Everlasting Life

Ribeth Conson Appleby

1917 — 2000

James Scott Appleby

1921 — 1974

Annie De Prairie Appleby

1885 – 1952

The Appleby Family Monument features a bronze sculpture standing in front of a stone arched alcove. The diminutive woman is leaning forward as if she is taking a step forward.   Two symbols are apparent in the statute—an ankh and a palm.  She wears a necklace that has an ankh and holds a palm frond.  Both symbols have religious meaning.  The palm is a symbol of spiritual victory.  The palm was the plant that was laid on Christ’s path as he entered Jerusalem.  It became a symbol of martyrdom and resurrection.  In the Middle Ages people wore the palm to signify pilgrimage.  The ankh is an Egyptian symbol of eternal life.

The statue was sculpted by Pietro Lazzari (1895—1979) an Italian born artist who immigrated to the United States in 1925 when fascism in Italy was on the rise.  He was educated at the Ornamental School of Rome where he became a Master Artist.  Lazzari’s first solo exhibition took place in Paris.  He became well known for his paintings, printmaking, and sculptures.

Posted in Symbolism | Leave a comment

Skull and Crossbones

The zinc KEESE Family Monument in the Rock Creek Cemetery at Washing D.C. displays symbols representing The Knights of Pythias—a knight’s helmet surmounts a shield with a skull and crossbones and three letters, “F”, “C”, and “B”, which stand for the fraternal organization’s motto, FRIENDSHIP, CHARITY, and BENEVOLENCE, overlaid on crossed swords.

The Knights of Pythias was founded by Justus H. Rathbone in 1864, making it the very first fraternal organization to receive a charter under an Act of the United States Congress.  The society is based on the Greek story of friendship from 400 B. C. between Damon and Pythias, members of a school founded by Pythagoras.

According to their Website, Pythians: promote cooperation and friendship between people of good will, find happiness through service to mankind, believe that friendship is essential in life, view home life as a top priority, show an interest in public affairs, enhance their home communities, respect and honor the law of the land, and expand their influence with people of like interests and energy.

Posted in Symbolism, Zinc Markers | 3 Comments

Claddagh Ring

Carved into a gray Vermont granite gravestone in the Hope Cemetery at Barre is a design consisting of three symbols—hands clasping a heart surmounted by a crown.  This design is a traditional ring design, known as a Claddagh ring.  Each of the symbols found in the ring has a special meaning long associated with the Irish village of its creation, Claddagh, a small fishing town just located outside the walled city of Galway on the West seaside of Ireland.

The ring was first created over three-hundred years ago.  The heart represents love, as one might expect, the hands, friendship, and the crown symbolizes loyalty.  This a type of faith ring that was to represent an oath or promise often as an engagement or wedding ring but are also used as gifts from Mother to daughter.

The exact origins of the ring are not certain, though, most historians trace the design back to several makers of the ring in Claddagh in the mid to late 1600s.

Posted in Uncategorized | Leave a comment

Locomotive

Forest Home Cemetery, Milwaukee, Wisconsin

PAPA

MAX SCHUSTER

BORN OCT. 12, 1850

DIED SEPT. 17, 1895

 

MOTHER

Louisa Bindeman Schuster

1853 – 1918

The rustic movement of the mid-nineteenth century was characterized by designs that were made to look like they were from the country. Elegant and slim curved lines in furniture gave way to bulkier and heavier forms made from pieces that came directly from the trees often with the bark still intact. Homes, cabins, and garden houses were designed in the rustic style eschewing classic designs. In decorative furniture this often took the form of chairs made from rough tree limbs curved to form arms and chair backs, chair legs made from tree roots growing upwards. In cabins, railings and the siding were made from unhewn logs with the bark still in place.

In funerary art, tombstones took on the look of tree stumps. The gravestones were purposefully designed to look like trees that had been cut and left in the cemetery to mark a grave. Most of these tree-stump tombstones were carved from limestone, which is easier to carve, though some are made from marble and even a few from granite. The creativity of the carvers were boundless. Thousands of tree-stump tombstones exist in nearly as many designs.  Stonecutters displayed a wide variety of design, including this tree-stump design with a sculpture of a locomotive carved into the side of the stump.  According to Silent City: A History of Forest Home Cemetery by John Gurda and published by the cemetery itself, the gravestone with the artful train engine is a nod the Max Schuster’s career as a rail road engineer.

