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Inscription design

Robert L. Cook treated the inscription as a composition within the monument. His chapters compare the amount of text, the shape of the panel and the space between records. These are period design arguments rather than a required style for present-day memorials. (LM PDF pp.99-107)

Cook arranged the same couple’s record four ways: five lines for an upright panel, three for a wide panel, eight for a Colonial headstone shape and seventeen for a narrow one. Some examples shortened dates or omitted an initial. The comparison shows how changing the copy changes the design; it is not permission to alter a customer’s approved inscription. (LM PDF pp.102-104)

He favored a substantial lettering mass and suggested framing a large empty area rather than simply enlarging a small amount of text. He also considered later records before placing the first inscription. (LM PDF pp.102-104)

Cook used the panel’s diagonals to explore the height of the lettering block, then divided its remaining space into intervals. Related lines received smaller intervals than separate records. His alternative used lines at 45 degrees to compare equal top and side margins. These were drawing aids, followed by further sketches when the result was unsatisfactory. (LM PDF pp.105-106)

For gaps within a line, see letter spacing.

Cook included dates with the day before a written-out month and opposed automatically reducing every record to years alone. A. S. Hill preferred names and years on small headstones. Their different aims explain the disagreement. (LM PDF pp.100, 104; GMB16 PDF p.671)

Cook favored small triangular separators over conventional commas and periods in classic inscriptions. That preference belongs to his classical design system, not to a general rule of grammar or memorial practice. (LM PDF p.129)

  • LM p.99–107, 112, 129 (Robert L. Cook).
  • GMB16 p.650 (Huger Elliott); GMB16 p.671 (A. S. Hill).

LM publication record · GMB16 publication record.

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