Reading a headstone – popular graveyard symbols and their meanings

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cemetery symbols, Christianity, death, Felbrigg, Free masons, Funerary art, graveystone, headstones, iconography, memento mori, monuments, mourning, reading gravestones, skulls, symbols, tombstones, Victorian Death

Popular graveyard images explained

This is the companion piece to my stroll through a graveyard post, which covered a very brief history of British cemeteries and headstones. In this post, I’ll be looking at the meaning of some of the common images and symbols that can be found on historic headstones up and down the UK. It’s important to be aware that because the topic of graveyard iconography is so vast, and can vary widely depending upon locality and beliefs, this article is not intended to be comprehensive. Instead I will focus on some popular eighteenth and nineteenth century memorial styles, many of which I have come across during coronavirus inspired rambles around my local area.

Anchors

Anchors have Christian symbolism as well as a more prosaic meaning denoting sailors or the Royal Navy. In Christian tradition they go back to the catacombs of the early Christians, and were secrete symbols of Christianity, like the fish. Anchors symbolise hope[1]. The example below is from a war grave and denotes a member of the Royal Navy, the other from an earlier grave, possibly of a mariner.

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Angels

Cemeteries are often filled with sculpted angels casting their benign gaze over the graves of the Victorian departed. There are several popular types of angel with different meanings. Grieving angels drape themselves in mourning over the dismantled altar of life, angels clutching flowers rue the fleeting nature of life, praying angels emphasise religious faith. Other angels are more judgemental – the recording angel with their book and the angel Gabriel with his horn, a sentinel waiting to call the Christian dead to rise of the day of the last judgement. and some angel images are unique, such as in the monument to Mary Nichols in Highgate Cemetery, which depicts an angel sleeping on a bed of clouds.

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Arches

Arches symbolise victory of life or victory in death [2] or the gateway to heaven [3]. This would send a reassuring message to the mourners as they passed under the grand arched entrance to All Saints Cemetery in Jesmond.

All Saints Cemetery entrance, Jesmond, Newcastle.

Arrows

Arrows are memento mori, symbolising the dart of death piercing life, and can sometimes be found wielded by skeletons, to drive home the link to mortality. The arrow below is linked with a pick, symbolising mortality, and a knot which was often used to symbolise eternal life.

Books

Books can appear in a variety of forms, open, closed, piled up. They can represent the Bible or word of God, the book of life, learning. A closed book might symbolise a long life, an open or draped book can symbolise a life cut short (4). The example below acts as a Memento Mori, reminding the living that they too will die, and is augmented with a skull and bones rising up through the earth.

Chest tombs

Chest tombs were popular from the seventeenth century, the leger stone on top, with details of the deceased, was raised up on a chest-like structure. The body is not buried in the chest, but beneath the structure. The example below is from St Lawrence’s church, Eyam, Derbyshire, and incorporates the skull and crossbones iconography (the essential remains that Christians believed were required in order to rise on Judgement Day).

Cherubs

Cherubs often symbolise innocence and are popular on the tombs of children. The cherub below left is from Grey Friars Kirkyard, Edinburgh, and rests its elbow on a skull, an obvious symbol of death and mortality. The example on the right, from Jesmond Old Cemetery, Newcastle, the cherub holds arose and flower bud, the rose can symbolise heavenly perfection or mother, while the broken bud could represent the fleeting nature of the young lives commemorated by the monument [5].

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Clouds

Clouds represent the heavens, below, an angel peeks out from behind the clouds, which are pierced by the rays of the sun.

Columns/broken columns

Columns again hark back to a classical tradition. A broken column represents a life cut short, often the head of the family. The example on the left is from Jesmond Old Cemtetery, Newcastle, while the one on the right, with the addition of a wreath for remembrance is from Highgate Cemetery, London.

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Coats of arms

Usually designates a family or individual or location. The example below seems to be from a proud Novocastrian, as it was erected in St Andrew’s church in Newcastle and the crest bears some similarity to the coast of arms of Newcastle (three towers), rather than to the family name of the deceased. It also shows a mason’s compass and set square.

Crown

The kingdom of heaven.

Doves

Doves can be seen flying downwards and upwards, with broken wings and carrying olive branches. Broadly speaking a dove flying up is the soul flying up to heaven, flying down, the holy spirit coming from heaven.

Flying faces

As discussed in my previous post A stroll through a graveyard a flying faces developed out of the Memento Mori image of the flying skull, reminding the living that they too would die. Winged skulls gradually morphed into flying faces during the eighteenth century, representing the soul flying up to heaven. Later the face became cherubic and represented innocence. The Three examples below are, from left to right, from All Saints Churchyard, Newcastle and Holy Trinity, Washington Tyne & Wear.

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Globe

See world, below.

Hands

Hands are popular motifs on headstones and can have a variety of meanings, from the hand of god coming out of the clouds, to the offering of prayers in blessings. Hands can also indicate that the deceased is going to heaven (pointing upwards) or may have died suddenly (pointing downwards). The example below left shows a handshake, which can be between a married couple or fraternal, alternatively, if one hand appears limp, it can indicate God taking the hand of the departed [6]. The example on the right shows a hand with a heart, this can indicate charity and generosity, but it can also indicate the deceased was a member of the Oddfellows fraternity [7].

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Hourglass

Hourglasses are memento mori, reminders of mortality and that life on earth passes quickly. They can appear with wings, to symbolise how ‘time flies’ and on their side, to demonstrate how time has stopped for the deceased. Below left, from an eighteenth century headstone from St Andrews, Newcastle, on the right, a more pointed link between the hour glass and mortality, from Holy Trinity, Washington, Tyne and Wear.

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Ledger stones

Ledger stones are flat against the ground and often cover family plots, the stones filling up as the graves receive more burials.

Memento Mori Scenes

Many early headstones from the seventeenth and eighteenth centuries combine a variety of memento mori images into scenes designed to remind the living of their own mortality and the importance of living a good life in order to go to heaven. The examples below are from various graveyards around Newcastle and show that some masons had seemed to have a particular flair for the macabre!

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Obelisks

Obelisks are an ancient Egyptian symbol that represented life and health, and/or a ray of the sun. When Napoleon invaded Egypt in 1798, Europe was gripped by a passion for all things Egyptian. Obelisks became popular as funerary monuments, particularly in the Victorian era. On the left, obelisks in an overgrown patch of St Peters, Wallsend, and on the right, from Jesmond Old Cemetery, Newcastle.

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Occupations

Many headstones list the occupation of the deceased, but some go further, below left is an example of an artist’s paint palette and to the right, a classical scene depicting a physician, naturally enough, on the side of the monument to a doctor.

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Portraiture

Funerary portraiture can be found on monuments and tombs from ancient times and isn’t always restricted to those of historical importance or aristocratic lineage. In the Victorian period, photography became more widespread and trends such as post mortem photography were embraced, photographs can even found on some headstones from the period. Preston Cemetery in North Shields has a rare surviving example, I viewed it once many years ago, but I’ve not been able to locate it since.

The example below left, is that of Dr James Milne at St Peter’s churchyard Wallsend (the above classical scene is also from his monument) a man well respected locally, the monument was erected by his friends. The other example shows renowned renaissance humanist scholar, and one-time tutor to Mary Queen of Scots, George Buchanan, and can be found in Grey Friars Kirkyard, Edinburgh.

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Scythes

Memento mori symbols, carried by Death or the grim reaper, symbolising the cutting off of life. The example below, from Grey Friars Kirkyard incorporates the hourglass to emphasise the fleetingness of time.

Sexton’s tools

Sexton’s are the church officials who look after the churchyard and dig graves. Their tools can appear on gravestones as an indication of their occupation, or more generally as a symbol of mortality. This example is from the Covenanters Prison, in Grey Friars Kirkyard, Edinburgh.

Shells

Shells can be used as a decorative motif, but also have a Christian origin, in particular scallop shells are associated with pilgrimages (still popular today on the Camino Trail). After the Jacobite rebellions in the eighteenth century, they could also be a political gesture, indicating allegiance with the king over the water. The example below is from the seventeenth century mausoleum of the infamous Bloody Mackenzie in Grey Friars Kirkyard.

Skulls

Whether winged or floating above cross bones, skulls represent mortality and act as Memento Mori. Trevor Yorke notes that from the medieval period onwards, it was believed that the skull and crossbones were the bare minimum bodily parts required to ensure resurrection on the day of judgement.

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Left, a particularly sinister looking winged skull from an eighteenth century headstone in St Margaret’s, Felbrigg, Norfolk. Right, skull and crossbones from a seventeenth century chest tomb in St Lawrence’s, Eyam, Derbyshire.

Snakes/Ouroborus

Originally an ancient Egyptian symbol for health that entered the western tradition via the Greek Ouroboros, a snake swallowing it’s own tail, symbolises eternal life. This example is from All Saints Cemetery, Jesmond, Newcastle.

Here the Ouroboros symbol for eternal life is coupled with the scythe symbolic of death.

Square and compass (Masonic/Freemasons)

The square and compass is a found on the funerary monuments of members of the Freemasons, often accompanied by a ‘G’ representing God and Geometry. The Square and compass are a reminder to Freemasons to keep their actions within the tenets of Freemasonry [8].

Table tombs

Table tombs have the ledger stone on top, supported by legs and forming a table structure. The burial is beneath. The examples below are from Tynemouth Priory in Tyne and Wear.

Torches

Torches represent human life, death, and eternal life. If they are pointing down and have no flame they represent a life extinguished, whereas if they are pointing down but still alight the represent the eternal life of the soul. The example below symbolises bodily death but the eternal life of the soul.

Urns

Urns hark back to the funerary urns of ancient Greece, in which cremated remains would be interred. They became popular from the eighteenth century and endured into the Victorian period, possibly because they denote the body being cast off in preparation for the souls journey to heaven [9]. They could also appear with flames atop – symbolising the eternal flame of friendship or religious fervour. Other urns appear are covered with drapery, which can symbolised the curtain between life and death or the casting off of worldly garments[10] and often denoted the death of an older person [11] (and when coupled with a weeper, became a popular classical image).

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These examples are from Jesmond Old Cemetery, Newcastle.

Wheatsheaves

Wheatsheaves are most often associated with a long life, although where only few stalks are found, this can indicate that the deceased was young. The example below, from Grey Friars Kirkyard, is combined with a skull and crossbones.

Women in mourning (weepers)

The image of a woman, with loose flowing hair, mourning over a tomb or an urn, was very popular in the eighteenth and nineteenth century. In this example from Jesmond, the weeper holds a wreath (see below for meaning).

World (globe)

The world or globe image represents worldly pleasure and is often coupled with death in order to emphasis the wages of worldly pleasure (and sin) are death, as shown in these examples from Grey Friars Kirkyard, Edinburgh.

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Wreaths

Wreaths are classical in origin, being awarded to athletes in the ancient Olympic games. In funerary art their circular shape represents eternal memory. Wreaths of bay leaves represent triumph over death, while wreaths of roses, like the example below, from Highgate Cemetery, London, can represent virtue and heavenly bliss (12).

This list represents only a snippet of the cemetery symbols that can be found. I hope this encourages you to go out and explore your local historic cemeteries and graveyards and to be able to read some of the richly symbolic funerary language used by our ancestors. Please remember to be quiet and respectful when you visit your local historic cemeteries, some may still be in use, and many monuments may be fragile.

Happy headstone hunting!

Sources

BBC – London – History – Victorian Memorial Symbols

Snider, Tui, 2017, Understanding Cemetery Symbols

Symbolism Meaning: Animals – Art of Mourning

Symbols – TheCemeteryClub.com

The Symbolism of Victorian Funerary Art – Undercliffe Cemetery

Yorke, Trevor, 2017, Gravestones, Tombs & Memorials

Notes

1. The Cemetery Club, Symbols
2. ibid
3. BBC, Victorian Memorial Symbols
4. Tui Snider, Understanding Cemetery Symbols
5. ibid
6. ibid
7. ibid
8. ibid
9. ibid
10. ibid
11. The Cemetery Club, Symbols

Available now on Amazon! The Haunted Mirror: History, Folklore and the Supernatural, from the Haunted Palace Blog

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dark history, folklore, Ghosts, Haunted Palace book, haunted palace collection, Macabre, new book, supernatural

Published 16 May 2021, 230 pages

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A compendium of dark history, strange folklore and mysterious hauntings culled from the Haunted Palace Blog. Lenora and Miss Jessel have selected and re-worked some of their favourite posts for your enjoyment.

