IHS

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STEPHEN ANDREW RYAN

FEB. 11, 1858

JUNE 11, 1908

On the gentle slope of a hill in the Westview Cemetery at Atlanta, Georgia, is the monument built for 50-year old Stephen Andrew Ryan, a native of Atlanta. Ryan was a merchant and a banker when his life was cut short after a year-long lingering illness.

The monument’s rough–cut cross towers over the figure of a woman who leans on one arm—looking expressionless into the distance. With her other hand, she holds a piece of paper or perhaps a handkerchief—in stone it is difficult to decipher for sure. The mourning figure’s graceful lines and smooth surface are a stunning contrast to the rugged cross behind her and used to give attention to the sculpture almost as a frame.

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Twining up the cross are rose vines with full roses blooming. The rose symbolizes love and may represents Ryan’s love of his wife, Daisy. Romantics have waxed poetic about the rose and the connection to love for centuries which has made the rose an undeniable symbol of love.  But, the rose also has a religious meaning, differing by color.  The white rose symbolizes purity while the red rose represents martyrdom and the messianic hope that Christ will return. Given the roses are adorning a cross, the second religious symbolism might be more in-line with what the creators of the monument were trying to convey.

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In the top of the cross are the initials “IHS” which have been used for centuries by Christians as a monogram, often referred to as a Christogram, for Jesus. The three letters are a Latinized version of the Greek letters ΙΗΣ (iota-eta-sigma), the first three letters of the name “Jesus” in Greek.

Ryan left a wife, Daisy, and an 11-year old daughter, Edith, behind. Neither is buried near him.

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Three Boys

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FRANCESCO

1914 – 1921

PIETRO P.

1915 – 1918

VINCENZO

1917 – 1917

SALERNO

This monument was created for three boys born in 1914, 1915, and 1917 to the Salerno Family. None lived into adulthood.

The sculptured likeness of 7-year old Francesco Salerno sits atop the monument in the Mount Carmel Cemetery at Hillsdale, Illinois.

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The gravestone was created in the Victorian style of memorializing children in funerary statuary.  The realism of the statue is remarkable. The white marble carving is a likeness of Francesco recreated from the photograph on the front of the base of the monument. While the settee on the monument is not an exact replica from the photograph, the carving of young boy is modeled after the picture right down to the shirt pocket and the position of the book he is holding in his lap to read.

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Along with the picture of Francesco is a picture of his brother Pietro.  Unfortunately, there is no picture of their infant brother, Vincenzo.

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War in Heaven

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Archangel Michael is the only named Archangel that appears in all three sacred texts of Judaism, Christianity, and Islam. Often referred to as St. Michael, Michael is actually an Archangel meaning that he is above all other angels in rank. In some of the many examples of the Archangel Michael found in the Mount Carmel Cemetery at Hillsdale, Illinois, whether in glass or stone, he is depicted as an angel wearing armor and wielding a sword. In each case Archangel Michael is triumphant over evil.

In the first example found in a stained glass window in a mausoleum in the Mount Carmel Cemetery, Archangel Michael is depicted with his arm raised as he readies Himself to plunge his sword into a fallen angel. Michael is bathed in light while the angel upon which he stands is depicted in a dark foreboding bilious green. This scene is an artistic recreation of the battle between Archangel Michael and Satan from the Book of Revelations (12:7-9):

And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels,

And prevailed not; neither was their place found any more in heaven.

And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.

According to the teachings of the Catholic Church, two of Archangel Michael’s responsibilities are to fight Satan, but also to escort the soul from this life to the next to stand in front of God in Heavenly judgment.

In the second stained glass window depiction of Archangel Michael, he is draped in the royal colors of purple—a prince of Heaven.

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In the scene, Archangel Michael not only fights and defeats Satan, but he carries with him the scale of judgment.   Satan, again depicted in darkness and is thrown to the ground with his arms up to protect himself. Satan is falling from Heaven into flames.

In both stained glass examples above, Archangel Michael is shown toward the end of the battle—wielding the sword which has not yet defeated its enemy. The battle between good and evil still engaged but not yet won.