Posted in Symbolism, Treestump gravestones | Leave a comment

Stairway

The stony entrance of

This Sepulcher

GRENN MOUNT CEMETERY

Dedicated Sept 15, 1855

STOWELL BURIAL PLACE

Ledge work commenced – Completed

November 3 1898

KATE K STOWELL

1874 – 1968

  1. STOWELL LOWE

1893 – 1925

RUTH L. DEMING

HENRY L FARWELL

1870 – 1947

LILLIAN A STOWELL WIFE OF HENRY FARWELL

1871 – 1952

W H FARWELL

1898 – 1974

FATHER – MOTHER

DUREN STOWELL

1799 – 1885

ASENATH BAXTER

WIFE OF

DUREN STWOWELL

1837 – 1913

RUTH H MARTIN

WIFE OF

W A STOWELL

1844 – 1922

OUR SON

WILLIAM H STOWELL

1873 – 1897

William A. Stowell commissioned stone carver, Charles P. Bailey, to carve a unique sepulcher for the Stowell family.  The monument is a set of stairs carved out of a single piece of stone.  The symbolism is not clear, but could it represent a stairway to Heaven?

William A. Stowell was a prominent businessman in Montpelier as the Superintendent and General Manager of the Montpelier & Wells River Railroad.  He also served as the Vice President, Director and Managing Director of the Barre Railroad Company and general superintendent of the Montpelier & Connecticut River Railroad Company.

Posted in Uncategorized | Leave a comment

Real or Imagined?

Stories abound of the supernatural—apparitions that appear in gossamer gowns that fade into the murky night air, screams emanating from the “haunted” cemetery, sculptures that have eyes that glow red after dark.  How do these stories get started?  Are the stories true?  Are there things that just can’t be explained?

The Stepp Cemetery

One such tale has been repeatedly told about the Stepp Cemetery in the Morgan Monroe State Forest near Bloomington, Indiana, reportedly the most haunted place in the state. The stories that swirl around the cemetery first started around a fallen tree that resembled a chair that became known as the Witch’s Throne. That throne, however, was not a royal seat but a place of mourning and sorrow from a distraught and inconsolable mother. The legend told and re-told is of a young family. The husband works long days at the quarry—the mother busy in the cabin with a newborn girl. Tragically the husband is cut down in his prime in a quarry blast leaving the young mother to raise their little girl alone. She pours herself into the little girl, thinking of her every waking moment—protecting her, over-protecting her. The little girl becomes a young woman and catches the eye of a young man. Reluctantly and fearfully the mother agrees to let the boy escort the girl to a dance.

In a race to get back to the girl’s home before the curfew, the couple drove too fast on the country road slick with a gentle rain sliding off the road. The young girl didn’t survive the accident—the Mother’s heart broken, her dreams shattered, her spirit sent adrift with anguish and heartbreak.

Many campers and hikers have reported that they have felt warmed air as if a hot breath was on their necks. They have reportedly seen a dark fluttering presence hovering over what must be the long-forgotten grave near the Witch’s Throne and heard a faint sobbing.

While pictures of the apparition don’t exist or what we would call empirical evidence there are those who swear it to be true—their senses alive by the touch of the warm air and the sight of figure in the dark night. Is it real or imagined?

The Voodoo Queen

Marie Laveau was known as the Voodoo Queen and one of the most notorious practitioners of black magic in all of New Orleans.  Born in 1794 in Santo Domingo, Marie was well known throughout her adopted city of New Orleans for the potions she concocted and the spells she cast.

Marie lived a long life, giving birth to 15 children, including her daughter and namesake, Marie II, who took over for her mother when she died in 1881, casting spells for the denizens of the dark and believers in the cult.  For years after Marie died people claimed to see apparitions of Marie.  To this day, candles, coins, beads, and other gifts are still left at the crypt that is said to hold the remains of Marie and her daughter, Marie II.

