Tomorrow for you

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HODIE NIHI CRAS TIBI

CHRISTIAN WIFE

TO RICHARD MORE

AGED 60 YEARS

DEC’D MARCH YE 18

1676

Two things strike me immediately about this gravestone in Burying Point, the first place set aside in Salem, Massachusetts, in 1637, for burials.  First, we don’t know the name of Richard More’s wife—only that she was a Christian wife to him.

Secondly, I am struck by the stark message of the Latin epitaph: HODIE NIHI CRAS TIBI, which translates to, “today for me, tomorrow for you.”  This epitaph is another variation on the more common epitaph that reads, “As you are now, so once was I, as I am now so you must be, prepare for death and follow me.”

As if the skull with wings topping this slate tombstone wasn’t enough to make the passerby contemplate death and mortality, the gravestone carver added an additional message to remind us of our impending doom.

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F. W. Blanchard, Part 2

Hollywood Forever Cemetery

Hollywood Forever Cemetery

Occasionally, gravestones and monuments give clues about the deceased that are subtle—and those clues can take different forms. In the F. W. Blanchard monument, for instance, there is a clue to what was a big part of Blanchard’s life and legacy resting on the lap of the mourning figure.

The scroll of a violin rests on the mourning figure’s lap, seemingly out of place, that is until more is known about Frederick W. Blanchard, the first president of the Hollywood Bowl.

Blanchard was born in West Millbury, Massachusetts, the son of a prominent business man. He made his way to Denver where he worked in and later opened his own music store, which flourished. He sold his interest in the business and kept moving west—to Los Angeles, where he established a music firm that promoted musicians. Blanchard became influential in the art and music world of his adopted city of Los Angeles, always at the center.

Blanchard:

Founded the Brahms Quartet

Served as President of the Los Angeles Symphony Orchestra

Served as President of the Development Association

Formed the Community Park and Arts Association of Hollywood in 1920, serving as President from 1920-23, which later became the Hollywood Bowl Association

Served as a member of the City Plan Commission

Served as Chairman of the Police and Fireman’s Relief Fund

Served as Chairman of the first Community Chest

Served as the president of the American Opera Association

Frederick Blanchard’s reach and influence in the city of Los Angeles, especially the art community, was far and wide. The tiny violin scroll, which goes almost unnoticed on his monument, is a nod to his interests and influence in music and the arts.

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Remember Me, Remember Me

Hollywood Forever Cemetery

Hollywood Forever Cemetery

Remember

Remember me when I am gone away, Gone far away into the silent land; When you can go no more hold me by the hand, Nor I half turn to go yet turning stay. Remember me when no more day by day You tell me of our future that you planned: Only remember me; you understand It will be late to counsel then or pray. Yet if you should forget me for a while And afterwards remember, do not grieve: For if the darkness and corruption leave A vestige of the thoughts that once I had, Better by far you should forget and smile Than that you should remember and be sad.

Christina Rossetti

The mourning figure on this monument is to make the passerby remember.  She clearly elicits an emotion of sadness, even flat out despair.  The mourning figure is carved into the glistening white marble monument in the Hollywood Forever Cemetery at Hollywood, California.

This mourning figure has collapsed against the back of the monument.  Her head is bowed in sorrow, her hair covers her face, and she weeps in complete desolate sorrow.  Her body entire body is bent in a display of grief.

It is difficult to look at the gravestone and not be moved by the expression of grief represented by the mourning figure and feel the loss and sorrow of the family who erected the gravestone for Frederick and Grace Blanchard.

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Portals

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A portal is an opening or entryway. They come in many forms—a door, a window, even your eyes and your mouth are considered portals. Many superstitions about death concern portals, many of which come from the Victorian Age, some of which still exist today.

The eyes, for instance, are considered the windows to the soul. Victorians believed the eyes were powerful, almost magical, even in death. When a person died therefore, the body had to be removed from the home feet first (most people died at home in the 19th Century). In that way, the eyes of the deceased could not look back and lure a live person to follow the dead through the passageway to death.

The Victorians also believed that as you passed by a cemetery that you needed to hold your breath. The fear was that if one opened one’s mouth, that a spirit from the dead residing in the cemetery would enter your body through the portal—the open mouth.

