Probably no more affecting words were penned
in regard to the cemetery than those of Henry
James. On visiting the grave of Constance Fenimore Woolson in the cemetery, James wrote to her
sister, Clara Woolson Benedict, in 1907 that
The most beautiful thing in Italy, almost, seemed to me
in May and June last, the exquisite summery luxuriance
and perfect tenderness of that spot. I mean, of course,
that very particular spot below the great grey wall, the
cypresses and the time-silvered Pyramid. It is tremendously, inexhaustibly touching--its effect never fails to
the figure thus produced, unsurpassed, in all his work,
for intensity of expression, mingles the sincerity of its
message now, for all time, as we may say, with that exquisite, soundless collective voice that nowhere hangs
in the golden air with such a weight--resting here, so
sensibly, straight upon the heart--as in that flower-
smothered corner, beneath the time-silvered Pyramid,
where Shelley's ashes supremely ennoble the interest
and the passion of his verse, hauntingly, returns upon
the beauty; the spot, in a word, at which mind never
glances without some fine enjoyment of the fact, even
some harmless triumph in it, that the place of sweetest
sanctity in all Rome should so oddly chance to be dedicated to the great other, the great opposed faith.
The Cogdell monument is mentioned only in passing both in A. S. Salley Jr., "An All-Accomplished
Man: John S. Cogdell, Lawyer, Banker, Artist and Musician," Sunday News ( Charleston, S.C.), July 14, 1901,
and A. W. Rutledge, "Cogdell and Mills, Charleston
Sculptors," Antiques, XLI, March, 1942, 192-93, 205-208. Frazee's tablet to Sarah Haynes is discussed
by F. S. Voss in
National Portrait Gallery, John Frazee,
Sculptor, 1790-1852, Washington, D.C., 1986, 25. The only
study of Augur's career remains G. H. Hamilton "Hezekiah Augur: An American Sculptor, 1791-1858,"
M.A. thesis, Yale University, 1934.
An exception to the lack of scholarly accounts of
the sculpture in rural cemeteries can be found in F. A. Scharf
, "The Garden Cemetery and American Sculpture: Mount Auburn," Art Quarterly, XIV, Spring 1961, 80-88; the Perkins monument by Greenough is mentioned on 87-88. For Lewis's Hunt monument, see L. Bullard
, "Edmonia Lewis," The Revolutiory XX, April 1971.
The most significant discussion of Launitz' career
is T. H. Bartlett, "Early Settler Memorials. XI. Robert E.
Launitz," American Architect and Building News, XXII, 6,
August 1887, 59-61. For Palmer Angel of the Sepulchre, see J. C. Webster, Erastus Dow Palmer, Newark, Del., 1983, 141-43, with a full bibliography on this
work. It is also featured in H. P. Phelps, Albany Rural
Cemetery, Albany, N.Y., 1893, 125-29. Rinehart's Baltimore cemetery monuments are discussed in W. S. Rusk
, William Henry Rinehart, Sculptor, Baltimore, 1939, and M. C. Ross and
A. W. Rutledge, A Catalogue
of the Work of William Henry Rinehart, Maryland Sculptor, 1825-1874, Baltimore, 1948.
For Hosmer's Falconnet tomb, see C. Carr, Harriet
Hosmer, Letters and Memories, New York, 1912, 115-17, 136-37 and Dolly Sherwood, Harriet Hosmer, American
Sculptor, 1830-1908, Columbia, Mo. and London, 1991, 142-45. For Pettrich's Pacca tomb, see H. Geller, Franz
und Ferdinand Pettrich, Dresden, 1955, 164-66.
For the Crawford monument, see L. Dimmick, "A
Catalogue of the Portrait Busts and Ideal Works of
Thomas Crawford (1813-1857), American Sculptor in
Rome," Ph.D. diss., University of Pittsburgh, 1986, 644.
For Rogers' several tomb monuments, see M. F. Rogers Jr.
, Randolph Rogers, American Sculptor in Rome, Amherst, Mass., 1971, 115-16, 164, 213, 227.
On the English Cemetery in Florence, see T. André
, L'Eglise Evangélique Réformée de Florence depuis son origine jusqu'à nos jours, Florence, 1899,