Did you know that a prodigious palace once stood in the London Borough of Wanstead and Woodford but a dissolute Earl threw it all away, leaving his heart-broken wife to haunt its ruins forever? Or that Victorian tourists flocked to the grim spectacle provided by the Paris Morgue – the best free theatre in town? Or that a murderous jester is reputed to have lured people to their deaths at a castle in Cumbria? Join us as we explore a past populated by highwaymen, murderers, eccentrics, and lost souls.

Lavishly illustrated with specially commissioned art, engravings and photographs from the Haunted Palace Collection, and national collections.

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A Stroll through a graveyard: a very brief history of British cemeteries

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burial, burial practice, Cemeteries, charnel house, Christian burial, churchyards, Graveyards, headstones, history, monuments, tombstones, Victorian Cemeteries, victorian graveyards

With the Coronavirus lockdowns of 2020/2021 many of us have had to find our pleasures closer to home than usual.  One of my favourite past-times has been visiting some of my local graveyards and taking a leisurely stroll amongst the tombstones and monuments.

Overgrown urban cemeteries and churchyards provide a haven for nature, an escape from the bustle of the modern world, and respite from the claustrophobia of a national lockdown. Often protected from traffic and pollution, and hidden from sight behind high walls, they can easily be overlooked by passers by. Yet within those high walls you can find butterflies dancing on delicate wildflowers, squirrels sheltering in the branches of ancient trees and foxes hiding amongst the tangled brambles.  Cemeteries are also steeped in cultural history and rich in public art, with elaborate memorials and tombs, describing a rich and varied iconography of death and remembrance. I have done a separate post on some of the common cemetery symbols found on headstones.

As the subject of burial and funeral monuments is a vast one, this article will be by nature selective, focusing mainly on traditional Christian burial practices found in mainly English cemeteries and churchyards. However, it is important to note that there are also many examples of different regional styles and practices as well as those of other faiths, all of which can also be found in our historic graveyards.

A very brief history of traditional British cemeteries and their monuments

Romans, Saxons and Medieval burial

Many British churchyards sit on much older pre-Christian burial grounds, and may contain remnants of those earlier times, occasionally these remnants can be seen today. It has been suggested that the Romans may have invented (or at least developed the idea of) the headstone as we know it [1]. The Roman tombstone below (L) can be found in Holy Trinity Churchyard, Washington, Tyne and Wear, and does look remarkably similar to later headstones.

Medieval churchyards did not contain many stone grave markers, so were ideal places for community activities such as fairs and village games (until the puritans put a stop to jollity, that is). Often the only stone monument was a large cross, although many of these were destroyed during the Reformation of the sixteenth century [2]. The example below (M) is the Mercian Cross, a Saxon cross from the eighth-tenth centuries, which can be found in St Lawrence’s church, Eyam, Derbyshire. In this period, only those of very high status would merit an individual burial and memorial, many people would expect to end up in a charnel house. Initially ‘wet’ bodies (i.e. fresh, fleshy bodies) were stored in stone coffins until they decomposed and became ‘dry’ (i.e. bones). The bones would then be stacked in the charnel house. The stone coffins below (R) can be seen at Tynemouth Priory, Tyne and Wear. If you were wondering where the corpse liquor went, some stone coffins also contained a hole to let it drain out [3].

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From pomp and purgatory to the resurrection men

Richard Fleming’s tomb and chantry chapel, Lincoln Cathedral.

Our relationship with the dead has changed over time. Purgatory as an actual place was introduced as a concept from the late twelfth/early thirteenth centuries. This lead to a drive to encourage the living to ease the passage of the deceased through purgatory with prayer. Gruesome monuments, such as Cadaver Tombs, (which depicted the deceased as rotting corpses) were often linked to chantry chapels to elicit prayers for the dead. This provided the living a sense of moral and religious satisfaction while assisting the dead towards  salvation [4, 5]. Other, less macabre tomb monuments, called gisants, emphasised the earthly status of the deceased, showed them in fine regalia, as if in prayer or sleeping.

The Gisant style monument for Sir Ralph Grey (d1443) and his wife, Elizabeth. St Peter’s church, Chillingham, Northumberland.

While most people in the medieval period were buried in unmarked graves, tombs or memorials of the great and (often not so) good were sighted inside churches and the higher the status of the deceased, the closer to the altar (and God) they would be placed. In later times this also protected the dead from body snatchers. This resulted in some very dubious practices, such as at Enon Chapel in London, where cut price burials resulted in the dead being piled up to the rafters in a tiny crypt, in order to line the pockets of the rapacious minister.   In the past, these intramural burials in churches were notorious for causing a bit of a stink (and worse in the case of Enon chapel), but such burials can result in problems even today. Recently, the floor of Bath Abbey, which is paved with ledger stones, flat grave markers, was restored to stop the floor sinking into the cavities caused by the decayed bodies beneath. (Somerset Live).

The Reformation of the church in the sixteenth century, which made the concept of purgatory redundant for many, the restoration of the monarchy in 1660 that ousted the party-pooping puritans, combined with a rising class of wealthier farmers and merchants, created a sea-change in funeral monuments. From the end of the seventeenth century churchyards begin to fill up with tombstones, recording personal status, family ties, occupation and epitaphs, as well as some very macabre iconography [6].

As with burials inside the church, burials outside had their pecking order. Burial on the east side of a churchyard was preferred, with the body facing east in order to rise on the day of judgement. Burial on the north side was reserved for the illegitimate, criminals, suicides and strangers, and was therefore a less favourable location [7]. There is a wonderful description of this in MR James’s The Ash Tree, the executed witch, Mrs Mothersole, is said to have been buried on ‘that unhallowed side of the building‘. In some areas these ‘undesirable’ burials would take place outside the church yard itself or the corpse would have to be unceremoniously bundled over the wall of the churchyard, after being refused the usual welcome by the vicar at the lych-gate [8].

While post mortem social status was a pressing issue for some, from the late eighteenth century, body snatchers were a real fear for many. This was the case right up until the passing of the Anatomy Act in 1832 (which solved the problem of supply of cadavers for the anatomists table by co-opting the corpses of the poor and destitute). To protect the dearly departed from such ‘resurrection men’ elaborate precautions were put in place and they can still be found in some graveyards today.

Image by https://wellcomeimages.org/indexplus/obf_images/0a/b0/95f14983a9a287f3932cd1e71806.jpgGallery: https://wellcomeimages.org/indexplus/image/V0010462.htmlWellcome Collection gallery (2018-03-24): https://wellcomecollection.org/works/b2gb3sp8 CC-BY-4.0, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=36452434

Famous examples of post mortem protection can be found in Greyfriars Kirkyard, Edinburgh which boasts a very fine mortsafe.  While the infamous Burke and Hare may have preferred to obtain their bodies by seeking out ‘future corpses'[9] in the drinking dens of the old Town, many others were stealing corpses from graveyards to supply Edinburgh’s famous medical schools. 

Tombstone trends

As more people were able to afford permanent grave markers, churchyards began to fill up and certain styles of headstone became popular. Headstones began short and stout, gradually becoming taller and less chunky as the centuries progressed – although this could depend on the quality of the local stone. More elaborate ornamentation and inscriptions became popular, however, the execution of the design could depend on the skill of the mason, many of whom may have been illiterate, as is seen below.

The examples above, from St Andrew’s, Newcastle, and Tynemouth Priory, Tynemouth, show eighteenth century grave stones with the text cramped together, of uneven size, and occasionally with words broken over lines. The example on the right also shows some naïve attempts at decoration.

The size difference between the early 18th Century gravestone on the left, and the nineteenth century one on the right. St Peter’s Church, Chillingham.

These headstones were often in three parts – decoration at the top, details about the deceased (names, dates, occupation, family ties) then an epitaph or scriptural quote at the bottom. Some stones also have the mason’s name as well.

These earlier grave stones had their inscriptions facing away from the actual burial plot, and some had a ‘body stone’ covering the burial, or a small ‘footstone’ indicating the length of the grave. In some cases the direction of the headstone was reoriented by the Victorians. The Victorians often marked the limits of a grave or family plot using kerbstones or railings [10].

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As the times changed, so did decorative motifs, one of the most notable metamorphosis being that of the infamous grinning skull and crossbones. This first evolved into a flying head before morphing into a chubby cheeked cherub (a more sentimental, but no less disquieting images, to my mind).

Seventeenth and early eighteenth century skull and crossbones motifs, usually found in the top section of decoration, acted as a memento mori, reminding the living that they too would soon be dust (so they should behave themselves and lead good lives). This tradition evolved into flying faces, which symbolised the soul flying up to heaven, and later still, in the late Georgian and Victorian period, morphed into flying angels/cherubs, symbolising innocence (they were often used on the graves of children [11].

The taste for the macabre in graveyard symbols lingered well into the eighteenth century, but by the closing decades, tombstones could be found with tranquil classical iconography, in keeping with Georgian taste for all things ancient Roman and Greek. 

Late eighteenth century tombstone with classical motifs, St Andrew’s, Newcastle.

By the nineteenth century, it was the rising urban middle classes who drove the developments of tombstone designs.  Huge gothic follies, classical urns and columns sprouted up across the land. Crosses and Angels as grave markers even made a come-back, shunned after the Reformation and centuries of anti-Catholic feeling in England, they underwent a renaissance in the nineteenth century and can be found in abundance in many Victorian cemeteries. 

Victorian Gothic, the funerary monument of the Reed family, at Jesmond Old Cemetery, Newcastle.

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Angels and crosses from Highgate Cemetery, London, Jesmond Old Cemetery, Newcastle and Tynemouth Priory, Tyne and wear.

The Civic minded Victorians also came up with the concept of the Garden Cemetery, situated in the suburbs, laid out like parks and dotted with attractive grave monuments, these cemeteries not only addressed the problems of overfull and unsanitary urban burial grounds, but made a visit to the grave of a loved one into a pleasurable day out [12]. 

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The difference between the overcrowded headstones in Bunhill burial ground, in use in the centre of London since the seventeenth century, and the elegant nineteenth century suburban garden cemetery, in this case Jesmond Old Cemetery in Newcastle, was plain to see.

The Victorians also helped to democratise death, through their more industrialised production techniques, machine cutting inscriptions, standardised patterns, and a budget range of guinea graves, and community burial clubs. As the nineteenth century progressed more and more people could have a permanent marker to meet their budget. The downside of this was that the idiosyncratic and personal memorials of earlier times were often replaced with standard shapes, such as the ubiquitous lancet gravestone,  and more generic  religious or moral sentiments. Of course, this doesn’t meant that the families and friends of the departed grieved any less, only that the outward language of death and the business of burial had become more of an industry [13, 14].

The ubiquitous lancet headstones found in Victorian cemeteries across Britain.

New materials also played their part, with machine cut inscriptions, lead lettering and occasional iron headstones (very appropriate for such an industrial age).

This unusual but appropriate iron headstone was chosen for William Crawford, an Iron Founder, and can be found in Jesmond Old Cemetery, Newcastle. Unfortunately, it has weathered badly.

The twentieth century saw the mass death of the First World War, with Cenotaphs, empty tombs, for recording the deaths of millions, and many soldiers buried on foreign shores.  You can find the occasional pristine war grave, striking in its simple poignancy, amongst the unruly ivy clad headstones of a previous era. However, it was inevitable that death on such an industrial scale, with so many families left grieving without a body to bury, would cause a fundamental change in how the dead were commemorated, World War I was the beginning of the end of the lavish Victorian way of death. 