In the depictions in stone below, the battle is over. Archangel Michael is shown with his sword in Satan’s mouth.

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And in all three cases, Satan is depicted as a dragon or a serpent, instead of a fallen angel.

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After the great battle, Satan is cast out of Heaven to Earth where he  attempts to deceive the whole world and to lead the righteous astray. The battle continues in the hearts of men and women.

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Ivan Adams, Stone Carver, Take Two

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Michael Shea of Rochester, New York read the gravelyspeaking blogpost about Ivan Adams—the Bloomington stone carver who carved the simple and elegant depiction of the Virgin Mary to mark his own grave.

Mr. Shea has shared photos of a statue, carved by Adams, for the Holy Cross Rectory, which was blessed by Bishop James E. Kearney on May 22, 1951.

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“The statue of Mary is 56 inches in height, including the base, and it rests on a 42-inch-tall pedestal, for an overall height of 8 feet 2 inches. Carved into its base is the name of its sculptor: Ivan L. Adams. Mr. Adams worked out of Monroe County, Indiana and created religious statues as well as carvings of a more secular nature. His portfolio includes carvings and columns for the Fine Arts Building in Chicago’s Grant Park in 1933 and the National Shrine of the Immaculate Conception in Washington, D.C., as well as the 21-foot tall statue of Our Lady of Lourdes which still sits atop the hospital of the same name in Camden, New Jersey.”

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IVAN L. ADAMS

OCT. 26, 1904

JUNE 18, 1969

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GLADYS J. ADAMS

JUNE 6, 1906

JAN. 7, 1988

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Many prepare for death by writing a will, saying goodbyes, buying cemetery plots, but few have the talent to go so far as to design and carve their own gravestone. But, that is exactly what Ivan Leon Adams did. He carved a spire-like figure of the Virgin Mary for his own gravestone. The simple but elegant limestone statue in the Rose Hill Cemetery at Bloomington, Indiana, marks his grave and his wife, Gladys’s grave. If you want something done right, you might as well do it yourself—which he did.

According to his obituary, which appeared on June 19, 1968, in the Daily Herald-Telephone, “Ivan L. Adams of 2921 South Rogers, one of Monroe County’s most famous stone carvers, died Tuesday at Bloomington Hospital.”

“Adams began his career in 1924 during an era when stone carving and the stone industry was at its height in Monroe County. Stone Carvers were the artisans of the industry then.”

“Ivan Adams worked on carvings and columns for the Fine Arts Building in Chicago’s Grant Park in 1933, the National Shrine of the Immaculate Conception in Washington, D.C., the 21 foot statue of Our Lady of Lourdes (hospital) at Indian Hill in Camden, N.J. and the Church of the Holy Redeemer.”

“He also worked on many of the landmarks around Bloomington and south central Indiana, such as Foster Quad at Indiana University.”

Carving above a doorway at Foster's Quad at Indiana University

Carving above a doorway at Foster’s Quad at Indiana University

An article that appeared in the Hoosier Times, Sunday, November 21, 2004, quoted Ivan’s daughter, Norma, “One of my favorite sculptures designed and carved by my father alone is Bernadette (patterned after Jennifer Jones, the actress who played the star role in the movie “Song of Bernadette”). The statue is located in Tulsa, Oklahoma, as is his sculpture “St. Francis of Assisi.” A very charming small carving that he designed and carved on the chimney at the old OBR building, 3rd and Dunn in Bloomington, showing a boy and kissing a girl.”

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In that same article, his daughter explains, that her father also worked on the sculpture of GI Joe that stands on the Monroe County Courthouse grounds. Norma explained that “it was not an unusual practice for a carver’s name not to appear on a carving.”

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Adams’ legacy is much more than the statue that marks his grave. His work can be found in the many carvings he did, many of which are unmarked and unknown to passersby but add to the beauty of our everyday surroundings. Some of which we walk by without much notice.

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Angel at the Door

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WILLIAM TALBIRD

CRENSHAW

AUG. 2 1858 – MAY 4, 1911

NANNIE RUCKER

CRENSHAW

MARCH 23, 1861 – DEC. 1, 1940

She hath done what she could.

