Calla Lily

In loving remembrance

of

MARY E.

Wife of

John P. Eimer,

Born Aug. 12, 1855,

Died Sept. 28, 1888

Tis hard to break the tender cord

When love has bound the heart

Tis hard, so hard, to speak the words

Must we forever part.

 

The white marble obelisk resting on a plinth and base, marks the grave of Mary Eimer, a young wife of 33 years old.  Carved on the sides of the gravestone are the names of the two sons, Georgie and Freddie, she lost before she herself died.  A single symbol of a hand holding a calla lily adorns the obelisk.

The calla lily is a stunner with its long slender stem, brilliant white flowers, and broad leaves.  Though it is called a lily it is actually not in the flower family liliacea.  The South African native is actually a cousin to the jack-in-the pulpit and is in the family of araceae. In Africaans the calla lily is called the Varkoor, or pig’s ear, because that is what they believed it resembled. The calla lily was imported out of South Africa in the later part of the nineteenth and early twentieth century.  It almost immediately became associated with Easter and is sometimes referred to as an Easter lily.

The calla lily represents majestic beauty and purity and is often used on gravestones to symbolize marriage.  In some cases, the calla lily can also represent the resurrection.

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A Bedford Stone Carver’s Artistry

ANISE E. HART

DEAR PARENTS WITH A

REVERENT HAND,

THIS TO THY MEMORY GIVEN

WHILE ONE BY ONE THY

HOUSEHOLD BAND,

GOD REUNITES IN HEAVEN.

(On the front of the gravestone)

 

Anise E. Hart

September 28, 1897

July 28, 1909

(on a separate gravestone next to the monument)

 

JAMES F. HART

JAN. 1, 1861 – JAN. 28, 1922

ALICE C. HART

FEB. 20, 1865 – MAR. 10, 1931

(On the back of the gravestone)

 

In the book, Guardians of the Soul: Angels and Innocents, Mourners and Saints—Indiana’s Remarkable Cemetery Sculpture, by John Bower, the author writes eloquently about the sculptures of children that are found in cemeteries that dot the countryside.  “Without a doubt, the statues of children are the most poignant I’ve come across in cemeteries.  These innocents who were supposed to outlive their parents, but didn’t—having passed away on, barely tasting life—leave a deep, enduring ache in the hearts of those left behind.”

Bedford, Indiana, is the home of many limestone quarries and also the home of many very fine stone carvers.  One of those talented carvers was Ira Correll.

The August 27, 1978, Indianapolis Star article by PHYLLIS J. REED, read, “The talents of Bedford’s stone sculptors were eagerly sought by leading architects and builders of yesteryear who wanted to adorn their structures with classical beauty. One of the most distinguished names among this elite group of artisans was Correll. This family’s art spans more than 100 years and can be found in cities nationwide. Hoosier born Ross Correll, now 81, makes his home in Houston, Texas, and still recalls those early days when he trained under the guidance of his grandfather, George Paul Correll, his father, Ira, and his two uncles. “My father carved hundreds of Civil War soldiers when I was a youngster both Yanks and Rebels. They were so beautifully lifelike that they would take my breath away,” he muses.  He also carved the figure of 12-year old Anise E. Hart in 1909, which was erected in St. Peter’s Cemetery in Montgomery, Indiana.

According to the Smithsonian Save Outdoor Art, Indiana Survey, the limestone statue of the young girl was carved by Correll from a photograph of Anise.

The description from the Smithsonian survey describes the statue as “wearing a dress, a layered blouse with fluffed sleaves, a belt, high-laced shoes, and a bracelet on her proper left wrist. Her hair is in long ringlets, caught with a bow in the back. She holds a small bunch of roses in her proper right hand.”  The limestone figure stands upon a red granite base decorated with small Corinthian columns, and a cross.

Other examples of Ira Correll’s work are:

  • Statue of Abraham Lincoln for the Old Settler’s Park in Odon, Indiana
  • The Boy’s Town statue at Omaha, Nebraska, of a boy carrying another lad on his back, inscribed ‘He ain’t heavy he’s my brother.’
  • Two Texas Rangers for the Texas Ranger Hall of Fame in Austin
  • Statue of Stephen Austin at the Texas Statehouse
  • And countless statues, including Civil War soldiers who fought for the North and those who fought for the South

Roy Bear, another well-known and highly-regarded Bedford stone carver, and Ira Correll partnered for several years in the late 20s and early 30s to create other architectural monuments and statues:

  • A dozen Grecian Ionic capitals on fluted columns were made for the Art Museum of Houston, Texas;
  • Four large Egyptian-style murals for the Athletic Club in Chicago, Illinois
  • Four great eagles for a Harrisburg, Pennsylvania, bridge
  • The Benjamin Franklin Memorial on the Parkway in Philadelphia, Pennsylvania, with full-dressed Corinthian capitals on fluted columns

The work of artists like Roy Bear and Ira Correll can be found all throughout Indiana and the United States.