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Gone but not forgotten. A solitary war grave sits amongst older graves at Church Bank Cemetery in Wallsend; while a war grave from 1917, in Jesmond Old Cemetery, is adorned with a recent poppy tribute.

Today, in Britain, cremation far outstrips burial, nevertheless, you can still find some unique and personal grave monuments on occasion. A particularly poignant example can be found in Westgate Crematorium in Newcastle, where a huge black marble edifice stands for a young man, dead before his time, and which includes a marble motorbike. While this may not be to every ones taste, it is a unique and very personal memorial.

There has been a church on this site since the 12th Century, St Peter’s church was rebuilt in 1809 and remodelled in 1892. Wallsend, North Tyneside.

Who lies beneath

Cemeteries are filled with the famous and not so famous, all with their individual tales that remind us that these mossy and ivy cloaked monuments hid the bones of people just like us, who lived and loved and sometimes suffered.

Dame Mary Page, 1729, Bunhilll, London

Grave monuments could be very personal in the eighteenth century, one could say, too personal, as this famous monument to Dame Mary Page at Bunhill cemetery in London demonstrates. The unfortunate Dame Mary died in 1729, the inscription describes her final years “In 67 months she was tap’d [tapped] 66 times, Had taken away 240 gallons of water without ever repining at her case or ever fearing the operation.”

The Keenleyside Monument, 1841/2, Jesmond Old Cemetery, Newcastle

This canopied monument featuring a reclining cherub rests beneath mature trees in Jesmond Old Cemetery and hides a terrible family tragedy. The monument was erected by Thomas William and Louisa Keenleyside in memory of their children, Eleanor, 2 years old, Charles, 12 years old, and James who was 10 years old. The children died in quick succession between December 1841 to January 1842, victims of the Cholera epidemic that raged through the city. Epidemics and other diseases such as scarlet fever were common in the Victorian period, and could rip through a family taking siblings one after another. It is hard to comprehend how Thomas and Louisa came to terms with this heart wrenching loss, although this monument may have been part of that process.

Tom Sayers, 1865, Highgate Cemetery, London

You would be forgiven for thinking this monument in London’s Highgate Cemetery was the grave of a large dog, but in fact is commemorates Tom Sayers, Victorian superstar prize-fighting bare-knuckle boxer, who died in 1865. Sayers had a turbulent personal life, so the chief mourner at his funeral was his mastiff, Lion, who rode alone in a pony cart behind the hearse. Sayers kept the hound next to him even in death, and Lion was immortalised by sculptor Morton Edwards and forms the most prominent feature of Sayers monument [15].

Epilogue

For me, the apogee of cemetery design came in the nineteenth century, when over-crowded, unsanitary urban cemeteries, such as Bunhill Fields, were replaced with leafy suburban garden cemeteries.  Highgate cemetery, Abney Park and Kensal Green were intended as pleasure grounds as much as for memorialising the dead.  Recently, I have spent many hours exploring my local cemeteries and churchyards, discovering fascinating facts about my area – the pastoral poet buried in the centre of Newcastle, the Georgian composer, organist and music critic buried in St Andrews, as well as countless ordinary people, whose lives flicker before us briefly in their epitaphs.

Ledger stone for eighteenth century Newcastle composer and organist Charles Avison. Avison died in 1770, but the ledger stone was replaced in the nineteenth century.

The Coronavirus pandemic has claimed so many lives, however, once the pandemic itself has entered into the pages of history, I hope that we will not forget the quite pleasures of walking in these public gardens of the past and experiencing that fleeting connection with those who have gone before us.

All Saints, Newcastle.

Part 2 will look at the meaning behind some of the symbols found on headstones.

Sources

Cohen, Kathleen, 1973, Metamorphosis of a death symbol

King, Pamela, 1987, Contexts of the cadaver tomb in fifteenth century England

Morgan, Alan, 2004, Beyond the Grave, Exploring Newcastle’s Burial Grounds

Ross, Peter, 2020, A Tomb With a View, The Stories and Glories of Graveyards

Rutherford, Sarah, 2008, The Victorian Cemetery

Snider, Tui, 2017, Understanding Cemetery Symbols

Victorian Web, Funerary monument to Thomas Sayers (1826-1865), Western Cemetery, Highgate, London N.6. (victorianweb.org)

Yorke, Trevor, 2017, Gravestones, Tombs & Memorials

Notes

1. Alan Morgan, Beyond the Grave, Exploring Newcastle’s Burial Grounds
2. Trevor Yorke, Understanding Gravestones, Tombs & Memorials
3. ibid
4. Pamela King, Contexts of the cadaver tomb in fifteenth century England
5. Kathleen Cohen, Metamorphosis of a death symbol
6. Trevor Yorke, Understanding Gravestones, Tombs & Memorials
7. Tui Snider, Understanding Cemetery Symbols
8. Peter Ross, A Tomb with a View, The Stories and Glories of Graveyards
9. The Order of the Good Death (death positive movement)
10. Trevor Yorke, Understanding Gravestones, Tombs & Memorials
11. Tui Snider, Understanding Cemetery Symbols
12. Sarah Rutherford, The Victorian Cemetery
13. Tui Snider, Understanding Cemetery Symbols
14. Trevor Yorke, Understanding Gravestones, Tombs & Memorials
15. Victorian Web, Funerary monument to Thomas Sayers

Which Mortality Remindin’ Shirt is for You? | The Order of the Good Death

Medieval Death: The Danse Macabre

Tags

black death, cemetery, charnel house, dance of death, Danse Macabre, death, Death Art, Holbein, Holy Innocents, John Lydgate, Medieval, memento mori, Paris, Religion, Rowlandson, St Paul's

Ms. 109 (2011.40), fol. 156 c 1493-1510. Getty collection.

In the late Middle Ages, life was tough and brief, and King Death presided over all.  Plague, social upheaval, famine, and the Hundred Years War had all taken their toll on the population and this was reflected in the dark art of the fifteenth century.

Ars Moriendi, or Art of Dying, texts set out how a Christian could have a Good Death; Memento Mori images, such as the three living and the three dead, reminded people of the transient nature of earthly pleasures – and the judgement to come;  Cadaver or Transi tombs begged the passer-by to pray for the departed and so to quicken their passage through purgatory.

Grim traditions for a grim time.  However, the late Middle Ages also saw the development of the gleefully morbid Danse Macabre or Dance of Death which could be found in Northern Europe and as far south as Italy. It is worth noting that the subject of the Danse is a vast one which encompasses performance, literature and the visual arts.  This post will focus mainly two of the more well known, but now lost, visual representation of the Danse at Holy Innocents Cemetery in Paris and Old St Paul’s in London.

Origins of the Macabre

Nuremberg_chronicle Dance of Death (CCLXIIIIv) Via Wikimedia

Macabre, a word that evokes not just morbid themes, but also hints at a certain fascination or even relish for the subject.  A word that fits the art of the post plague Medieval world like a decaying body fits a tattered shroud.

There is scholarly debate as to the origin of the word macabre. It has been argued to be Hebrew, Arabic or a derivation of the Biblical name Maccabeus (the slaughter of the Maccabees was a popular subject of Medieval Mystery plays) [1].  Whatever its true origin, it soon became indissolubly linked with a particular form of Medieval Memento Mori art, the Danse Macabre.

The first literary reference that partners it with the Danse Macabre appears in 1376 in Jean Le Fevre’s Le respit de la mort, written, appropriately, when Le Fevre was recovering from plague.  Here ‘Macabre‘ appears to be a character or a personification of death:

I did the dance of Macabre
who leads all men to his dance
and directs them to the grave,
which is their final abode.[2]

This poem exemplifies the Medieval literary penchant for didactic poetry.  Such poetry often took the form of a conversation between the body and the soul, and usually had a Christian, moral theme entreating the reader to eschew the vanities of life in favour of preparing the soul for the afterlife.  This genre sat comfortably alongside other Memento Mori traditions such as the Three Living and the Three Dead.  Its didactic form was also a perfect fit for the Danse Macabre theme – with the personification of Death summoning his unwilling victims to the grave.

The hours of Dionara of Urbino’), Italy, ca. 1480

Dancing in the graveyard

The Danse Macabre usually depicted a line of dancers, from different estates in society, partnered by cavorting skeletons.  Dancers are drawn from all levels of the social hierarchy – from Popes and emperors, princes of the church, kings, labourers and even children. Later depictions added women and newly emergent professional classes such as doctors and merchants – all clearly identifiable by stereotypical dress.

Often text or dialogue accompanies each pair of dancers, death calling each one and the dancer bemoaning their fate. Examples were found on charnel houses, cemetery walls and in churches. As a subgenre of the popular Medieval Estates Satire, the Danse Macabre hammered home, like nails into a coffin that, no matter your position in society, death was the great leveller [3][4].

Guy Marchants Danse Macabre from Holy Innocents Cemetery. c1491 -92.

The first known artistic representation Danse Macabre was to be found, appropriately enough, on the walls of the charnel house of Holy Innocents Cemetery, Paris. Holy Innocents cemetery was the oldest in Paris, dating from the end of the twelfth century and was situated next to the bustling marketplace of Les Halles. The cemetery would have been bustling with people, traders, scribes, sex workers. The Charnel house, a place where the bones of the dead, high and low, were all mixed together regardless of rank, would have been an ideal location for the mural.  The Images at Holy Innocents were also accompanied by Le Fevre’s text, forever linking the two in the popular imagination and creating what some have likened to a Medieval comic strip with images and speech ‘bubbles’ [5][6].

Locating the Danse Macabre in a cemetery fitted with folk belief as well, it has been noted that in popular culture, it was not uncommon for people to report seeing corpses dancing in graveyards [7]. Overall, the average Medieval person was concerned with the unquiet dead, sinners roaming about with unfinished business amongst the living – as many contemporary reports of revenants, attest.

Charnel House at Holy Innocents/Cimetière des Innocents, Paris. Via Wikimedia.

The mural was commissioned between August 1424 and Lent 1425, a period of truce in the One Hundred Years war.  The Treaty of Troyes gave Henry V, right to the throne of France, when he died in 1422, his son Henry VI, became king of France and England.  However, as Henry VI was only a baby, France was placed under the regency of John of Bedford, Henry VI’s uncle and a well-known patron of the arts.

The image is a macabre carnival – death mocks and pulls at his dance partners, the fat abbot is told he will be the first to rot, while death flirts with the handsome chevalier and gropes the physician.  There are 30 couples in all, from the highest to the lowest.  With an ‘authority’ figure to introduce the dance, and another authority figure and a dead king to deliver the moral of the dance [8].  As John Lydgate put it:

Come forth, sir Abbot, with your [broad] hat,
Beeth not abaissed (though thee have right).
Greet is your hede, youre bely large and fatte;
Ye mote come daunce though ye be nothing light.
[..]
Who that is fattest, I have hym behight,
In his grave shal sonnest putrefie. [9]

The subject matter of the mural may have been influenced by the contemporary political situation – the figures mainly depicted the ruling and martial classes, the king, constable and, of course, a corpse king.  It was also this political situation, a lull in the hostilities, that allowed English poet John Lydgate to visit Paris in 1426.

Lydgate was impressed with the image and accompanying text and was influenced to write his English translation of Le Fevre’s text with the addition of extra characters drawn from Mystery plays and masques of the time.  Lydgate also introduced some female characters to the text [10].

Danse Macabre from Talllinn by Bernt Notke c1500.

In 1430 a version of the Danse Macabre was painted at the Pardoner Churchyard, Old St Paul’s, London (commonly known as the ‘dauce of Poulys‘).  Both image and text were influenced by the Mural at Holy Innocents. This version depicted 36 dancers from different stations in life, summoned by death.  The St Paul’s images were augmented with dialogue between death and his victims, this time provided by John Lydgate’s translation ‘Out of the Frensshe’ [11].  Writing in 1603 in his Survey of London, John Stow described the St Paul’s Dance, thus:

“[..] About this Cloyster, was artificially and richly painted the dance of Machabray, or dance of death, commonely called the dance of Pauls: the like whereof was painted about S. Innocents cloyster at Paris in France: the meters or poesie of this dance were translated out of French into English by Iohn Lidgate, Monke of Bury, the picture of death leading all estates, at the dispence of Ienken Carpenter, in the raigne of Henry the sixt.”