Another superstition had to do with the mirrors in the home. After a death, the family very quickly covered the mirrors. It was believed that mirrors were false portals in a sense. The Victorians believed that the spirit of the dead could enter a mirror and become trapped in the mirror. If the spirit did so, it would not be able to complete its trip through the passageway from the Earthly realm to the Heavenly realm, or in some cases, to warmer climes.

The door as a motif in funerary art symbolizes mystery.  The door is the portal from the Earthly realm to the next. In Christianity, the door is usually viewed with hope, charity, and faith.  The next life in the hereafter will be better than the one experienced here on Earth.

Green-Wood Cemetery, Brooklyn, New York

Green-Wood Cemetery, Brooklyn, New York

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Art Nouveau

Laurel Hill Cemetery, Philadelphia, Pennsylvania

Laurel Hill Cemetery, Philadelphia, Pennsylvania

The Art Nouveau movement was a bridge between Neoclassicism and Modernism and reached its popularity from 1890 to 1905.  Luminary artists such as Alphonse Mucha, Gustav Klimt, and Henri de Toulouse-Lautrec; glass designers Rene Lalique and Louis Comfort Tiffany, and Spanish architect Antoni Gaudi among others used long fluid lines inspired from florals and plants in their work.

The gray granite E. E. Walling mausoleum in the Laurel Hill Cemetery at Philadelphia, Pennsylvania, is an outstanding example of Art Nouveau design.  The flowing design around the doors and the bronze doors themselves exhibit the characteristics of the movement that made it popular.

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Rock-Faced Monuments

 

rock-faced_monuments_by_harry_a_bliss_1919_p9In 1919, publisher Harry A. Bliss produced Rock-Faced Monuments: Illustrations and Descriptions of Some of the Best Examples of Rock-Faced Memorials. The book was published in Buffalo, New York. The book’s focus and purpose was to extoll the beauty of rock-faced memorials and gravestones—examples fill the book. Rock-faced refers to “rough-cut” gravestones and memorials that do not have a polished finish.

In the introduction to the book Bliss writes, “Because of the natural beauty of the unfinished rock, there are many people who prefer it. It expresses certain commendable qualities such as, naturalness, love of the out-of-doors, and ruggedness of character.”

One of the many examples found in the book is a photograph of an angel standing in front of a rock-faced Latin cross. The text at the bottom of page 9 reads, “An angel figure, symbolic of Peace, as used on a monument is always appropriate, but when rock face is used as a background, the smooth lines of the figure are shown to double advantage and it stands out in a manner unattainable on a smooth monument. The rustic lettering fits well with the general scheme of the memorial.”

Many variations and examples of memorials of this kind can be found in cemeteries throughout the United States.  In the example below, a lily of the valley replaces the palm leave from the example displayed in the book about rock-faced memorials.  The lily of the valley was a symbol of purity, innocence, and virginity–which makes this flower a perfect choice for wedding bouquets.  Princess Grace of Monaco and Princess Catherine (Kate Middleton) both chose lily of the valley to carry down the aisle at their weddings.

Laurel Hill Cemetery, Philadelphia, Pennsylvania

Laurel Hill Cemetery, Philadelphia, Pennsylvania

The entire booklet can be found at the Quarries and Beyond Website: http://quarriesandbeyond.org/cemeteries_and_monumental_art/cemetery_stones.html.

The Quarries and Beyond Website was created by Peggy B. and Patrick Perazzo. It focuses on historic stone quarries, stone workers and companies, and related subjects such as geology. Whenever possible links of finished products are provided on the Website. There is a “Quarry Articles” section that presents articles, booklets, and links from the late 1800s to early 1900s, including the 1856 “The Marble-Workers’ Manual.” The “Cemetery Stones and Monuments” section provides references and resources, including many old monument magazines, catalogs, price lists, and a photographic tour “From Quarry to Cemetery Monuments.”

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Italian Model or Angel?

Bellfontaine Cemetery, St. Louis, Missouri

Bellefontaine Cemetery, St. Louis, Missouri

There is a story about “the girl in the shadow box”. It is an ancient story told and re-told of unrequited love that is also told about this statue. According to local St. Louis lore, the Herman Luyties’ (1871-1921) Monument in the famed Bellefontaine Cemetery displays the bodacious beauty sculpted marble likeness of an Italian model. As the story goes, Herman met her around the turn of the 20th Century while he was touring Italy.