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Keyhole Doorway

William Farrington Aldrich

March 11, 1853 Palmyra, New York

October 30, 1925 Birmingham, Alabama

William Farrington Aldrich was an Alabama Congressman from 1896 until 1901, a successful mining businessman, and editor/owner of the Birmingham Times.  Upon his death in Birmingham, his remains were cremated and interred in the Aldrich family mausoleum in St. Paul’s Rock Creek Cemetery in Washington, D. C.

The eclectic gray granite mausoleum mixes several styles into one harmonious building tucked into the side of a hill within the cemetery.  The four columns are a modified Ionic design.  The rounded-top windows are reminiscent of Romanesque architecture.  The centerpiece of the crypt, which dominates the mausoleum, is the keyhole doorway, a feature of Moorish architectural design.

The interior of the crypt has three kinds of gothic arches framing the alcoves that house the urns.  Each shelf has a different design—rounded arches separating the alcoves on the top, cinquefoil arches in the middle, and pointed arches on the bottom shelf.  Each urn is embellished with a flame.  Like many Christian symbols, the flame has several different meanings—eternal life, religious fervor, and vigilance.  The flame can also represent martyrdom.  Each of the urns has a name carved into it and holds the person’s cremated remains.

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Cross Potent or Crutch Cross

The symbol carved into the black granite gravestone in the St. Nickolas Ukrainian Catholic Cemetery in Chicago is of a cross surrounded by a wreath.  This cross is known as a cross potent or crutch cross.  It is a heraldic cross with bars of equal length with crossbars at the four ends.  These crossbars were also known as “crutches” or “potent” which is from a bastardized version of an Old French word “potence” which meant “crutch.”

This form is also described as a cross made of four Tau crosses and still referred to as a Cross Potent.  The Tau cross looks like a capital “T.”  Some believe because the Cross Potent is made up of Tau crosses, which look like crutches, that it represents the healing power of Jesus Christ. In 1191 Emperor Henry VI formed the Teutonic Order using the Cross Potent as its symbol.  The order was founded as a hospital order.

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Seven Ages of Men

Samuel Hay Kauffmann

February 24, 1898

January 12, 1971

The memorial commissioned in St. Paul’s Rock Creek Cemetery and created by sculptor William Ordway Partridge (April 11, 1861 – May 22, 1930) for Samuel Kauffmann, long-time owner of the Washington Evening Star, is a classical Greek ode to life and to death with a Shakespearean addition.

The monument features an exedra, a semi-circular structure, often with a bench with a high back. Originally the exedra was designed in antiquity to facilitate philosophical discussion and debate. In cemetery architecture the exedra is usually part of a landscape design.

Continuing the classical design, the seated sculpture is of a woman dressed in classical clothing, flowing gown and sandals.  The allegorical figure represents “Memory.”

Her head is bent in sorrow and she is depicted holding an asphodel wreath.  The asphodel plant has been associated with the mythology of death and the afterlife since ancient Greek times.

The centerpiece of the memorial, however, is pure Shakespeare.  Bronze panels on the back of the exedra illustrate the Seven Ages of Men from Jaques’ monologue in Act II of Shakespeare’s, As You Like It.  The phrase that begins the description, “All the world’s a stage,” is likely one of the most often quoted Shakespearean passages.  It would seem that that play has seven scenes according to Jaques.  The bronze panels depict the seven ages as described in As You Like It in italics below:

Infancy:

At first, the infant,

Mewling and puking in the nurse’s arms.”

In this first stage of life, the infant is helpless and knows nothing.

Schoolboy:

Then the whining schoolboy, with his satchel,

And shining morning face, creeping like snail,

Unwillingly to school.”

The school boy is unsure of himself and wants to stay in the close and protective comfort of home.

The Lover:

“And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow.”

Men at this stage of life is quick to express his love and share his feelings.

The Soldier:

Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth.

At this stage, man is quick tempered and willing to take risks, to build his reputation.

The Justice:

And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part.

After gaining wisdom and social status, man strives to enjoy his gains and the finer things in his life.

Old Age:

The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound.

In old age, the once strong and vibrant man now becomes weak physically and mentally, literally shrinking.

