The Bridgeport evening farmer., 1917-04-09
carver; no one piece of ornament was

carver; no one piece of ornament was exactly a replica of another piece, ana this same feeling has been obtained in the memorial, perhaps even to greater extent than in any classlcai monument. This freedom and lnd1- viduality was obtained by stimulating the carvers themselves with the prom ise that when a man had succeeded ln doing an exceedingly fine piece Of car wing he would be permitted to put his name upon the stone, not, 1ndeed, upon the face. where it would be seen, but upon the bed where it would De concealed, and so the individual man felt that there was a recognition or his own ability, and that that was ms stone, and his name was on it. There were about 20 of these carvers, all from Northern Italy, and they were all master, carvers as it happened that the work was done in. the winter, when there was practically little carv- ing done, and the pick of the profes- sion could be readily obtained.
 The panels in the pylons are a little over one foot high and about three feet long, and are in high relief, the detail being elaborated to an extent never before attempted in granite. Some of the stems of the leaves are no bigger than a match, and some or the larger stems and leaves are prac- tically free standing, so great IS the relief It is interesting to note that the entire memorial is not cut by machine, but by hand, and a smooth eggshell finish is obtained for the en- tire structure by the use of the ~pneu- matic tool. By. this original treat ment the granite appears much winter than if the same smooth surface was obtained by rubbing.
 The white bronze is an alloy con- taining an uusually large proportion of tin. and is known in the trade as Benedict metal. It does oot turn black as does ordinary bronze by exposure to the elements, nor does it stain the stone, and is dull pewter color, with a golden tinge which harmonizes ex- tremely well with the granite.
 The memorial itself consists of a circular colonnade of eight columns, IS feet in height, surmounted by a cornice and a cheneau course or. crest ing. There is no roof or covering; the colonnade is open, and similarly there Is no pavement in the circle inclosed by the columns, nor is there any stone
  itself, but the space between the col unns will be filled entirely with grow ing flowers, rhododendrons possibly, or plants whose flowers will be large enough to be in scale with the memOr- ial This cOlonnade rests upon suy- lobate of three steps, which stylobate is surrounded on the road side by a broad platform of Pompton pink granite, which contrasts admirably with the white granite of the memor- ial itself, while on the lake side there are, as before mentioned, the double flight of circular-stepS, flanked on each side by large pylOns, on the top of which are inscriptions of white bronze, let into the surface of the granite. There is also an inscription on the top step of the stylobate, and a dedicatory in the frieze of the entabla- ture.
 I have been often asked in what style the memorial was designed; was 1t Greek or Roman, or was it Ionic or Corinthian; and I have been forced to answer that it was none of these It was classic, I hoped, but yet it was modern. The columns and the csrs have a certain resemblance to an CT derF which was transitional between the Doric and the Corinthian and is best known from it's use in the little Cypsedra of Anc-or;ous Cyrrheste~, --1 Athens, sometimes called the Tower of the Winds. I do not mean to irsse- that the columns of the memorial are copies of nor are they similar to the order of the Tower of the Winds. They are merely of the same type, infinitely more refined in detail and better in proportion. The entablature is not similar to any entablature that I know of; it is extremely simple, relying for it's ornamentation on the exterior chiefly upon the carved cresting and the bronze inscription in the frieze, and on the interior upon the elabor- ate and effective frieze, which is carv-