The Black Angel

The black angel is in the Oakland Cemetery at Iowa City, Iowa, has dark stories surrounding it which probably began to swirl when the bright bronze statue turned black.  Teresa Dolezal hired Bohemian artist, Mario Korbel, of Chicago, to create an angel for her husband’s grave.  She also gave instructions that the angel was to hover over the body of her son’s grave, too.  Korbel created the angel with one wing spread open over Eddie’s grave.  No one remembers for sure when the angel turned color but that is when the rumors started.  One story goes that on the dark and stormy night of Teresa’s burial a lightning bolt struck the angel and turned it black instantly.  Another rumor suggests that the angel itself portends of the evil—most graveyard angels, they say, look upward with their wings lifted toward Heaven, but this one looks downward.  Ominous.

Leave it to a college town to turn the stories of evil into a reason to challenge the mysterious circumstances behind the color change of the sculpture and even build upon them making it a place for college co-eds to kiss!  The Iowa City college students created even more fanciful myths.  They say that if a college girl is kissed in the moonlight near the black angel, she will die within six months.  They also say that if you kiss the black angel you will die instantly.  Or touching the black angel at the stroke of midnight will bring death within seven years.  They also say if a virgin is kissed in front of the black angel the curse will be lifted and the angel will turn back to its original bright bronze color.  Hawkeye co-eds have performed many experiments of the kissing nature in front of the black angel and the sculpture is still black.  No deaths have been reported either as a result of the efforts of the college students—yet the rumors are retold with vigor and enthusiasm.

Black Agnus

The sculpture created by Karl Bitter for John E. Hubbard in the Green Mount Cemetery at Montpelier, Vermont, also has lore that has been promulgated.  Supposedly, if you sit on the lap of the sculpture, something bad will happen to you—some say in seven hours, some say seven days, some say seven months; the amount of time varies depending on who retells the story of the curse. Locals also tell of screams coming from the cemetery at night in the vicinity of the monument.  Others report seeing the eyes of the sculpture turn to glowing red, though, no photographic evidence of that has surfaced.

Posted in Uncategorized | Leave a comment

Compare

According to an article written by Cynthia Mills and published in Vermont History 68 (Winter/Spring 2000): pages 35-57, artist and writer Lorado Taft compared and contrasted Karl Bitter’s Thanatos and Augustus Saint-Gaudens’s Henry Adams funerary sculpture which became known as “Grief”.  Mills writes, “the Adams monument in Washington, D.C. [became] a touchstone for all draped bronze allegorical sculpture in American cemeteries at the turn of the century.”

The Adams memorial was created and designed for Henry Adams whose wife, Marian Hooper “Clover” committed suicide in 1885.  Thanatos was designed by Karl bitter for the John E. Hubbard Memorial.

Mills writes, “Lorado Taft wrote in 1903 of the Hubbard’s figure: “The breathlessness, the swaying arms, the grip of the hand, the pressure of the feet, the tangle of the enveloping shroud give this figure another kind of impressiveness from the awful calm of Saint-Gaudens’s sibyl.  Mr. Bitter’s conception is less majestic, but has an intensity which grows upon one.”

“Taft continued, however, to speak of the monument in words that could have been applied to the famous Adams monument itself:

“This unknown being, wrapped in its mantle as in one of [symbolist painter Elihu] Vedder’s swirls, this groping, unseeing creation, has in its make-up something ideal, of the large and deep, by virtue of which it seems full of significance.  The sculptor must have meant something by it.  What its meaning, each must read for himself.”**

**Lorado Taft comments in his chapter on “Decorative sculptors and men of foreign birth” in The History of American Sculpture, 1903, 460-462.

Posted in Famous graves, Symbolism | Leave a comment

Black Agnes, Isn’t!

The John E. Hubbard monument in the Green Mount Cemetery at Montpelier, Vermont, features a statue of Thanatos created by famed sculptor, Karl Bitter.  The monument is neither black nor Agnes—it is green and it Thanatos.  Thanatos, in Greek mythology, was the personification of death.