Incapacity:

Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.”

In this last stage, man reverts to the beginning at where he started in infancy—totally dependent on the care of others.  The ultimate end, of course, is death.

All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages. At first, the infant,
Mewling and puking in the nurse’s arms.
Then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow. Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

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Monumental

IN MEMORY OF

CHARLES MATHER FFOULKE

1841-1909

SARAH CUSHING

HIS WIFE

1852-1926

AND THEIR CHILDREN

HORACE CUSHING FFOULKE

1876-1903

GWENDOLINE FFOULKE

1884-1904

CHARLES MATHER FFOULKE II

1889-1912

 

AND

HORACE CUSHING

BELOVED FATHER OF SARAH CUSHING

1819-1865

THE END OF BIRTH IS DEATH

THE END OF DEATH IS LIFE AND

WHERFOR MOURNEST THOU

 

John Gutzon de la Mothe Borglum (March 25, 1867 – March 6, 1941) was an American of Danish-American ancestry born in St. Charles, in the Idaho Territory.  His father, Jens Moller Haugaard Borglum, was a wood carver before he studied homeopathic medicine and became a doctor.  Both of the Borglum sons, Gutzon and Solon, were accomplished artists and sculptors.  Gutzon studied art in New York where he became well known for his work.  In fact, President Theodore Roosevelt displayed a sculpture of Abraham Lincoln created by Borglum in the White House.  In the early 1900’s Borglum was commissioned by the Cathedral of St. John the Divine in New York to sculpt saints and apostles.

Like many artists of his day, including Daniel Chester French, Augustus Saint-Gaudens, Aldabert Volck, Felix Weihs de Weldon, Karl Bitter, Martin Milmore, Alexander Milne Calder, T. M. Brady, Albin Polasek, Harriet Whitney Frishmuth, Edward V. Valentine, Sally James Farnham, Adolph Alexander Weinman, and others, Borglum was able to earn his living creating sculptures, public and private.

His best-known work is the iconic Mount Rushmore, which has become the symbol for the state of South Dakota.  Little known, however, is his preparatory work on the Stone Mountain Georgia monument to the Confederacy.  He started working on it, and even completed the design when he became embroiled in a disagreement.  He abandoned the job leaving another artist to complete it.  However, Stone Mountain gave him valuable experience for his later work sculpting presidents George Washington, Thomas Jefferson, Theodore Roosevelt, and Abraham Lincoln on a monumental scale on the side of a mountain.

The Ffoulke family cemetery monument commissioned in 1909 was created by Borglum.   The life-size bronze sculpture depicts Mary Magdalene dressed in a flowing robe and raising her right hand at the moment she recognized that Jesus Christ had risen from the grave.  The biblical scene depicted by the bronze is from John 20:16, “Jesus saith unto her, Mary.  She turned herself, and saith unto him, Rabboni; which is to say, Master.”  RABBONI is carved in the base upon which the sculpture rests.  Rabboni is the Hebrew word for Rabbi.

Charles Mather Foulke was a well-known and successful banker in Washington, D.C., who initially made his fortune as a wool merchant in Philadelphia.  He also gained fame for his collection of world renowned tapestries including the 17th Century Barberini tapestries.

 

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The Sarcophagus

LORETTA

RECKMEYER

1893 – 1959

WILLIAM F.

SANGER

1875 – 1955

CORNELIUS O.

SANGER

1869 – 1943

MARGARET

SCHULER – SANGER

1871 — 1929

The large sarcophagus of the Sanger family in the Calvary Cemetery in Milwaukee, Wisconsin, is a massive limestone tomb embellished with winged cherub heads, their eyes closed.

The sarcophagus is an ancient burial monument designed to look like a coffin.  Most often they are set on a platform or a base.  The tomb is often embellished with ornamentation and nearly always has feet, though this one does not.  But the “coffin” is empty–just an empty symbol of the receptacle.

The word, sarcophagus, is derived from two ancient Greek words, sarx, which meant flesh and phagein meaning to eat.  The two words together, sarkophagus, meant flesh eating.  The term came from the limestone used by the ancient Greeks to bury the dead which was thought to decompose the flesh of the deceased.

The winged cherub was a symbol that became popular in the 18th Century.  Winged cherubs replaced the stark and morbid flying death’s heads from our Puritan forefathers.  The cherubs on the Sanger family have their eyes closed as though they are sleeping.  The iconography represents the flight of the soul from the body upward to Heaven and the hope of the resurrection. In this motif the wings give flight not only to the soul but to time.

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