Stow’s comments highlight how influential the Danse Macabre at Holy Innocents was on subsequent versions.

Another common feature of both Holy Innocents Danse Macabre and St Paul’s was that they were situated in busy areas bustling with life and frequented by the public, both became popular, and thought provoking, attractions.  Sadly, neither survive – Holy Innocents Cemetery was completely removed at the end of the eighteenth century and the mural at St Paul’s was destroyed in 1549.

Holy Innocents Cemetery by Guy Marchant c1491-92.

Many other examples of the Danse Macabre were created in the following decades, notable ones having existing at Basel (c1440), Lubeck (1463) and Tallinn, Estonia (1500).  Each was tailored to its own locale and reflected the patrons who commissioned it – where Holy Innocents focused on the martial classes, Lubeck featured more from the merchant classes.

Sadly, many examples are lost, surviving only in copies or as fragments of vast originals – such as the fragment at St Nicholas’ Church Tallinn by Bernt Notke (a copy of his earlier lost work at Lubeck).  Clearly, later ages did not share the Medieval fondness for macabre public art.

So, how did the Medieval viewer read such an audio-visual experience?

The Unwanted Dance Partner

Danse Macabre by Bernt Notke via Wikimedia.

The most obvious message that even an illiterate Medieval viewer could take away from the Danse Macabre, is that death is the great leveller.  No matter how high your estate, in the end death is coming for you.

The Danse was also personal, all of the estates of society could be found, so whether you were a king, a merchant or a labourer, or even a child, you could find your own representation in the danse; some of them even set the dance in a recognisably local landscape, for added impact.  The viewer could also, in a sense, participate in the dance, because many of the life size frescoes within churches, such as that at Tallinn, required the viewer to process along the fresco in order to see all of the original 48-50 figures[12].

The danse was also undeniably slapstick.  Viewers would have been familiar with figure of death or devils and their comedic antics in Mystery plays and even court masques so the viewer could laugh at the expense of their betters as they are dragged to the grave by a cavorting skeleton, whilst also being viscerally reminded of their own mortality.

A medieval burial, from a Book of Hours made in Besançon (detail), France, c. 1430–1440, Rare Books Collection, State Library Victoria.

But more than that, the Danse subverted the natural order of things.  The dead should be at rest, subject to the funeral mass, and quiet in their graves, not cavorting about.  It’s notable that many of these images were associated with graveyards – often sights of lively activity, commercial and personal, so much so that in Rouen in 1231 and Basel in 1435 edicts were passed prohibiting dancing in graveyards [13].  The Danse images were challenging the norm.  Dancing in Medieval thought was primarily associated with sin, paganism and seduction. Placing images of a sinful activity in a holy setting would seem to point to their purpose being penitential or confessional [14].

But, what of the text that sat alongside the images.  In a world where the majority of people were illiterate, how important was it?  While the images convey death as the great leveller, the dialogue between death and the living, prompts people to remember that earths glories are temporary, pride is the greatest sin of all, and that they should repent and prepare their souls for the afterlife.

However, while only a few would have been educated enough to read the text themselves, the message of atonement it conveyed would not have been lost on the illiterate.  The images would have been viewed in the context of lively sermons on the subject and oral tales reinforcing the message that death could strike at any time, so you should prepare your soul.  After the ravages of the Black Death this would have been particularly poignant [15].

The reformation and Death gets a reboot

The Abbess by Holbein 1523/5. Public domain.

In the sixteenth century, the religious and political landscape of Europe was drastically altered by the Protestant Reformation as well as technical innovations like the printing press. Nevertheless, it was during this period that the Dance of Death had its most famous reboot.  In 1523-25, Hans Holbein produce his famous version of the Dance of Death, however, rather than a public fresco in a church, his work was a series of woodcuts often reproduced in codex/book form.  This broke up the dance into a series of pages and also provided a more private and personal experience for the viewer. And, also, from a modern perspective, reinforces the link between the format of the Dance and modern graphic novel or comic strip art forms. Holbein’s Dance of Death also repurposed the genre as a tool of social satire and religious reform, rather than as a moral or religious lesson [16]. 

Dancing down the ages

The heyday of the Danse Macabre as religious symbolism was the Late Middle Ages, however, the striking visual image of death harrying the living has remained a popular subject for artists throughout the ages, although its message may have changed.

In the nineteenth century, Thomas Rowlandson collaborated with poet William Combe to produce the satirical series The English Dance of Death in 1815.  In the twentieth century, Ingmar Bergman’s Iconic film the Seventh Seal (1957) used Dance imagery, and in the twenty-first century, English Heavy Metal Band Iron Maiden’s 2015 album was named for the Dance of Death.

The English Dance of Death, Thomas Rowlandson 1815. Image from Haunted Palace Collection.And if you thought that the Dance of Death was now just the preserve of historians and heavy metal fans, one school of thought has it that the modern predilection for dressing up in scary costumes at Halloween can be linked back to that most macabre of medieval traditions [17].

Sources and notes

Binski, Paul, Medieval Death, Cornell University Press, 1996 [3] [13] [14] [16]

Cook, Megan, L, and Strakhov, Elizaveta, Ed. John Lydgate’s Dance of Death and Related works, Medieval Institute Publications, 2019 [1] [2] [4] [5] [7] [9] [10] [11]

Dodedans – St Paul’s dance, [8] http://www.dodedans.com/Epaul.htm#:~:text=The%20most%20famous%20dance%20of%20death%20in%20England,%28And%20fro%20Paris%20%2F%20to%20Inglond%20hit%20sent%29.

Ebenstein, Joanna, Ed. Death: A Graveside Companion, Thames & Hudson, 2017. [6]

Gertsman, Elina, The Dance of Death in Reval (Tallinn): The Preacher and His Audience, in Gesta Vol. 42, No. 2 (2003), pp. 143-159 (17 pages) Published by: The University of Chicago Press on behalf of the International Center of Medieval Art [12] [15 [17]

Platt, Colin, King Death: The Black Death in England and its aftermath in late-medieval England,  UCL Press.

Drowned maidens: Victorian depictions of female suicide

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anatomist, Elizabeth Siddall, Fallen women, found drowned, gender roles, John Waterhouse, Ludovico Brunetti, nineteenth century, Ophelia, Padua, Paris, Sir John Everett Millais, suicide, The Bridge of Sighs, The punished suicide, Thomas Hood, Victorian

Trigger warnings: this post references some recent cases of suicide that some readers may find distressing.

****

“The death of a beautiful woman is, unquestionably, the most poetical topic in the world.”  Edgar Allan Poe

Ruslana Korshunova’s suicide reported on Fox News 2008.

In 2008, Fox News aired a crime scene video showing a twenty-year-old Model, Ruslana Korshunova, lying dead on the street, after apparently committing suicide by throwing herself from the 9th floor of her New York apartment block. Blood could still be seen oozing from her nose. The image was both shocking and intrusive. But, intrusive media coverage of death and disaster has become an accepted part of our appetite for sensation – a malady we like to think of as particularly modern. However, comments from the reporter, and subsequent comments on social media, which focused on the unworldly beauty of the woman’s corpse, revealed attitudes toward female suicide that find their origin in a much earlier nineteenth-century aesthetic. One that both romanticized female suicide for a male gaze, whilst also serving as a warning to women daring to step outside their proscribed gender roles.

Death becomes her

In the eighteenth-century, male suicide was fairly commonly depicted in art and literature, with Goethe’s The Sorrows of Young Werther, published in 1774, perhaps the most famous example. The novel created something of a moral panic and ‘Werther Fever’ and the ‘Werther Effect’ were linked to several copy-cat suicides of young men overcome by unrequited love or their own heightened sensibilities [1].

The Werther Effect. Public domain (?)

During the nineteenth century, the depiction of suicide underwent something of a gendered transformation which saw a proliferation in images of female suicide and far fewer images of male suicide [2]. This belied the reality, that in fact, in the nineteenth century, men were (and still are) much more likely to successfully commit suicide than women [3].  Before looking at why this change took place, let’s look at some examples of nineteenth-century images of female suicides.

Firstly, anyone who ever had a Pre-Raphaelite phase at college will be familiar with the poster-girl of drowned maidens, Ophelia.  Painted in 1851 by John Everett Millais, this is considered to be artistic ground zero for the huge proliferation of depictions of drowned females in the nineteenth century, particularly in Britain.

Ophelia, 1851, by John Everett Millais. Google Art Project.

In Shakespeare’s Hamlet, Ophelia is pulled this way and that by the men in her life. Used by her father and brother in their court intrigues because of her implied liaison with Hamlet, she is then cast off by Hamlet and ultimately drowns through her own actions.  Maybe she was an innocent victim, maybe a fallen woman. Maybe it was an accident, maybe suicide.

Millais’s iconic image presents her watery death in a very eroticized way.  Her lips are half-open, singing as she drowned, perhaps, or expelling her dying breath; or just maybe her parted lips are meant to evoke something far more sexual. It is for the viewer to decide. There is a voyeuristic element to the picture, it is even framed in a proscenium-style arch, giving it a theatrical air – even though the actual death of Ophelia was not usually depicted on stage. [4]

L’inconnue_de_la_Seine. Image via Wikimedia.

The Second image will be familiar to anyone who has done CPR Training.  L’Inconnue de la Seine is said to be the death mask of an unknown woman found drowned in the Seine in the 1880s (although this has been debated).  She was judged to be a suicide. Her corpse was displayed in the Paris Morgue, as was the custom.  One of the morticians was supposed to have been so taken with her beauty, that he cast her death mask.

The image caused a sensation, Richard le Gallienne called her a modern Ophelia while Albert Camus described her ‘Mona Lisa Smile’.  Her mask became a popular, if morbid, fixture in many private homes.  Her image was romanticized and eroticized.  It became a ‘look’ to be emulated by the popular actresses of the day [5].

In 1955 Asmund Laerdal made her even more famous by using her image to create Resusci Anne, giving the unknown woman of the Seine the dubious distinction of having ‘the most kissed lips in history’.  That’s not creepy in the slightest!

The third image, Found Drowned, by George Frederic Watts, c. 1850, presents the scene following a woman’s apparent suicide by drowning. The title reveals something important about how female suicide was recorded, often there were no witnesses to drowning, so while the assumption might be that it was a suicide, societal taboos around female suicide often led to such deaths being hidden under the ambiguous label of ‘found drowned’. [6].

Found Drowned by George Frederick Watts 1850. Public Domain via Wikimedia.

The picture, which was inspired by the influential poem The Bridge of Sighs by Thomas Hood, assumes that the viewer understands the implicit backstory of this image.  The drowned woman is a fallen woman.  Seduced, abandoned and pregnant.  Rather than descend into shame, poverty, and prostitution, the only route left open to her by society, she has chosen to take her life and thereby redeem herself.

Despite the more sympathetic message of the image, the depiction of the woman is still sensual. The woman’s face appears luminous and her limbs flung wide, displaying the victim’s figure to the viewer.

Hood wrote the poem in 1844 and it helped to raise society’s awareness of the plight of the ‘fallen’ woman – who found the only option left to her was suicide.  In one famous passage, he describes how her sin has been washed away by her death:

Make no deep scrutiny
Into her mutiny
Rash and undutiful:
Past all dishonour,
Death has left on her
Only the beautiful.

However, its idea of a fallen-women gaining redemption through drowning, while generating public sympathy, may have also led to an unfortunate increase in life imitating art, as women saw their only option for social redemption, suicide, reinforced [7].

The Punished Suicide. 1863. Photograph by Carlo Vannini and from Ivan Cenzi’s book His Anatomical Majesty

Finally, a lesser-known image of female suicide, this time from Italy.   Ivan Cenzi has brought the story of how this extraordinary image was created to an English speaking audience [8][9]. The subject of this human taxidermy project was an unknown 18-year-old seamstress who drowned herself in the river at Padua, sometime in 1863.  It was pronounced that she had killed herself over an ‘amorous delusion’.

