permanency being the basic reason for mausoleums, the massiveness of the 
 Egyptian architecture is particularly adaptable to that enduring construction. Of Barre 
 Granite. Erected for the Estate of Wm. Patterson at Oak Park Cemetery^ Newcastle, Pa. 
 
 A glimpse into the Interior of the above subject 
 looking towards the end. The treatment is in rich 
 marbles and mosaics. On both sides are niches 
 for interments. The art glass window opposite 
 the entrance, illustrates the "Flight mto Egypt." 
 
 57 
 
Number 7683 j. This well-proportioned building, Roman in architecture, exemplifies conclusively theessentials 
 of mausoleum building — strength and dignity. Its spacious interior is finished in Italian marble; at the rear 
 are twelve catacombs. Erected in Greenwood Cemetery, Brooklyn, N. Y., for Mr. W. Van R. Smith. 
 
 Number 8260. This attractively propor- 
 tioned building contains three catacombs. 
 Erected in Woodlawn Cemetery, New York. 
 
 Number 858 1 . Simple Egyptian form with one 
 piece roof. Erected lor Mr. Chas. R. Hannan, 
 in Walnut Hill Cemetery, Council Bluffs, la. 
 
 58 
 
&ff«J<-"_i:-t>'_-- 
 
 N umber 8909. Classic structure in the Greek Corinthian style. The grille work of the bronze doors is 
 backed by glass shutters, permitting a view of the interior, which is finished in light veined Italian marble, 
 and contains eight receptacles. Erected for Mrs. Harriet Gould Jefferies, in City Cemetery, Augusta. Ga. 
 
 Number 9002. Erected in Mountain Grove Cem- 
 etery, Bridgeport, Conn., for D. W. and Carrie 
 C. Thompson. It contains eight catacombs. 
 
 Number 8820. Erected m Wood- 
 lawn Cemetery, N. Y., for Mr. Geo. 
 B. C. Hogan. It has six niches. 
 
 59 
 
ui£.£ 
 
 
 Number 8411. This design reflects that of the 
 Pantheon of Rome, Byron's "shrine of all saints 
 and temple of all gods." There is an unusual 
 dignity associated with this form of building, 
 making it particularly suited to the purpose. 
 As an example of faithful rendering of the design 
 and Incisiveness in cutting of the Barre Granite, 
 we are justly proud of this subject. The tomb 
 of Dante at Ravenna is somewhat similar in gen- 
 eral form, but more slender and without columned 
 portico. The above tomb we erected in Alle- 
 gheny Cemetery, Pittsburg, for Mr. John Bindley. 
 
 60 
 
Number 8775. This little temple to the de&d 
 is a correct interpretation of the Greek idea — 
 Repose. How completely is this thought 
 expressed in the beautiful simplicity of the 
 building — in the use of the steps spreading as 
 they do on all sides. There is loo a feeling 
 of privacy given to the entrance by the exten- 
 sion of the walls in pilaster terminations. 
 Barre Granite. Erected for Mrs. Clarence 
 A. Postley, at Woodlawn Cemetery, N. Y. 
 
 61 
 
Number 8991. This Memorial Chapel of octagonal form was 
 erected in Woodlawn Cemetery, N. Y., for Mr. Robert Graves. 
 To further insure its permanency, the usual marble lining was 
 omitted and an interior finish given directly to the granite walls. A 
 marble sarcophagus of heavy construction contains two interment 
 receptacles. Memoriae or Mortuary Chapels containing one or 
 more sarcophagi were frequently erected by the Early Christians. 
 
 62 
 
Concerning Mausoleums 
 
 SOME FURTHER FACTS OF IMPORTANCE TO YOU 
 
 ^HE basic reason that prompts you to consider the erecting of a Mausoleum, is 
 the securing of a permanent protection for your dead. For this reason, its 
 
 construction you want to feel assured is right beyond all doubt. 
 
 If the design be a reflection of some particular style of architecture, you want to feel to 
 
 a certainty that its lines will be accurately and consistently handled. 
 
 In the execution of its design you want to have a feeling of confidence that each detail 
 
 will be given proper precision ; sculptured boldly or delicately as the true nature of the 
 
 design demands. 
 
 The sum of these three important points then, is confidence. A confidence that must 
 
 be placed entirely in the firm with whom you place your order. 
 
 Confidence is gained from the accumulated results of things well done. It is 
 
 because of the confidence we have eamed that we urge you to consider The 
 
 Leiand Company. 
 
 Number 8793. Ionic style of architecture unusually strong of construc- 
 tion. The interior is of marble finish with a polished granite floor. 
 Erected for Mr. Wm.M.lCnox, in Oafc Park Cemetery, New Castle.Pa. 
 
 63 
 
T 11 thill 
 
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 A K e n c- y