Oddly, however, this monument has become known in local lore as Black Agnes.  The monument may have been given the name based on a sculpture that was erected for General Felix Agnus, the publisher of the Baltimore American who was buried in the Druid Ridge Cemetery, at Pikesville, Maryland, outside of Baltimore.  The seated sculpture, that became known as Black Agnus and once decorated General Angus’s monument, was a knock-off of the sculpture that Augustus Saint-Gaudens created for the Adams monument in the Rock Creek Cemetery at Washington, D.C.

What is plain from looking at the Hubbard monument is that the “she” is a “he.”  Nonetheless, the name, Black Agnes, persists and a mythology of its own has been created around the sculpture.  Supposedly, if you sit on the lap of the sculpture, something bad will happen to you—some say in seven hours, some say seven days, some say seven months; the amount of time varies depending on who retells the story of the curse. Locals also tell of screams coming from the cemetery at night in the vicinity of the monument.  Others report seeing the eyes of the sculpture turn to glowing red, though, no photographic evidence of that has surfaced.

Separating Fact and Myth

What we know to be true is that the monument was created for John Erastus Hubbard (1847 – 1899) who was a prominent businessman and citizen in Montpelier.  When his well-to-do Aunt passed away in 1890, she left the bulk of her fortune to the city of Montpelier.  John contested the will and won the fortune which he added to his own sizeable holdings.  It caused many in the city to see Hubbard as a bit of a scoundrel who cheated the city out the bequest—which some estimated the fortune at $300,000—which was a King’s ransom in the 19th Century.

Hubbard’s reputation was nearly instantly tainted, but when he died less than ten years later, he left the bulk of his fortune to the city—some believe to polish his tarnished legacy.

On either side of the statue that dominates his tomb are the following two stanzas from William Cullen Bryant’s poem, “Thanatopsis” which would seem to indicate that Hubbard did not believe he had anything to be ashamed of:

THOU GO NOT LIKE THE

QUARRY SLAVE AT NIGHT

SCOURGED TO HIS DUNGEON

BUT SUSTAINED AND SOOTHED

BY AN UNFALTERING TRUST

 

APPROACH THEY GRAVE

LIKE ONE WHO WRAPS THE

DRAPERY OF HIS COUCH

ABOUT HIM AND LIES DOWN

TO PLEASANT DREAMS.

As the French proverb goes, “There is no pillow so soft as a clear conscience”.

Posted in Uncategorized | 3 Comments

Knights Templar

Next to several gravestones in the Hope Cemetery at Barre, Vermont, are small metal markers imbued with an amazing amount of symbolism.  The marker has at its center a cross and crown laid upon a triangle that is resting upon downward pointing swords in saltire.

All of these symbols point to the marker commemorating the grave of a member of the Knights Templar—that and the fact that at the bottom of the cartouche, the words—“St. Aldemar Com. No. 11. K.T.” gives us several clues.  K. T. refers to the Knights Templar.  “Comm.” is an abbreviation for commandery, one of the organizing units in the Knights Templar, a fraternal order associated with Freemasonry.

Posted in Uncategorized | Leave a comment

The Benevolent Order of Scottish Clans

Next to several gravestones in the Hope Cemetery at Barre, Vermont, are small metal markers.  The markers have a shield displaying a rampart lion overlaid on two crossbars and atop another shield with thistle leaves and thistle flowers flanking the top shield.  The letters B. at the top of the marker and O. S. C. at the bottom of the marker are initials that stand for the Benevolent Order of Scottish Clans.

Several of the symbols on the metal marker are significant to the Scots.  The rampart lion is the same heraldic symbol displayed on the royal Banner of Scotland which was flown by Scottish Kings.  The crossbar represents St. Andrew, the patron saint of Scotland, who was martyred at Patras in Achaea in Greece.  St. Andrew believed himself unworthy to die in the same way as Christ and requested he be lashed to a Crux decussate or an x-shaped cross.  The thistle is the National Emblem of Scotland.

The Benevolent Order of Scottish Clans fraternal organization was founded in the late 1800s in St. Louis, Missouri, by James McCash to would provide insurance and mutual aid to its members.  The organization also promoted the Scottish heritage by sponsoring the replaying of Highland games, dancing, picnics featuring Scottish foods, and playing bagpipes.

Fittingly, the order was founded on St. Andrew’s Day.

Posted in Uncategorized | Leave a comment