The nearby University of Padova had a long history of anatomical study, and the girl’s body was handed over to the chair of Anatomy himself, Ludovico Brunetti (1813-1899).

Brunetti had a very unusual plan – this was to be no simple anatomical dissection. He intended to create Great Art out of this girl’s pain. He proceeded to take a cast of the girl’s face and bust, then he skinned her, taking care to keep her hair pristine.  He then treated the skin with sulfuric ether and his own special tanning formula, in order to preserve her image for eternity.  The resulting bust is truly startling.

Unfortunately, as the girl had been dragged out of the river using hooks, her face had sustained some damage. However, Brunetti used these flaws to his advantage, seeing them as a way to convey a moral message, as well as display his skill at preservation.  What emerged from his creative processes was a shocking image known as ‘The Punished Suicide‘.  To ram the moral home, that suicide was a mortal sin and suicides would be forever tormented in Hell,  he enveloped her face in writhing snakes and used red candle wax to imitate blood gushing from her wounds.

Somewhat perversely, to modern sensibilities at least, her parents loved it. Brunetti and his Punished Suicide, later wowed the audiences at the Universal Exposition in Paris where he won the Grand Prix in the Arts and Professions category, which in itself says a lot about public attitudes to images of female suicide and public entertainment. This image is still on display in Padova University, and, to modern eyes at least, evokes a strong reaction. Personally, I find the use and display of human remains as art, without the informed consent of the subject, to be highly problematic.  However, nineteenth-century attitudes were clearly very different.

These are only a few of the many such images in nineteenth-century art, literature, and sculpture.  But why were they so popular and what was their purpose?

Women behaving badly

During the nineteenth century, Western Societies underwent a huge demographic shift as the Industrial Revolution lead to mass migrations from the countryside to towns and cities.  From living in traditional rural communities, where everyone knew one and other, many people now found themselves amongst strangers.  Factory work saw more women working outside the home and competing with men.  Poverty and overcrowded housing brought disease and disorderly behavior, drunkenness was a common outlet for the lower classes.  Add to this the blatant social inequality of Victorian society, where the poor (and particularly the female poor) were routinely exploited by those higher up the social ladder, and you and you can begin to see the cracks undermining the edifice of respectable Victorian society.

Overcrowding in Victorian London. Gustave Dore. 1872. British Library.

The Victorian establishment did not only fear the working class becoming politicized or organized via trade unions, they feared the traditional gender roles of society were being challenged.  Women were supposed to be the ‘Angel in the house’ described in Coventry Patmore’s poem, a sweet and passive homemaker for her husband and family.  However the economic reality for many women was very different, and when a woman transgressed society’s norms, particularly if she was considered a ‘fallen’ woman, she could suffer terrible consequences.

The Outcast. Richard Redgrave. 1851. Public domain via Wikimedia.

Influential sociologists writing about suicide, such as Henry Morselli, writing in 1881, and Emile Durkheim, writing in 1897, both linked urbanization and the breakdown of traditional gender roles as a factor in female suicide. While the stats they relied upon showed that male suicide was more common than female suicide, both promoted the view that women were weaker morally and were safer when protected from the struggles of society [10].

In doing so, they used the stats to reinforced traditional Victorian gender roles by concluding that married people and married people with children were less susceptible to suicide, whereas the unmarried, divorced, widowed or childless were more at risk.  In short, women should stay at home and look after their husbands and family – or risk the consequences. Of course, as Deacon has pointed out, the stats don’t tell the whole picture [11].

There was an underlying hint that perhaps suicide was one way to rid society of unwanted, ungovernable and surplus women.

Idealized family life – the woman is focused on the private home sphere.

Another popular Victorian preconception was that men tended to commit suicide for more important reasons.  Male suicide was viewed as linked to the social and economic well-being of the country, while women were seen as committing suicide for personal and emotional reasons, which were considered less important to society. This had the effect of trivializing female narratives and the reasons for female suicide, often downgrading them by centering them on women’s (failed) relationships with men [12].

As the century progressed, attitudes to suicide also changed, from being considered a sin and a shameful crime, people began to link mental illness to suicide. While this was a good thing, as it led to more understanding of the underlying causes of suicide, it also played into the idea of women as weak, emotional creatures who needed to be protected from themselves or risk the consequences. From Ophelia to the Italian seamstress suffering from ‘Amorous delusions’, women’s suicide was linked to madness and instability in the nineteenth-century mind, further devaluing it by refusing to see it as a final, if desperate, act of autonomy.

From sexual sirens to found drowned

The Mermaid by John Waterhouse, 1900. Via Wikimedia.

The Victorians had a particular fondness for depicting women in water, no doubt because of the long-standing associations between femininity and water.  Women were seen as fickle and changeable as the sea, with sexual undercurrents and life-cycles made up of water, blood, and milk [13]. While sexual sirens might be depicted as mermaids or aquatic nymphs, leading men to drown in their transgressive embrace, the fallen woman was often depicted floating serenely, a beatific expression on her face, lovely to behold. Not remotely like a real drowning victim -bloated and muddy.

It has been suggested that this elevated the fallen woman’s suicide to a kind of redemption and washing away of sins – as implied in Hood’s poem. While this sounds romantic and sympathetic, it also created the pernicious cycle of life imitating art, real fallen women, cast out by society and facing a future of shame and prostitution, saw suicide as a way to redeem themselves and avoid becoming a burden on society because it was tacitly reinforced in popular culture.

Conclusion

To sum up, the Victorians fetishized the image of female suicide.  While male suicide was often seen as a final, possibly heroic, act of autonomy, for women, it was quite different.

Artistic images of female suicide had multiple purposes and meanings.  One of the most obvious was to commodify and pacify the female body by creating an ideal,  female beauty for the (male) viewer to appreciate.  The threatening unruly female, stripped of all power and autonomy after death, but still possessed of erotic and romantic fascination.

In addition this, in a society undergoing radical change, images of female suicide, bound up as they were with ideas of shame, madness, and sexual transgression were often used as a warning to women to keep to their proscribed roles and not try to compete with men in the public sphere.

In the 20th Century, widespread publication of Robert Wiles photograph of Evelyn McHale’s suicide made her death both public and iconic -which went against her expressed wishes for privacy.  More recently,  the 21st Century case of Ruslana Korshunova, where the reporter talked of Ruslana’s life and death, as a fairy-tale-gone-wrong, show that in some ways,  attitudes to representations of female suicide have not changed much since the nineteenth century.

However, more nuanced readings of these images are possible, readings that provide a deeper understanding of attitudes society held towards women and the public consumption of their bodies, both then and now.

While male suicides still predominate today, as in the Victorian age,  the recent tragic suicide of Love Island’s Caroline Flack, in the face of much negative media attention, has made it more important than ever to consider the unrealistic expectations that our society and the media still place on women.

Sources and notes

**Firstly, if you are having a hard time and need to talk to someone, you can contact Samaritans: https://www.samaritans.org/how-we-can-help/contact-samaritan/

Cenzi, Ivan, The Punished Suicide, 24 Oct 2016, <https://deadmaidens.com/2016/10/24/the-punished-suicide/> [8] [9

Deacon, Deborah, Fallen Women: The Popular Image of Female Suicide in Victorian England, c1837-1901, 7 April 2015, <https://www.uvic.ca/humanities/history/assets/docs/Honours%20Thesis%20-%20Deborah%20Deacon%202015%20.pdf> [2][4][6][7][11]-[13]

Durkheim, Emile, 1952, (originally published 1897) Suicide a Study in Sociology [3][10]

Meeson, Valerie, Res.Ma HLCS, Post-Mortems: Representations of Female Suicide by Drowning in Victorian Culture, [date unknown], <https://theses.ubn.ru.nl/bitstream/handle/123456789/3754/Meessen%2c_V.P.H._1.pdf?sequence=1> [4]

Mulhall, Brenna, The Romanticization of the the Dead Female Body in Victorian and Contemporary Culture, 2017, Aisthesis Vol 8 [5]

https://en.wikipedia.org/wiki/The_Sorrows_of_Young_Werther#Cultural_impact [1]

A Cabinet of Curiosities from the Haunted Palace Blog

Tags

Baba Jaga Art, book launch, Cabinet of Curiosities, chickenstein, halloween publication date, Iga Pencak, Lenora, macabre art, Miss Jessel, new book, original art, Rohan Hall, The Haunted Palace, young artists

In the dark and cobweb-filled corridors of the Haunted Palace, faint scribblings and mutterings can often be heard eminating from the book-strewn chambers high amongst its ivy-clad towers.  Lenora and Miss Jessel are custodians of an extensive library of peculiar tomes, from which they draw their ideas.  But one thing is missing from the library: a book of their own.  But not for much longer.

Yes, after 7 years and close to half a million views (thanks to you, our wonderful readers), Lenora and Miss Jessel have decided to publish a collection of a few of their favourite posts.

Just to make it extra special, and because copyright is a thing, we have commissioned two talented young artists to produce images for our book.

Naturally, because we at the Haunted Palace love all things creepy, we aim to publish our book for Halloween 2020. There’s a long way to go, but the cogs are turning!

In the meantime, we’d like you to meet the Haunted Palace artists in residence…and maybe give you just a teaser of what to expect in our book…

Iga Pencak aka Baba Jaga art: Freelance artist and costume designer

Iga Pencak studied and Central St Martins and VCA in London, and graduated in Theatre and Screen Costume Design. She is a talented portrait artist, costume designer and milliner. She has worked on large-scale mural projects and led community art workshops with Rohan Hall aka Chickenstein_.

Follow Iga on Instagram: @babajagaart 

And find her at:

etsy.com/shop/Igamagination
facebook.com/PortraitServicebyBabaJaga

Costume Designs, part of final degree project, by Iga Pencak

Tranquility, pen and ink, by Iga Pencak

Hanging Bat, paint on glass, by Iga Pencak

Rohan Hall aka Chickenstein_: Freelance artist and student

Rohan Hall aka Chickenstein_ is a freelance artist and is currently studying for his undergraduate BA degree in Illustration at Newcastle college. He has worked on large scale mural projects and led community art workshops with Iga Pencak.

Rohan accepts commissions.

Follow him on Instagram: @chickenstein_

The Bride of Chickenstein, pencil sketch, by Rohan Hall

Cthulu for climate change, relief print, by Rohan Hall

Memorial for Billy, acrylic on stone by Rohan Hall

And now a flavour of what they are both working on for the Haunted Palace and its Cabinet of Curiosities

Iga is producing the cover-art and full-page images for each section in the book.  She begins the process with a pencil sketch, then inks the images prior to digitalising them for publication.  Here are two of her works in progress.

First, for our ‘History’s lost and found’ section, which will include such dark tales as the dancing mania of the middle ages and the firey fate of the ladies of the ballet blanche, she came up with this darkly dynamic design:

Ballet shoes and skull, pen and ink, by Iga Pencak

Secondly, for this macabre sketch, for our suitably named ‘Macabre’ section, in which you will find such delights as a day out at the Paris Morgue, Iga was inspired by our post about Enon Chapel and its sinister secret.

Dance of Death, preliminary pencil sketch by Iga Pencak

Rohan will be creating smaller images for each individual post. He begins the process by creating a pencil sketch, he then digitalises the image for publishing.

He as already produced two very atmospheric images,  for folktales The King o’ the Cats and Hell-hounds, Hyter Sprites, and God-fearing mermaids (as well as producing our logo – see the about us page)

The King O’ the Cats digital sketch by Rohan Hall

Black Shuck by Rohan Hall

We’ll still be posting our usual brand of in-depth darkness, but expect a few updates on how our book is progressing along the way!

We hope you will enjoy it.

