The Sarcophagus Tomb

Green-Wood Cemetery, Brooklyn New York

Green-Wood Cemetery, Brooklyn New York

Sarcophagus tombs are designed to look like coffins.  Most often they are set on a platform or a base.  The tomb is often embellished with ornamentation and nearly always has feet–but the “coffin” is empty–just an empty symbol of the receptacle.  This style of burial monument is ancient.

Green-Wood Cemetery, Brooklyn, New York

Green-Wood Cemetery, Brooklyn, New York

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.

Green-Wood Cemetery, Brooklyn, New York

Green-Wood Cemetery, Brooklyn, New York

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Venetian Gothic

Cave Hill Cemetery, Louisville, Kentucky

Cave Hill Cemetery, Louisville, Kentucky

With the exception of the ornamentation on the top of the Spotts Mausoleum, two nearly identical mausoleums, one in the Cave Hill Cemetery at Louisville, Kentucky, and the other in the Mt. Olivet Cemetery at Nashville, Tennessee, were designed and built in the Venetian Gothic style.

Owner of the St. Nicholas Hotel and Steamboat Captain Harry Innes Spotts was laid to rest in a mausoleum (above) designed by John Baird (1820-1894) who was the proprietor of the Steam Marble Works at Philadelphia which cut marble with steam power.   Baird’s shop gave customers standard designs to pick from.  Daniel Franklin Carter (1808-1874), a prominent Nashville banker, was buried in a mausoleum in the Mt. Olivet Cemetery at Nashville, Tennessee.

Both mausoleums are designed in the Venetian Gothic style.  Venetian Gothic architecture combined several architectural styles—Moorish, Gothic, and Byzantine—into a single style reminiscent of the building designs that brought a confluence of cultures together to create a flourish and lightness to the canals of Venice.  During the Victorian era, several architects drew from the Venetians for creative building designs that was part of a larger revival that intertwined several styles into one pleasing to the eye.

When the Spotts Mausoleum was erected in the Cave Hill Cemetery the local newspaper, the October 14, 1866 issue of the Louisville Daily Democrat wrote, “It is of Moorish style architecture…this mausoleum is one of the most permanent and tasteful structures yet erected in our far-famed ‘city of the dead.'”

Mt. Olivet Cemetery, Nashville, Tennessee

Mt. Olivet Cemetery, Nashville, Tennessee

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The Crown

Cave Hill Cemetery, Louisville, Kentucky

Cave Hill Cemetery, Louisville, Kentucky

The crown on the gray granite block gravestone of Cornelia McDonald in the Cave Hill Cemetery at Louisville, Kentucky, represents victory.  The crown is a symbol of glory and reward and victory over death.  The reward comes after life and the hard-fought battle on Earth against the wages of sin and the temptations of the flesh.  The reward awaits in Heaven where the victor will receive a crown of victory.

The crwon also represents the sovereign authority of the Lord.

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Egyptian or Greek?

Ararat Cemetery, Fresno, California

Ararat Cemetery, Fresno, California

The most famous sculpture of a sphinx is the Great Sphinx of Giza outside of Cairo, Egypt.  In the Egyptian tradition the benevolent mythological creature has the head of a man and the body of a lion.  The Greek sphinx, however, is usually depicted as a woman and sometimes with wings.  In addition to the gender difference, the Greek sphinx is also malevolent.

In the example in the photograph above, a couchant sphinx guards an Egyptian-style mausoleum at the Ararat Cemetery at Fresno, California.  It is clear that the sphinx in the photograph is female, albeit a homely one, because a deviant vandal has highlighted the areola with a smudge of pink paint on each of the breasts on the statue.  Even though this sphinx is partially modeled in the Greek tradition, it has the headress of a pharaoh.

The example below from the Forest Lawn Cemetery at Buffalo, New York, is a clear example of the Egyptian-style sphinx with the head of a man and the body of a lion.

Forest Lawn Cemetery, Buffalo, New York

Forest Lawn Cemetery, Buffalo, New York

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The Curse of King Tut

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The Darius Miller Mausoleum in the Rosehill Cemetery at Chicago, Illinois, is a magnificent example of Egyptian Revival architecture found in many large urban cemeteries. Egyptian ornamentation can be divided into three categories—architectural, geometric, and natural.  The mausoleum features–the cavetto cornice that curves into a half circle at the top of the tomb and above the doorway which is an example of architectural ornamentation; the torus molding that trails around the middle of the tomb, and the corners of the mausoleum that are designed to emulate long bundled papyrus; and the eight heavy columns with the highly stylized papyrus leaves at the top of each bell column are all examples of natural ornamentation.

The Darius Miller Tomb also features two winged globes with uroei above the doorway and on the side of the tomb in the cornice. In this example, there are three sets of falcon wings that are a symbol of the king, the sun, and the sky. The globe represents the Egyptian god, Horus. The uroei, snakes, are waiting to strike. They symbolize the king’s ability to ward off evil spirits. The tomb gives one the sense of solemnity and a sense of eternity, just as the temples of the pharaohs.