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The Crenshaw Family Monument in the Westview Cemetery at Atlanta, Georgia, was built for William and Nannie Crenshaw. The white-marble tomb is built to look like an entrance into a stone cave. Standing in front of the doorway is an angel, wings back and one arm extended as if she is going to either knock on the door or open it.

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The angel figure is wearing a diaphanous gown that appears to be swirling as she lands on the top of three steps. Each of the three steps, in Christian symbolism, represents a different virtue—“Faith in the will of God…Hope for the dawn of that yet more glorious day and Charity toward all men.”

The door as a motif in funerary art symbolizes mystery.  The door also represents the pathway from the Earthly realm to the Heavenly realm—the doorway is the portal the next and better life.

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Grass Marker Beauty

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Sociologist W. Lloyd Warner was one of the first to study graveyard iconography and burial practices. In 1959 Warner wrote a monograph, The Living and the Dead, where he asserted, “cemeteries are collective representatives which reflect and express many of the community’s basic beliefs and values….” Life is reflected in the cemetery. One of the 20th Century changes that is evident is the influence of technology and rising labor costs. That can be seen in a type of gravestone called the grass marker. That is a gravestone that is absolutely flat with the ground—level with the grass—hence the name.

By designing markers in this way, large swaths of grass can be moved with ease on riding lawn mowers, reducing the cost of labor to move around various shaped gravestones. Now whole cemeteries often called Memorial Parks have nothing but this type of gravestone.

The unfortunate aspect of this, is that quite often these grass markers can be unique but are often overlooked.

One example of a beautiful gravestone in the Lake View Cemetery at Seattle, Washington, is for Michael Joseph Ehle, an artist from the Seattle area. Ehle grew up in Salinas, California, and started drawing at a very early age and he never stopped. Even when he was barely getting by as an artist, he washed dishes and took odd jobs to continue his art. His diligence and hard work paid off—now his works hang in the Tacoma Art Museum and the University of Washington Medical Center and the offices of Microsoft.

Ehle’s flat gray grass marker is designed with the graphic quality of a woodcut. While I don’t know what the symbolism is for the piece of artwork chosen for his marker, it is definitely reminiscent of his bold expressive artwork. The young man smoking with a raven on his shoulder looks wryly toward the passerby with a knowing expression.

If you don’t look down once in a while in a cemetery, you could miss the lowly grass marker that might have some surprises carved into the face of the granite.

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Lovebirds

 

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Marriage is tough. So tough that in the United States one in three marriages end in divorce. That, though, is nothing compared to how mating works in the animal kingdom. The female black widow spider, which is about half again bigger than the male, mates and then attempts to EATS the male! Most of the time the daring male escapes to romance another day.

The male praying mantis, however, is not so lucky. The unsuspecting male is lured to the female praying mantis who sets her trap with pheromones like the spray of perfume that attracts him into her orbit. When they mate the green femme fatale chews off her partner’s head. Ouch!

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Not every critter, though, is heartless. Lovebirds are the veritable poster animals for romance and commitment. Lovebirds mate for life—a romance that starts when they are 10 months old and is continued for their lifespan that lasts for nearly 15 years! And they are committed to each other. The tiny little colorful lovebirds sit next to each other for hours and even tenderly feed each other! When they are separated the lovebirds exhibit nervous and erratic behavior until they get back together.

So, it is right that the lovebirds atop the polished red granite gravestone that marks the graves of two couples buried in the Lake View Cemetery at Seattle, Washington, who celebrated long marriages.

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Cat Lover

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In Loving Memory

WHITFIELD

Hal

1937-1984

Jean

1936-2008

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The Hal and Jean Whitfield monument in the Lake View Cemetery at Seattle, Washington, has a whimsical look and message. Atop the gray polished granite shaft sits a sculpture of a round, highly-stylized cat with a bird sitting on its back. The two are looking directly at each other. The bird looks as if it might be daring the cat—the cat looks with suspicion at the bird as one natural enemy might to another. There they sit—coexisting.