Lenora  & Miss Jessel

 

 

 

WGW: Whitby Goth Weekend Oct 2019

Tags

Abbey Wharf, Alternative, Bizarre Bazaar, corsets, Doctor and the Medics, Dracula, Goths, Halloween, October 24-27, St Marys Church, Steampunks, Vampires, Victoriana, Victorians, WGW, WGW 2019, WGW part II, Whale bones, Whitby, Whitby Goth Weekend

Whitby Goth Weekend 24-27 October 2019

Twice a year Whitby, a quaint seaside town in North Yorkshire, becomes the mecca for the darkside. Goths, Steampunks, Victorian enthusiasts all gather for the Whitby Goth Weekend.  The event, which grew out of a goth music festival developed by Jo Hampshire back in 1994,  is now so huge that accommodation is often booked out for two years in advance and it’s estimated that it these two weekends bring in over a £1.1 Millions pounds to the local economy.

WGW brings in the crowds!

I’ve been going to the Goth weekend for many years with Bonnie and Occasionally Miss Jessel has managed to join us, but life and general mischance have meant I’ve not been since the 2015 October event.  My recollections of the at last visit was that there was a change in the air, the Goths who came for the music festival seemed to be in retreat in the face of Victorian enthusiasts and the Steampunk advance.  The locals also seemed to be growing tired of photographers and visitors disrespecting and damaging the historic graveyard of St Mary’s.  What had always seemed to be a very inclusive and welcoming atmosphere had developed fissures and the tensions were bubbling up to the surface. While I still enjoyed the evant, I was left wondering what would happen, if, indeed, it would survive.

WGW at Abbey Wharf

Doctor and the Medics at Abbey Wharf

I’m happy to say that WGW is going strong.  In the face of a huge explosion in popularity over the last few years and the diversity of alternative sub-genres in evidence, it is clear that the event has successfully evolved and regenerated into a wonderful and inclusive event.

These days the music events have diffused and WGW have many official events across the weekend.  The events are all free, but you can get fast-track and VIP tickets (which are worth it, as even after 11pm the Queues were long).  Jo and the other organisers seem to have successfully brought music back to the forefront of the event Abbey Wharf played host to a Stars and Moons Productions Barnum and Bailey/Greatest Showman themed night, headlined by the legendary Doctor and the Medics.  It was packed out and there were queues all night to get in.

The Bizarre Bazaar has also lost none of its allure since moving from Whitby Pavilion to Whitby Leisure Centre (just a short way along from the Pavilion).

Tourists flock through St Mary’s graveyard.

This year sadly  Miss Jessel was unable to join me, but Bonnie and I went down with some younger friends who had never attended the event before.  I don’t think that they were quite ready for how difficult it was to get anywhere without being swarmed by photographers! One of them even made it into the national papers (look for ‘woman in black corset and dramatic face makeup enjoying a stroll’ in the link below) not bad for her first visit!!

Modern Vampire hunters!

https://www.dailymail.co.uk/news/article-7618815/Goths-steampunks-seaside-town-Whitby-twice-yearly-Goth-Weekend.html

Here are some of the images from Whitby Goth Weekend 2019.

The Goths and the Victorians

Victorian Vampires at St Mary’s Church.

Death stalks the St Mary’s graveyard.

Miss Jessel has a rival in this gothic governess.

Death and the maiden

Detail

The Vampire chained

 

Goth guy

 

Vampyra in the YHA (outfit designed and created by Iga Pecak)

 

 

 

 

 

 

 

 

 

Close up by the whale bones

Vampire Alley

 

RNLI guess the weight of the pumpkin!

Grey lady and gent

Purple lady

The Mad Hatter

Bride of the bat

Detail

Victorian Steampunk couple

The undisputed queen of the vampires

Steampunks and the rest

 

Steampunk Pirate hat by Iga Pecak

Detail

Steampunk explorers at the whale bones

Steampunk gentlemen

Gentleman playing the saw at the bandstand

STeampunk pixie girl

Gorgeous Georgians

 

You shall not pass!

Anime girl

Bring out your dead!

Where else but Whitby would you see a lady out strolling with her dragon?

And the final word goes to the fabulous Goth Cat and friend!

HAPPY HALLOWEEN

FROM THE HAUNTED PALACE!!

Phantom fashion: why do ghosts wear clothes?

Tags

apparitions, catharine crowe, clothing, cruikshank, Daniel Dafoe, Frank Podmore, ghost clothes, Ghosts, Gillray, GMN Tyrell, Myers and Gurney, Newton Crossland, Nightside of nature, Nora Sidgwick, Society for psychical research, spectres, Spiritual photographic theory, Spiritualism, SPR, telephathy

“Ghosts commonly appear in the same dress they usually wore whilst living; though they are sometimes clothed all in white; but that is chiefly the churchyard ghosts.” (Francis Grose, 1787)

“How do you account for the ghost’s clothes – are they ghosts too?” (Saturday Review, 19 July 1856)

Just how do you account for ghosts clothing? A disarmingly simple – yet vexed – question that has been debated for centuries by both sceptics and believers.
If ghosts are supposed to represent the spirit or eternal essence of a human being, why, then, do they need to appear in something so prosaic as clothing or the ubiquitous white sheet? I mean, have you ever heard of anyone saying they saw the ghost of their dearly departed grandma – naked?

Naked ghosts

Naked ghosts are rare in the UK – it must be the weather. However, there are some examples, often with Medieval or early modern origin.

In Rochester a Medieval tale tells of the ghost of a priest who appeared to witnesses shivering and naked. His state of undress was important because his spectre had a message for the living – it wished to symbolise how his estate had been stripped bare by his corrupt executors. [1]

Image from an exhibition at the Laing Art Gallery. Photo by Lenora.

A tale that circulated in London between the 15-18th Centuries, concerned the fate of five condemned men. In 1447 the men were said to have been sentenced to be hanged, drawn and quartered – a particularly grisly fate. Once hanged, the five were cut down from the hanging tree and stripped in preparation for the gruesome denuemont of their punishment. Their clothing was distributed to the gaping crowds. An added twist in the tale lends poignancy to their fate by claiming that a pardon arrived just too late to save them from their deaths.

Railing at the injustice and humiliation of their execution, the unhappy spirits were said to have risen up from their corporeal bodies in a misty vapour. The ghosts accosted the crowd demanding their clothes be returned and then fled. The tale persisted for around three hundred years, with occasional reports of five ghostly naked men importuning startled strangers apparently still seeking the return of their clothing – and presumably their dignity.[2]

Scotland, too, has reports of naked ghosts. In 1592, Agnes Sampson was accused of witchcraft, tortured and burned at the stake (in England witches were usually hanged). Her tormented spirit is said to walk naked in the grounds of Holyrood – although she sometimes covers up and wears a white shroud (again, it must be the weather).
These three examples fit into a Medieval ghost-type, the ghost who has suffered a wrong in life, and in the first two cases at least, is trying to right that wrong post mortem, so their nakedness is necessary to their stories.[3]

So, while sightings of naked ghosts clearly do occur, their nakedness is for a particular reason. In short, these cases appear to be the exceptions that prove the rule – that most ghosts prefer to wear clothes when being seen.

Of course, sometimes naked ghosts turn out to be something else entirely – in 1834 a primitive Methodist got very primitive indeed and scared the bejazus out of his neighbours by jumping out at them ‘dressed’ – or should that be ‘undressed’ – as a naked boggart. His eccentric prank was not appreciated by the judiciary, and he got three months hard labour for his efforts.[4]

What do ghosts wear?

Accepting that most ghosts wear clothing of some sort, what, then, do they wear?

White sheets – obviously

The popular image of a ghost is of a floaty, often transparent, figure in a white sheet – although most modern ghost sightings don’t seem to support this image. In fact, this version of ghostly attire has particular origins, which will be examined later.

The three living and the three dead. British Museum Collection.

The animated dead found in European Medieval art may often wear white but they look anything but ethereal – rather they look very solid and corpsey. There is no mistaking them as former denizens of the grave, with their mouldering bones poking out of tattered flesh and their wormy eye-sockets all a-stare.

The spectral fashion for white is linked to burial practices. Until about the 17th century, most people in Britain and Europe would have been buried not in a coffin, but in a simple undyed linen or wool winding sheet. It’s not surprising, then, that early ghost sightings tended to describe ghosts dressed in their winding sheets or shrouds.

Detail of grave clothes from Astrology (1806) by Ebenezer Sibly. Wikimedia.

By the eighteenth-century ghosts had a more extensive wardrobe to choose from. However, white clad ghosts were still sighted, Daniel Defoe, writing in his 1727 work ‘An Essay on the History of Apparitions’ describes the traditional ghost as:
“[..] dress’d up …in a shroud, as if it just came out of the coffin and the church-yard”
And Francis Grose, writing in 1787, reported some ghost as ‘clothed all in white’ but that those were mainly confined to churchyard sightings.[5]

But by the eighteenth century there had been a revolution in grave clothes. Funereal fashion had moved away from the long winding sheets and shrouds of old and developed a new line in more everyday death-wear: tailored shirts for men, and shifts for women. Examples of this fashion can be found in satirical prints by the likes of James Gillray (1756?-1815) and  George Moutard Woodward (1765-1809).  Many Christians believed in actual bodily resurrection for the Last Judgement, so a shirt or shift probably seemed like more practical and respectable attire in which to meet one’s maker!

Of course, while this change was great for the manufacturers of funeral clothes, not everyone appreciated the change. The 18th century saw the rise of Gothic literature and following publication of Burke’s A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757) came a growing appreciation of the beauty of horror. So, what is an artist or a theatre director to do, to recapture the ‘magnificent horror’ of the vengeful spectre? [6]

Artist unknown. University of Austin Texas.

The answer, it seems, was to be found in that other 18th century passion – classical antiquity. The ghosts of art and theatre now took on the white draperies of the ancient Romans or Greeks. Henry Fuseli, George Romney and Johns Flaxman all helped cement this image in the popular imagination and added a cloudy transparency to top it all off.

The white clad ghost captured the public imagination so much so, that this element was incorporated into the Hammersmith Ghost hoax of 1803/04 (in which the belief that ghosts wore white resulted in a tragedy when a white clad bricklayer, Thomas Millwood, was mistaken for the alleged spectre and shot dead).

The Hammersmith Ghost. Wikimedia

Even in the 20th century the power of the white draped phantom is used to particularly chilling effect by MR James in “Oh Whistle Lad, and I’ll come to you”. Here the classical drapery is replaced with more mundane, but no less terrifying, bedsheets that take on a ghostly form and possess an “intensely horrible face of crumpled linen.” Anyone who has ever slept alone in a room with a spare bed must surely feel horror at this description.

Their ordinary clothes

By far the most common attire reported, particularly in modern sightings, is a generic costume appropriate to the era of the apparition. A knight might appear in armour, a religious in the habit of their order, a lady might appear in the fashions of her day, granny might appear in her Sunday best.

Many reports of ghosts have them mistaken for the living, dressed in their ordinary clothes. For example, Daniel Defoe famously reported on the case of the ghost of Mrs Veal. Mrs Veal visited her good friend Mrs Bargrave and the two ladies had a conversation before Mrs Veal finally went on her merry way. Only later, did Mrs B find out her friend had passed away. In order to validate her experience Mrs B was able to describe her late friend’s silk gown in great detail: “you have seen indeed, for none knew, but Mrs Veal and myself, that the gown was scower’d” (to make the fabric softer) [7] so who could it have been but Mrs Veal? [8]

The Penny Story Teller – The Fated Hour 1832. Wikimedia.

Many modern sightings, particularly of deceased friends and relatives also follow this model, with the ghost appearing in their familiar garb (and as with Mrs Veal, sometimes this can make them appear less like ghosts and more ‘real’ to the witness).

Sightings of ghosts in particular period dress, such as Roman Legionaries in York or Anne Boleyn in the Tower of London, are also frequently reported. However, as Owen Davies has noted, some periods are favoured over others – he provides a possible explanation in in that popular culture and cinema make it easy for most people to identify a Tudor ghost or the ghosts of Roman soldiers than, say, a bronze age ghost.[9]

The Woman in Black

The Woman in Black. 2012. Dir. James Watkins.

