To enter Oakdale Memorial Gardens, at 2501 Eastern Avenue in Davenport, one passes through twin stone pillars that stand 12 feet tall. The Art Nouveau side gates, made of patterned iron bars and a metal plate with an oak-leaf design at its center, are both beautiful and imposing, solemnly announcing the dignified purpose of the site within. Passing between the center pillars, we feel we're leaving the commonplace behind.

Through this passage - constructed circa 1897 - is a refuge from the fast-paced world. Arranged on the park-like expanse of lawn that stretches over acres of gently rolling hills, with massive oak trees and flowering gardens, are thousands of graves - and also many sculptures .

Oakdale, Chippiannock Cemetery in Rock Island, Riverside Cemetery in Moline, and the Mount Calvary and Pine Hill cemeteries in Davenport were the first garden cemeteries in the Quad Cities. Established in the 1850s, they also served as the first public parks in the area, providing a place for the general public to enjoy magnificent sculptures and garden settings previously available only to the wealthy.

(Our botanical parks weren't developed until some three decades later, such as Vander Veer Botanical Park in Davenport in 1885; it was among the first botanical gardens west of the Mississippi.)

The cemetery sculptures in this article were selected, in part, because of the artists' skill but - more importantly - for the artworks' capacity to communicate concepts and emotions. These works are examples of what funerary art can accomplish within a clearly circumscribed purpose - to help the living celebrate, remember, and mourn the dead.

For the most part, these sculptures are not creative, personal expressions of the artist. Yet they are not uniform in the feelings they convey. Some are comforting; others are stark reminders that life is brief. Some are massive and exotic, others humble and typical but no less evocative.

The entrance to the Freight House Farmers Market - at 421 West River Drive in downtown Davenport - is framed by a 15-foot-tall arched entry. The artist, Eric Mart, also created the gateway to his studio and the Sol-Iron Gallery at 620 West Third Street, just a few blocks away. Although both entires are made entirely of metal and are similar in size, one is welcoming while the other is intimidating. Their impact is shaped, in large part, by their settings and our associations with the objects used.

The brightly painted, freestanding entrance to the Freight House Farmers Market is flanked by a variety of flowering plants. It feels friendly and open. The handmade, cutout letters are playful. In this good-natured context, the tines of the pitchfork at the top of the arch seem to reach upward, almost like the rays of a rising sun. The vintage rotary hoes seem like pinwheels and flowers. Although the archway serves as a business sign, it is also a striking sculptural form.

On May 30, a 48-foot stretch of panels was set up on a row of easels for Kevin McQueen Lonergan II and Gary White to paint a graffiti-style aerosol-art mural on the Figge Art Museum's plaza. Interrupted daily by rain and wind over the course of the following week, the images and lettering of the mural were developed, painted out, rethought, and painted again in a roller coaster of creativity.

According to Lynn Gingras-Taylor, creative-arts coordinator for the Figge, "Kevin and Gary are recognized internationally as premier artists in their genre. They have been making aerosol art for more than 30 years."

She added: "The mural they have painted at the Figge is a wonderful, colorful mix of a painterly mural style and cutting-edge graffiti fonts. ... [W]e will exhibit it at the museum and will also display it at various Figge family events."

The artists continue to participate in street-art events across the nation; the next is Paint Louis on June 21 in St. Louis.

In celebration of the 25th anniversary of the Bix 7 race, a bronze statue of two runners was unveiled in 1999 at the corner of Fourth Street and River Drive in Davenport, in front of the Quad-City Times building. They are atop a five-foot pedestal and base on the eastern front of the Bix 7 Plaza, a circular garden with a walkway and honorary plaques that commemorates the participants and contributors to the annual race. The runners are Bill Rodgers, who won the seven-mile race twice, and Joan Benoit Samuelson, a four-time Bix 7 women's champion. Both athletes represented the U.S. in the Olympics; Samuelson was the gold medalist in the first women's marathon.

The life-size sculpture depicts the runners side-by-side, running nearly in tandem with a similar stride that conveys a sense of equity between the genders in sports. The figures are confident but not triumphant - not stretching their arms out in victory.