Luyties was a highly successful St. Louis businessman who toured Europe.  While there, he fell in love with the voluptuous Italian and asked for her hand in marriage.  She declined.  He left the country broken hearted and without the love of his life.

But, before Luyties left Italy he commissioned a sculptor to replicate his true love in stone.  The statue that now adorns his grave, first graced the entryway of his home–a constant reminder of unrequited love.  The sculpture, weighing several tons, was moved from his home to the cemetery.  When the sculpture started to weather, Luyties had the monument front glassed in which is how the monument gained the moniker, “the girl in the shadow box.”

The image of the woman at the center of this story can also be found in the Green-Wood Cemetery at Brooklyn, New York, in the form of an angel–the hair, that body, even the drapery falls in the same way.  The statue that is strikingly similar marks the graves of John Campbell Maben (1837-1924) and Virginia Maben (died 1912) which raises the question about the Luyties story from St. Louis—was she real? Or is this figure the 1920s archetype graveyard female? Head tilted downward in sorrow, bobbed hair with a headband, and a pose of false modesty partially covering up her full body.

The John and Virginia Maben Monument in the Green-Wood Cemetery at Brooklyn, New York

The John and Virginia Maben Monument in the Green-Wood Cemetery at Brooklyn, New York

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Bones

Trinity Churchyard Cemetery, New York, new York

Trinity Churchyard Cemetery, New York, new York

As I walked through the Hartsdale Canine Cemetery at Hartsdale, New York, I noticed so many similarities between the gravestones of humans and animals. Of course, the gravestones for the dogs and cats are chosen by those humans that loved them, so it is only natural that there would be so much sameness in terms of the stone shapes, the materials for the gravestones, even some of the symbolism, but I also noticed what I believe are some fundamental differences in symbolism.

For instance, bones carved into a gravestone for a human in the 18th Century has a completely different meaning than the bone found on the gravestone for one of our four-legged friends! In the former, it is a symbol if decay and rot. It is to remind us that our bodies are temporary and that death is always with us, a constant creepy companion that will meet up with us eventually.

The bone, however, found on the gravestone of a dog, like Isabella in the photo below, is a reminder of what a dog loves—to gnaw on a bone, to fetch a bone. It is a joyful item and a reminder of a playful puppy with something yummy!

A world of difference in perspective!  One is all about Heaven and one isn’t.

Hartsdale Canine Cemetery, Hartsdale, New York

Hartsdale Canine Cemetery, Hartsdale, New York

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In the Dog House

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Dogs have been kept as pets since a pharaoh ruled Egypt, where they were kept in mud brick kennels. Their digs over the years evolved and, for the most part, our dogs either live inside our homes with us, or outside in a small pitch-roofed building resembling a tiny house. The memorial for Buster and Queenie in the Hartsdale Canine Cemetery at Hartsdale, New York, mimics the typical modern dog house.

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Our furry family members

Hartsdale Canine Cemetery, Hartsdale, New York

Hartsdale Canine Cemetery, Hartsdale, New York

 

Mt. Auburn Cemetery, Cambridge, Massachusetts

Mt. Auburn Cemetery, Cambridge, Massachusetts

When I write about our furry family members, I am not referring to those males in the family with hair on their backs, but instead, our little four-legged family members—our dogs and cats. As it turns out, with the exception of how much room is between gravestones, those who bury their pets choose much the same symbolism and gravestone choices as we do with our two-legged family members.

In the example above, the empty bassinet, represents the emptiness that is felt by the loss of the dogs buried underneath. It is much like the empty bassinet gravestone that marks the intricately-carved white marble gravestone of Mary Wigglesworth, who died just shy of her first birthday, her inscription on the pillow.  The symbolism is obvious.  The marker is clearly for a child but also represents the emptiness and sadness from the loss.

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Many gravestones also display a photo on the face of the gravestone. That is common in the Hartsdale Canine Cemetery in Hartsdale, New York, too.  The gravestone above displays a photo of a cat named, the Fifth Daisy, while the gravestone below displays the photo of 34-year old Anna Maddalena.

Mt. Olivet, Red Bank, New Jersey

Mt. Olivet, Red Bank, New Jersey

 

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