Susan Hill’s 1983 novel ‘The Woman in Black’ fixed the black clad ghost firmly in the public psyche.  Jennet’s black clothing symbolise her mourning for her lost child and her malevolent nature as the bringer of death to the innocent.  However, black clad ghosts are rare in Britain compared to in Europe.  Owen Davies suggests this could be down to religious differences.  In Europe, and some medieval English ghost reports, black clad spirits often represent the souls passage through purgatory.  One example, provided by Joe Nickell, was of a corrupt money lender whose doleful ghost appeared to his wife, dressed in black for seven years.  To assist his soul’s journey through purgatory, she prayed at his grave for seven years, until his ghost re-appeared dressed white.  After the sixteenth century Protestant Reformation, purgatory fell out of favour in Britain, and black clad ghosts became rarer. [10]

Things changed in the nineteenth century when the Victorian’s elaborate mourning rituals, including black mourning clothes, saw a spike in reports to the Society for Psychical Research (SPR) of ghosts in black clothes.

Skeptics and believers

“[H]ow is a spirit, in itself immaterial and invisible, to become the object of human sight? How is it to acquire the appearance of dress?” (Anti Canidia, 1762)

“…as a matter of course, that as ghosts cannot, must not, do not, for decency’s sake, appear WITHOUT CLOTHES; and that there can be no such thing as GHOSTS or SPIRITS of CLOTHES, why, then, it appears that GHOSTS NEVER DID APPEAR AND NEVER CAN APPEAR” (George Cruikshank, 1863)

Both writers express the rationalist position in relation to the existence of ghosts. In doing so, they raise the vexed question of ghost’s clothing – a seemingly trivial question but one that actually strikes at the heart of the nature of ghosts and ghost sightings.

Clothing at its most basic level keeps us warm, but it also expresses social status, tribal identity, and sexual allure. If ghosts are supposed to represent the eternal spirit part of human existence, surely clothing is redundant?

This question, often highlighted by sceptics to support the non-existence of ghosts, forced psychic investigators and believers to examine more critically why this apparently illogical phenomenon is frequently reported by seemingly credible witnesses. Are there ghost clothes, or could ghostly clothing represent something else entirely – how the living receive and perceive such phenomena?

A very brief guide to how ghostly clothing has been explained

The nature of apparitions, how they appear, to whom and why some people see them while others do not, it is a vast topic. This is a brief overview of some of the views presented by early writers and psychical investigators.

The growth of spiritualism, mesmerism and clairvoyance promoted the idea that the sentient souls of the dead could convey thoughts and images to the living via the medium of clairvoyance.

Catherine Crowe (1803-1876), writing in 1848, seemed to support this view when she:
“If a spirit could concieve of its former body it can equally concieve of its former habiliments, and so represent them, by the power of will to the eye, or present them to the constructive imagination of the seer” and the reason for this “to appear naked [..] to say the last of it, would be much more frightful and shocking.” [11]
Basically, Crowe suggested that ghosts were trying not to offend the Victorian sensibilities of their audience.

Giles Scroggins Ghost. 1893. Wikimedia.

In the later nineteenth and early twentieth century, many psychical investigators, often working under the aegis of the SPR, wanted to encourage a more scientific approach.  Moving the focus away from the power of the apparition to shape it’s appearance, to the power of the viewer to do so.

Here are a few of the theories that came out of these investigations:

Spiritualist Newton Crossland (1812-1895) proposed a ‘spiritual photographic theory‘ suggesting that every moment of a life is psychically recorded and can be reproduced by apparitions – therefore a suitable outfit and props were always on hand.  This view was dismissed by many psychical researchers at the time.

Edmund Gurney of the SPR. Wikimedia.

Frank Podmore (1856-1910) pointed out that many cultures provide grave goods for the dead to utilise in the afterlife, so perhaps ghost clothing was not unreasonable.

Edmund Gurney (1847-1888), co-founder of the SPI, and Frederic Meyers, looked for a more scientific theory and both suggested some form of telepathy. That in the case of crisis apparitions, such as when a person is dying, a blaze of energy from the subject could telepathically project their apparition to a sensitive ‘receiver’ who then clothed the apparition via the medium of their own emotions and memory. Nora Sidgwick (1845-1936), working with Gurney, noted that many witnesses were vague on the detail when pressed to describe the clothing worn by apparitions, which might support this view.

However, this theory would seem to be focused on apparitions of the recently deceased and not to fit so well with historic ghosts where any final blaze of energy would surely be dissipated over the passage of time.

GMN Tyrell (1879 –1952), another member of SPR, considered ghosts as a hallucination of the conscious mind and supported the telepathic theory as the mechanism. He supported the concept of the ‘apparitional drama’ and proposed that clothing and props were part of the apparition as a whole and that the details depended on the viewers personality.[12]

The work of the SPR laid the foundations for a psychology-based approach to understanding why people see apparitions – and why they usually see them clothed.

Conclusion

In setting out to look into why ghosts wear clothes, I was surprised to find that how and what they wore was subject to so much debate. That the apparently frivolous question of where ghosts obtain their clothing, actually leads on to more serious questions such as: whether ghosts exist, why eternal immaterial spirits would need clothing in the first place, whether apparitions have ‘agency’ to create illusions of dress in the mind of the viewer, or whether the psychology of the person witnessing the apparition has bearing on the appearance.

While the jury is likely to remain out for the forseable future, on whether ghosts really do exist , for me the question of why ghosts wear clothes is answered best by Joe Nickell, in his 2012 book, The Science of Ghosts.  Nickell opts for the principle of Occam’s Razor, preferring that the simplest, most tenable explanation is most likely to be true. In this case, that apparitions (and their clothing) are the mental images of the living, appearing as they do in memories, dreams and the imagination.[13]  I like the elegant simplicity of this theory.

What do you think?

‘Oh Whistle Lad and I’ll come to you’. 1904 illustration by James McBryde. Via Wikimedia.

Sources and notes

Anonymous, 1762, Anti-Canidia: Or, Superstition Detected and Exposed. in a Confutation of the Vulgar Opinion Concerning Witches, Spirits, Demons, Magick
Crowe, Catherine, 1848, The Night-Side of Nature, or, Ghosts and Ghost-seers (Wordsworth reprint 2000) [11]
Cruikshank, George, 1863, A discovery concerning ghosts: with a rap at the “spirit-rappers”
Dafoe, Daniel, 1727, The History and Reality of Apparitions <https://archive.org/details/TheHistoryAndRealityOfApparitions> [7]
Davies, Owen, 2007, The Haunted: A social History of Ghosts, Palgrave MacMillan [1][3][4][9]
Grose, Francis, 1787, A Provincial Glossary [5]
Nickell, Joe, 2012, The Science of Ghosts: Searching for the Spirits of the Dead, Prometheus books [2][8]-[10][13]
Owens, Susan, 2017, The Ghost A cultural History, Tate [6]
Tyrell GNM, 1953, Apparitions, Gerald Duckworth & Co Ltd [12]

Death masks and phrenology: the Victorian guide to spotting a psychopath

Tags

criminal research, Death masks, executions, hangings, imago, norwich castle, phrenology, public executions

 

Death mask of Tutankhamun. Image by Roland Unger via Wikimedia.

There is something deeply fascinating about looking into the faces of the long-dead. Whether you find yourself gazing at the desiccated remains of ancient Egyptian Mummies, pondering the fate of the often brutally murdered bog-bodies, or staring into face of a long dead ancestor given immortality of sorts via the medium of portraiture or post-mortem photography.

There is clearly a very visceral difference between staring into the actual face of the dead as opposed to their likeness.  However,  sometimes it is possible to come across a likeness so uncanny that it bridges this gap;  where a three dimensional portrait creates a truly intimate and accurate record of how a person looked at the point of death.

A very brief history of the death mask

Death masks of one description or another have been popular in many cultures for thousands of years.  The gold mask of Tutankhamun is possibly the most famous example, although other cultures have just as many, his mask was part of the mummification process and was intended to guard and strengthen the soul on its journey to the afterlife [1].  In the Roman period, noble families had their galleries of imago – wax casts of their venerable ancestors, brought out for processions.  After the murder of Julius Caesar, his entire body was cast and taken in procession.  By the Middle Ages, European Royalty were using wax or wooden effigies of the deceased in their funeral rituals – that of Henry VII is still in existence at Westminster Abbey. Fast forward to the eighteenth and nineteenth century and the great and the good, such as Walter Scott, Coleridge and Mendelssohn, were taking life and death masks to preserve their features for posterity.

Death mask of King Henry VII, Westminster Abbey.

Before the advent of photography, a life or death mask was the most accurate, and not necessarily flattering, likeness that it was possible to get of an individual.

L’inconnue de la Seine – death mask of a Parisienne suicide.

But there is a darker side to death masks (no irony intended).  They were not only used by the great and the good for the edification of posterity, the use of death masks in particular had a more macabre purpose.

In the nineteenth century the police often utilised death masks to help with the identification of unknown corpses.  In the time before effective refrigeration, a corpse would not stay fresh for long.  Places such as the Paris Morgue often resorted to death masks when bodies had deteriorated and could no longer be put on display (masks were later superseded by post-mortem photography).

During the nineteenth century, the death mask took on a new and insidious purpose.  It was used to illustrate the dubious tenants of a very popular new science, designed to categorise the human character and intelligence based on physical traits.

The rise of Phrenology 

Franz Josef Gall. Public domain via Wikimedia.

In 1796, Franz Joseph Gall would set in motion a ‘scientific’ school of thought whose more negative connotations still reverberate to this day.

At the end of the eighteenth century, opinion was divided as to how the brain worked.  Some thought the brain was a homogenous whole, while others thought that specific areas of the brain controlled specific functions.   Gall was of the belief that the development of the brain, with its over or under-developed areas, would influence the shape of the skull.[2]

Gall felt this view was strengthened when he examined the skulls of a group of pick-pockets and identified that each had a pronounced bulge over their ear, which he took to be the area of the brain associated with lying, theft and deception.  He followed this up with extensive (but unscientific) research in prisons and asylums. While his conjectures went far beyond the empirical evidence, his work was the first tentative steps towards understanding and identifying criminal behaviour.

Phrenology Head. Source unknown.

His ideas were enthusiastically taken up and developed in the first half of nineteenth century, his method promised to identify those with criminal potential before they had the opportunity to commit a crime.  Phrenological Societies boomed – London boasted 28 in the 1820’s and the Phrenological Society of Edinburgh was founded by one of Phrenology’s great luminaries – George Combe and his brother Andrew.  The Edinburgh society is credited with laying the ground for Evolutionary theory. [3].

Not only did this research focus on the living, it focused on the dead as well, particularly those of the criminal classes.  Hence the number of death masks of notorious criminals from that age (although not only death masks were taken: while William Burke’s mask was taken after his execution, the slippery Hare, who turned Kings evidence, had his mask taken in life).  Masks were an ideal way to capture and study criminal physiognomy.

Death mask of Burke and life mask of Hare. Edinburgh University. Image by Kim Traynor.

Social Darwinism: born bad and ‘degenerate’ races

While fashionable people flocked to phrenology saloons in the nineteenth century (seeing it as a form of ‘scientific’ fortune-telling due to its supposed ability to predict behaviours) on another more insidious level it was being used to cement ideas of racism and eugenics.

It is hard to believe now, but there had been an ongoing debate amongst the thinkers of the Enlightenment as to whether people of different races were actually different species.  Even great thinkers such as Voltaire and Linneus supported this idea of polygenism.  This created a drive to categorise and measure different races using racial anthropological physiognomy.  Masks, both life and death, played a part in this as did Phrenology, which identified characteristics based on racial stereotypes and well as social stereotypes.

Excerpt from ‘Crania Americana’ by Samuel Morton. 1839. Used to promote racist ideas of the supposed differences between the skulls of different races. Image from Vassar Collection.

By the nineteenth century, the view was that while all races were the same species, the non-white races had somehow ‘degenerated’ from the original ‘whiteness’ of Adam and Eve, due to various factors such as climate or food(?!) Clearly this was all based on racist conjecture and stereotyping and had very little to do with actual science.  As the Step Back in History Vlog, Scientific Racism, points out,  there was a purpose behind this, it was to was to create a moral justification for white Christian nations to enslave other people based on race, and to colonise their lands. [4]

John Beddoe whose book provided a pseudo-scientific basis for racism. Public domain.