The story told on several Websites was that Darius Miller was fascinated with Egyptian art and architecture and that he supposedly had his tomb modeled after the Egyptian Temple of Anubis, the god of the underworld.  Also, because of Miller’s Egyptian obsession, Darius Miller was at the historic opening of the King Tut Tomb in Egypt.

Much has been made of the “curse of King Tut.”  Those who opened the tomb of King Tut and disturbed the contents would be susceptible to the curse, “Death comes on wings to he who enters the tomb of a pharaoh.”  Lord Carnavon, who funded the expedition to find and excavate King Tut’s tomb was, according to the legend of the curse, the first to die.  And many of the believers in the supernatural claim to this day that an eerie blue light emanates from the Darius Miller Tomb every May 1st and that he, too, was felled by the curse.

The problem with the assertion that Darius Miller died as a result of the curse is absolutely false.  First of all, Darius Miller died August 23, 1914, at Glacier Park, Montana, and King Tut’s burial chamber was not opened until February 17, 1923, a difference of roughly nine years.  Furthermore, Lord Carnavon did not die from the curse either—a mosquito got him!

The myth and mystery surrounding Darius Miller and his tomb, though debunked quite some time ago, was seemingly more interesting than the real story of a young Midwestern man born April 3, 1859, at Princeton, Illinois, who started out in the railroad business at the bottom and worked his way to the top.  By all accounts, Darius Miller did it by being a hard worker and by being nice to all those he came in contact with.  Darius began working in the railroad industry in late 1877.  He held many positions at many different railway companies–stenographer in general freight office at the Michigan Central Railroad; clerk in the general freight office St. Louis Iron Mountain and Southern Railway; chief clerk to general manager and general freight and ticket agent at the Memphis and Little Rock Railroad; general freight and passenger agent and then traffic manager at the St. Louis Arkansas and Texas Railway; traffic manager on the Queen and Crescent Route; traffic manager and then vice-president at the Missouri Kansas and Texas Railway. From November 15, 1898, to Dec. 31, 1901, Darius served as second vice-president at the Great Northern Railway.   On January 1, 1902, he was appointed first vice-president at the Chicago Burlington and Quincy Railway.

By the time of his death, Darius Miller had risen through the ranks to become the President of the Burlington Railroad.  The August 26, 1914, issue of the Lincoln Daily News, flashed the headline, “Tribute Paid to Memory of R. R. Official: Railroad men and other citizens of Lincoln who knew Darius Miller, president of the Burlington road, express keen regret over his death.  Two weeks ago President Miller and several other high officials of the road stopped for a short time in Lincoln on their way west in a private car.  At that time President Miller appeared to be in the best of health.

“Secretary W. S. Whitten of the Lincoln Commercial club knew him well.  When Whitten was chief clerk to the traffic manager of the Eastern Minnesota railway, a part of the Great Northern system, Miller was in the same building at St. Paul where Mr. Whitten was employed.

“Darius Miller was a grand, good man.” Said the secretary.  “He was modest and unassuming. It was no trouble to see him.  The door of his office was always open and it required no red tape to reach him.

“He was a great friend of young men.  I may say that he was like a father to the young railroad men under his jurisdiction.  H was ready any time with a word of encouragement and was never to busy to be helpful.  He was a remarkable judge of men and picked out his subordinates with rare skill and judgment.  He placed them on their mettle and when they made good they were rewarded with commendation and with advancement in the service.  He was a big, brainy and genial and was the ideal railroad official.  He belonged to the modern type of railroad executives who made friends for the railroad.  Matters of traffic taken up with him were easily adjusted when they has merit to them.  During the time I have been secretary of the Commercial club it has been necessary to seek the adjustment of vexing traffic problems affecting the commercial welfare of Lincoln with the Burlington and Mr. Miller has always been fair in his treatment.  It was a pleasure to do to him with such matters because of his broad understanding of traffic conditions.  The last time I saw President Miller was during the latter part of June when he came to the Commercial club in company with Vice President Byram.  At that time he looked at the corner room on the first floor with a view to renting it for the district freight department.  It was but a short time after this that the contract was closed with the railroad for the room.  When I happened in Chicago and dropped in to see him he was very friendly and courteous and was never too busy to see me.  I think no railroad official in a high place will be missed more keenly than Mr. Miller.”

B. N. Loverin, a passenger conductor on the Burlington running between Lincoln and Omaha was a schoolmate and boyhood friend of Darius Miller.  Both lived in Princeton, Illinois.  Loverin graduated from the high school of Princeton just a year before Miller.  After his graduation the latter went railroading.  President Miller always has a warm spot for his boy friend.  And when Mr. and Mrs. Loverin were in Chicago three years ago they called at the C. R. & Q. headquarters to see President Miller.  He had felt sure that Mr. Miller would get well.  Mr. Bignell said that Mr. Miller had endorsed himself to all classes of railroads employees by his kindness and consideration for them and his winning personality.