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Written in gold lettering tracing around the statue is an epitaph that is surely shared by many cat lovers, “The More People I Meet, The More I Like My Cat”.  The epitaph is punctuated by a paw print carved into the stone.

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Weeping Angel

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William Wetmore Story (February 12, 1819 – October 7, 1895), the son of Joseph Story—Supreme Court Justice from 1811—1845, was a multitalented Renaissance man. Story was an editor, poet, art critic, and an incredible sculptor. Though trained as a lawyer at the Harvard Law School, he abandoned the legal profession to follow the arts.

His body of art work includes among others, a sculpture of his father, Joseph Story, fittingly at the Harvard Law School and a statue of another famous jurist and judicial colleague of his father’s, Chief Justice John Marshall. But the sculpture that has become replicated and imitated in cemeteries in Europe and America is the monument that he carved for his wife’s grave in the Protestant Cemetery in Rome, Italy.

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An article written in the Sept. 1896, issue of Cosmopolitan Magazine stated:

The loss of the wife of his youth whom he survived but a year, was a bitter blow; and with her passed his interest in affairs. It was only when his children suggested that he should make a monument to her memory that he consented to resume work; the design he chose was the “Angel of Grief”, and it is wrought to exquisite finish…When this was done he left the studio never to return.”

The statue marking Emelyn and William Wetmore Story’s grave depicts an angel collapsed and distraught in grief. The statue is dramatic and evokes the solemn loss of a loved one. The statue is known, aptly as the Angel of Grief perhaps because of its ability to capture devastating grief from departure due to death.

The statue’s imitators can be found in many cemeteries including the ones below:

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Perhaps one of the most elegant examples can be found in the Metarie Cemetery at New Orleans in the Chapman H. Hyams mausoleum. The blue light from the stained glass showers the statue in a calming hue.

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This example is in the Mount Hope Cemetery at San Diego, California, and marks the grave of Marjorie Marie Pierce.
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Marking the grave of the Hill Family in the Glenwood Cemetery at Houston, Texas, is a replica of nearly exacting quality.

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Irene Bagby’s marker in the Serbian Cemetery at Colma, California.

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Jennifer Roosevelt Pool’s monument in the Cypress Lawn Cemetery at Colma, California. Pool was the cousin of President Theodore Roosevelt.

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Two examples in the Green-wood Cemetery at Brooklyn, New York, have a slightly deviated design. In this version for the O’Donohue Family has the angel holding a wreath. The laurel wreath dates back to Roman times when soldiers wore them as triumphal signs of glory.  The laurel was also believed to wash away the soldier’s guilt from injuring or killing any of his opponents.  In funerary art the laurel wreath is often seen as a symbol of victory over death.

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This example is also found in the Green-Wood Cemetery at Brooklyn. It marks the grave of Michael and Shamsi Kaydouh.

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This example is found in the St. Luke Cemetery at Chicago. It is a small version and does not mark a grave but is used as a piece of artwork for the cemetery.  On the front of the monument is the poem:

The bud was spread, To show the rose

Our Savior smiled, The bud was closed. 

Anon.

 

 

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The Four Evangelists

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The Catholic Calvary Cemetery in Erie, Pennsylvania, has many tombs, gravestones, and markers imbued with Christian symbolism. One of the monuments in that cemetery has a display of all four of the Evangelists—St. Mark, St. John, St. Matthew, and St. Luke. The monument has four sides and in each alcove stands one of the Apostles. Under each statue of an Apostle is the symbol associated with Him.

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St. Mark is depicted as a winged lion. The emblem refers to Christ’s power and regal dignity.

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St. John is represented as an eagle because of his soaring writing in the Gospel that bears His name. Lecterns are often carved into an eagle in His honor.

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St. Matthew’s emblem depicts the Evangelist as a winged man to represent the divine inspiration that is possible for all of mankind. In statuary St. Matthew is often shown with a quill.

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St. Luke’s emblem is a winged ox. The Gospel written by St. Luke emphasized the sacrifice of Christ—the ox was an animal of sacrifice and associated with Luke because of his writings. The wings symbolize that Christ’s message is to travel throughout the globe. St. Luke is the patron saint of butchers.

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