Evening star., 1898-04-23
MODERN MONUMENTAL ART.
Some Notable Examples Recently
Erected In Washington.


Erected in Washington.
1t is ar encouraging Indication of the
progress of aesthetic development in this
country tnat there begin to be seen. here
and there. sporadic instances of originality
in the monumental erections in the ceme-
teries: and. also. in .he artistic memorial
windows placed in the churches-the last
happily a growing custom.
In the cemetery of Rock Creek We, of
Washington. are fortunate In possessing
three notable examples of high art, which
one may be permitted to hope are but the
foreruEuers of a general reformation in the
fashion of lasting tributes to the dead. 1t
Is my purpose to consider at some length
the latest of these, now approaching COM
pietiOn. but before entering upon detailed
description of this happy triumph OF Chris
tian art, it may be permitted briefly to call
attention to the two art works which have
preceded il.
The familiar assortment of simple head
stones and more ambitious monuments,
the towering shafts. broken columns, stone
cutters statues. shap 1less boUldeTs, and
smooth or rouSh-hewn masses or granite,
which cumber alike the quaint God
acre of the rural parish, and the crowded
cemetery of the metropolis, as well as the
show yard OF the stonecutter, are as mo-
EotonOuS in their SameneSS OF variety as
are the garments on the counters of the
dealers in meas ready made clothing. 1t
Is a relief to know that al last these
dreary collections of commonplace stone
cutting are casjonally TO he enriched by
works OF art the creations of scuptors
and not the mere merchandise of the
tradeSman-
On the slope of a gentle elevation, in sight
of one of ths main avenues in the cemetery
of Rock Creek, stands d magnificent sar-
in nf
one of the finest of the carved marble sar-
c0ghesi in the Vatican Museum in Rome
In its classic perfection of proportion. and
the protuse wealth of sculpture enriching
its surfaces. IL is noble and beautiful OBJ
ject. strongly in contrast with the many
costly monuments about il. and eXceIjnS
them by virtue of that art quality which
differences classic frCm modern work. 1t
is however. recognized as but coDy of
an early work. and not an individual crea-
Hon.
X Il =
Upon the opposite side Of The grounds,
screened from careless eyes by a thickset
growth o1 evergreens. there is what in its
Conpctcnoss must be recognized a
great work OF art. Entering within the
cUcirclius screen of foliage. ore sees
imposing seni-ciTcular seat Of carVCn and
POLISHED granite. surrounding sweep of
greensw ard. while directly opposite, seated
on boulder OF gray stone. towers mys-
terious figure Of bronze-an embodiment of
remorSeless resistless, hopeless fate.
This figure. with it's sweeping hreadtfs
o; drapery, its changeless features, its al
most awkward gesture of the lifted hard
TO the brow. challenges and rivets atten-
tion. one feels in its awful presence the
utter futiiity of human existence Befort
that stern embodiment Of despair comes
St1I.S of lifrlruPSS and hnuTlpSSDRSS M
Our puuy race. predestined 10 destruction.
This bronze Goddess of Destiny cares moth
Ing for human loves or sympathies. Re
mote from any connection with the hope
that daWned upon the world with the COM
Ing Of the lowly Jesus. 1t bears the impress
OF ddtvlesS antiquity, St GaudenS. the
sculptor, might as we'll have been a slave
o, Rameses the Grear as &. living artist OF
to-day. Is this the ef1iorcscence of the AZ,
Inspired by agnosticism; the expression of
the unbelief of the nineteenth century? In
This powerful personification of the tragedy
Df mortality the artist has. Willingly or uE
Willingly. spoken solemn sermon, from
those bronze lips fall whispers of hope,
Those sightless eyes reflect no CLEANS of
Immortal life,
Let us now leave the gloomy shadows of
the encircling evergreens. fit setting for
the somber statue. and come out into the
bright sunshine which floods the sky and
giaddens all with genial warmth. Let us
visit this newest art creation, which is at
once promise and performance.
Here. where free air and light make
cheerful the green sward on the spot
where. in the bosom of Mother Earth, the
loved ones OF the family to be laid fog
their final sleep. in the blessed hope of res
direction. Is placed this enduring memo
rial which illustrates with the most charm
ing expressiveness the cheerful human life
OF men. Seated at one end of high
backed encircling seat OF light granite
where easily the family might gather 70:
rest is a noble female figure. a modern
NnemOsyne. engaged in tying the ribbons
of a braided wreath of ivy, laurel and for
getrnenots, to be placed over the finely pro-
portfoned, graceful urn of bronze, which
stands on its pedestal little in advance
of the seat Figure and carved stone and
classic vase are all in harmony. As clear
ly as the somber statue by st. Gaudens
expresses despair, so this charming crea
ton by Partridge embodies the tender
recollections Of the home circle and while
giving TO memory its due need. but with
no sense Of hopeless sorrow, this Divinity
OF the Home
"A creature not toe Wise or good
For human natures daily food
With her features of ideal purity, hel
tender eyes. and her willing fingers busiec
With their plous task. seems TO say: Life
is good Our human joys and sorrows bu
binG our hearts in endless chain OF
Love, which Death has no power 10 sever
IL was requisite that Mary at the empt,
sepulchre, should have beheld ''Rabboni.
riser. In order that his beautiful embodi
Hlert Of happy human life and Christian
faith In immortality could be conceived
Upon the upper border of the seat. bacl
CT the sitting figure runs a line OF seye,
tablets. sketches in bronze wherein ar,
gracefully and lightly indicated the life O.
man. from birth to the last sad scene
These tell. with exquisite grace and a light
n ff,arU III f,1. t..