The Oakland Tribune August 24 1914, ran the headline, “RAILROAD PRESIDENT IS CALLED BY DEATH.”  Their article went on, “Glacier Park, Mont. Aug. 24—Darius Miller, president of the Burlington Railway, died here yesterday following an operation for appendicitis.  Miller was touring the park when taken ill and returned to the hotel for treatment.  Special trains brought physicians and nurses and the operation was performed Saturday afternoon.  Hope was held out for Miller’s recovery until late this morning when he quietly passed away.  Mrs. Miller, Louie M. Hill, Miller’s lifelong friend, and Hale Holden vice president of the Burlington route were at the bedside when the end came.”

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Classical Mourning Figure

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In the center of the Greenbush Cemetery at Lafayette, Indiana, is a monument erected to commemorate the dedication and founding of the cemetery association on February 12, 1848.  The pedestal is topped with a classical bronze mourning figure. The figure holds an urn in her hand.  The long narrow neck on the urn indicates that it may have been for collecting her tears; it could also be a cinerary urn. The cinerary urn is a container used to hold the ashes or the cremated remains of the dead. The urn was an almost ubiquitous 19th Century symbol found in nearly every American cemetery.

With her other hand the mourning figure is lifting part of her garment over her head to form a veil.  The veil represents the partition that exists between the Earthly realm and the Heavenly one–between life and death.

 

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The Square and the Compasses

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The metal marker from the Forest Home Cemetery at Forest Park, Illinois, marks the grave of a Mason.  It is the metal reproduction of what is perhaps the most recognizable emblem of the Freemasons, the square and two compasses.  In this example the letter “G” appears in the middle of the emblem.  Often the emblem is seen without the letter “G”.

Each component of the symbol represents a different Masonic orthodoxy, though, these are not hard and fast:

The compasses represent the boundaries of wisdom a person should have the strength to circumscribe and stay within.

The square symbolizes virtue in all actions, just as the expression “square deal” means treating people with fairness.

The letter “G” seems to have more than one meaning.  It could possibly mean God, as in the creator of the universe; or Gimel, which is the word for the third letter of many Semitic languages.  The number three is significant to many Masonic rituals and beliefs.  Some also believe the “G” may represent geometry.

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Victorian Angel

Mt. Calvary Cemetery, Columbus, Ohio

Mt. Calvary Cemetery, Columbus, Ohio

The young female figure, head looking down in reflection and sorrow, while holding a flower in one hand and clutching her breast with the other is a common Victorian funerary symbol. This marker at the Mt. Calvary Cemetery at Columbus, Ohio, is a traditional mourning symbol expressed as an angel.  Unfortunately, the flower is weathered beyond knowing what it is, though, it is likely a rose. This mourning figure is expressing the transitory nature of life. The statue is a floral metaphor for a young flower that did not have time to fully bloom on Earth, a poignant visual message.

OUR FATHER

THOMAS FOLEY

BORN IN

COUNTY, KERRY IRELAND

DIED APR. 20, 1900,

AGE 68 YRS.

ELLEN HIS WIFE

DIED AUG. 10, 1861,

AGE 38 YRS.

MARY HIS WIFE

DIED MAY 30, 1903,

AGE 68 YRS

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Winged Cherub’s Head

St. Joseph Cemetery, Lafayette, Indiana

St. Joseph Cemetery, Lafayette, Indiana

Several small cast-iron markers can be found in the St. Joseph Cemetery at Lafayette, Indiana.  These tiny headstones mark the graves of young children and are characterized by a cross and a winged cherub.  The cross, of course, is a universal symbol of Christianity.  The image of a cherub’s face with curled wings circling downward forming a circle is a winged cherub, a symbol that became popular in the 18th Century.  The winged cherubs replaced the stark and morbid flying death’s heads from our Puritan forefathers.  The cherubs have a childlike countenance of innocence.  The iconography represents the flight of the soul from the body upward to Heaven and the hope of the resurrection.

Frank X. Thoma

Born Dec. 11,

1889

Died Aug. 19, 1891

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Tree-stump open book

Forest Home Cemetery, Forest Park, Illinois

Forest Home Cemetery, Forest Park, Illinois

Tree stump tombstones, generally carved from limestone, were a part of the rustic movement of the mid-nineteenth century which was characterized by designs that were made to look like they were from the country. The gravestones are purposefully designed to look like trees that had been cut and left in the cemetery which was part of the movement to build cemeteries to look like parks. In funerary art, the tree-stump tombstones were varied—the stonecutters displayed a wide variety of carvings.

The tree-stump gravestones themselves were imbued with symbolism. The short tree stump often marks the grave of a person who died young—a life that had been “cut” short.  There is an ivy trailing up the front of the stump.  The ivy represents friendship and, like many symbols found in the cemetery, immortality.

This example is topped with an open book. The open book is a fairly common symbol found on gravestones. The motif can represent the Book of Life with the names of the just registered on its pages. This book, like any book in a cemetery, can also symbolize the Word of God in the form of the Bible.

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