This is just as insidious as it sounds, and was taken up enthusiastically by American Slave owners and British Colonialists alike to justify the oppression of other people based on race, and to promote the idea of paternalistic colonialism.   An example of this kind of racism can be found in John Beddoe’s The Races of Man, published in 1862, which managed to ‘prove’ the Irish were non-white, therefore ‘degenerate’, using racial anthropological physiognomy to justify British Imperialism against the Irish,  contributing to a century and a half of violence and oppression.

You don’t have to be an expert on twentieth century history to see just how evil this line of thinking gets.

Franz Muller death mask. Metropolitain Police Crime Museum.

Racial stereotypes were not the only stereotypes that phrenology helped to promote. Social Darwinism, the idea that theories of natural selection could be applied to sociology and politics, promoted the idea that some people were simply born bad, and that using ‘scientific’ techniques, criminal types could be identified before any criminal act had been committed.  It was here that phrenology and death masks combined in the study of criminal physiognomy.  Many examples of criminal death masks can be found today, notable examples are in Norwich Castle Museum, Edinburgh University and The Metropolitan Police Crime Museum in London.

Norwich Castle Museum

Norwich Castle Museum boasts a collection of death masks belonging to some of the most notorious murderers of the mid-nineteenth century.   They were created by  Giovanni Bianchi, a Tuscan who moved to London in 1836, and later moved to Norwich.  Between 1837 to 1854, he worked at Norwich Castle producing the death masks of executed criminals.

Norwich Castle. Image by Lenora.

When a condemned criminal was hanged, the bust maker had to move quickly.  To get the best casting, he had to take the mould within a few hours of death, or else bloating would distort the features.

Greenacre’s death mask. Norwich Castle Museum. Image by Lenora.

Robert Wilkins in his Fireside Book of Death outlines the process for taking a mask: first, liberally apply oil to the face to avoid any adhesions, then (if the subject is living) insert tubes into the nostrils, lay thread across the face then build up layers of plaster.  This is allowed to harden,  then the mask is removed usually in three pieces, using the threads laid on the face.  Before the advent of quick drying materials, it could take some time for the plaster to dry, and could be quite a claustrophobic experience.  Obviously, if the subject was dead, this was much less inconvenience to them. 

Once removed this produced a very accurate cast with facial pores, eyelashes and whiskers often visible.  This mould would be filled with wax or other materials to make the final bust.  While living subjects might expect to wear a cap to protect their hair during the casting of the back of their heads, criminals had their head shaved before the cast was taken, so that the phrenologists could have a clear canvas to work on.

Corder’s death mask. Norwich Castle Museum. Image by Lenora.

Bianchi immortalised such notorious individuals as Daniel Good, a murderer hanged at Newgate, whose successful evasion of the law led to the creating of the Detective Branch in London; Samuel Yarham, who murdered Harriet Chandler in Norwich in 1846; and James Bloomfield Rush, who, in 1849, somewhat sensationally went on a bloody rampage one winters night at the home of Isaac Jermy, the Recorder of Norwich.  His shooting spree left Isaac and his son dead, injured his daughter-in-law and seriously wounded a maid. [5]

It is hardly surprising to discover that phrenologists studying criminal physiognomy were not the only ones interested in obtaining images of the criminal dead.  An indication of the popularity of public executions and sensational crimes, as well as the speed at which death masks were produced, is given in The Norwich Mercury. Following the hanging of  James Bloomfield Rush in 1849, the Mercury described the grisly process for the benefit of those unable to attend:

“After hanging the due time, the body was cut down, and in the course of the afternoon the head was shaven and a cast taken of the features and the skull by Bianchi of St George’s Middle Street in this city.  The remains were then buried, according to the sentence, in the precincts of the prison.” [6]

A further indication of the public fascination with sensational crime (and grisly souvenirs) is provided by Sir Robert Bignold of Norwich Union fame, who wrote:

“The clerks of the Norwich Union took the morning off, which was quite in accordance with the precedent on execution days, and no doubt Bianchi the modeller did a good trade. It is even probable that some of the Norwich Union clerks were among his customers, for we have it on good authority of the chief clerk that it was not unusual for the staff to buy the casts of murderers on those days and hide them in their office desks.” [7]

Death masks, it would seem, also fulfilled a less scientific and more profitable niche in Victorian popular culture.

The end of the line

While phrenology continued to be of interest to some even into the twentieth century, it had always had its critics.  By the middle of the nineteenth century its star had waned and it was seen more as a novelty than a real way to identifying criminal types.  By the end of the nineteenth century, death masks of criminals had also become largely obsolete as the spread of cheaper methods of photography ushered in the age of the criminal mug shot.

Behind bars, even after death. Death masks at Norwich Castle Museum. Image by Lenora.

Today, Phrenology is relegated to a pseudo-science for its wild conjectures going  way beyond the empirical evidence, and its use in promoting the invidious so called ‘scientific’ racism of the nineteenth and early twentieth centuries -the repercussions of which can still be felt today.

Nevertheless the concept that specific parts of the brain relate to character, thoughts and emotions, did influence early psychiatry and psychology and eventually sow the seeds of neuro-psychology.

One fortunate by-product of the nineteenth century’s obsession with criminal physiology is we now have a series of lifelike and accurate portraits of the lower and criminal classes. Prior to photography images of these, mainly poor, working class people would not exist, or would be known only through distorted illustrations in the popular press of the day.

And if we think were are beyond judging a book by its cover, we should think again. The myth is still peddled that beautiful people have beautiful lives in this Instagram-ready age.  In addition to this, developments in AI technology may mean that both governments and corporations in the near future will be judging us all on our appearances and targeting us accordingly, so, be warned!

Sources & Notes

Corden, Joanna, 2013, ‘Death Masks‘ on the Royal Society Repository website. [1]

https://en.wikipedia.org/wiki/Edinburgh_Phrenological_Society [3]

https://www.edp24.co.uk/news/weird-norfolk-norwich-castle-museum-dungeon-death-masks-1-6029246   [5]-[7]

Fitzharris, Lindsey, Dr, Under the Knife: The Phrenology Head, YouTube [2]

http://www.historyofphrenology.org.uk/overview.htm

Wilkins, Robert, 1990, ‘The Fireside Book of Death‘, Hale

https://www.verywellmind.com/what-is-phrenology-2795251

http://theconversation.com/natural-born-killers-brain-shape-behaviour-and-the-history-of-phrenology-27518

http://www.victorianweb.org/science/phrenology/intro.html

https://www.historyextra.com/period/victorian/the-born-criminal-lombroso-and-the-origins-of-modern-criminology/

Step back in history,  What is scientific racism? YouTube [4]

 

Stratford’s death mask. Norwich Castle Museum image by Lenora.

The Cadaver Synod: The Trial of the Pope’s Corpse

Tags

cadaver synod, Corpse pope, crown, dead pope, disinterred, exhumed, Formosus, Holy Roman Emperor, Italy, ninth century, papal throne, revenge Rome, scandal, Spoleto, stephen VI, synodus horrenda, trial, vatican

Damnatio Memoriae

The Trial of Pope Formosus by Jean Paul Laurens. Musee des arts Nantes.

Pope Formosus, clad in the sacerdotal robes of the pontiff, sat upon the papal throne in dignified silence while his accuser, the new pope, Stephen VI, spat out charges against him. Formosus was accused of ‘usurping the Universal See in such a spirit of ambition’ [1], of breaking canon law by accepting the Bishopric of Rome while still Bishop of Porto, of perjury, and of attempting to exercise the office of bishop as a layman….Formosus’ past had come back to haunt him.

Race to the top

City plan of Rome, showing the Lateran Palace of the pope. Wikimedia via Met Museum Edward Pearce Casey Fund, 1983.

Rome, and by extension, the papacy, was in a period of instability and turmoil during the ninth and tenth centuries. The reason for this was that the throne of St Peter offered not just spiritual power, but temporal power. Part of this power came from the pope’s role in electing the Holy Roman Emperor. Ever since the death of Charlemagne, Rome and its riches were in the sights of the many fiefdoms and factions that had sprung from the collapse of Charlemagne’s empire. This link meant that influential and powerful families all wanted to have their man on the papal throne, and by extension, if you wanted to be pope, it helped to have powerful backers.

Popes, even those backed by powerful families, came and went with surprising rapidity. The road to high office and ultimately the papal throne was strewn with hazards for the ambitious cleric: political violence, treachery and assassinations were not uncommon. A man had to be ruthless to get to the top and success did not guarantee longevity.

Enter Formosus, born in around 816 CE in Rome. Formosus soon became a high-flyer in the church. Made bishop of Porto-Santa Rufina in 864 by Pope Nicholas I, his talents were such that in 866 he was made papal legate and  sent to convert the Bulgarians. In fact, he was so successful in this task that Prince Bogoris of Bulgaria requested Formosus, and only Formosus, be made their Arch-bishop. If this had been Formosus plan, it was thwarted – the request was refused as it contravened canon law, which stated a bishop could not leave his own see to administer another (an accusation that would come back to haunt Formosus). Even at this early stage, Formosus may have already had his eye on the papal throne. And such high ambition creates enemies.

Pope Formosus via Wikimedia.

Despite this personal set-back, Formosus was still flying high in papal regard when in 869 and 872 Pope Adrian II entrusted him with missions to France, as did Pope John VIII in 875.

However, Pope John VIII seems to have begun to regard Formosus as a stalking horse, and soon relations between the up-and-coming bishop and the pope began to sour.

The growing distrust between John VIII and Formosus appears have bubbled to the surface over the controversial election of the new Holy Roman Emperor, the descriptively named Charles the Bald, King of the Franks. Not all Romans wanted Charles the Bald, there were many who supported the widowed Empress Engelburga and her brother-in-law, Louis the German. Formosus may have been one of them [2].

John VIII ordered Formosus to invite Charles to be crowned Holy Roman Emperor in Rome. Charles took the throne at Pavia and the Imperial Insignia in Rome on 29 December 875. Perhaps Formosus didn’t carry out his orders with enough enthusiasm, because soon after the Coronation of Charles the Bald, Formosus fled Rome for Tours to escape reprisals. But Tours was not far enough away to escape John’s displeasure.

A Synod was called on 19 April 875, in which Pope John VIII demanded Formosus, and other fugitives, return to Rome. Perhaps sensing a trap, Formosus refused. He was excommunicated and removed from the ranks of clergy. Other accusations were that he had deserted his diocese without papal permission, aspired to be arch-bishop of Bulgaria against canon law, and that he had conspired to destroy the papal see and had despoiled the cloisters of Rome.  Many of these allegations would be dug up again during his later trial.

In July, Formosus excommunication was announced. His glittering career had come to an abrupt halt, even his obvious successes, such as his mission to Bulgaria, had been used as ammunition against him. Pope John VIII, it would seem, had successfully put down his rival.

But that wasn’t the end of Formosus rise to power, it was just a hiatus. In 878 Formosus swore an oath the stay out of Rome and desist from performing priestly office in order to have his excommunication revoked.

The ever-spinning wheel of fortune, turned again, and, in 883, a new pope, Marinus I restored Formosus to his Bishopric of Porto. His fortunes continued to prosper under subsequent popes St Adrian III and Stephen V. Formosus was well and truly back in the race for the throne of St Peter.

Pope at last

In October 891, 27 years after becoming Bishop of Porto, Formosus was unanimously elected as pope. His career would suggest that he was a capable, talented and perhaps charismatic man. His personal success in Bulgaria, the trust placed in him by the several popes he served, and not least the mistrust that led John VIII view him as a rival, would indicate that his ambition was well matched with his ability.

Pope Formosus. Public domain via Wikimedia.

As pope, Formosus did not rest on his laurels, after all, the ninth century was rife with internal power-struggles within Rome and Italy, as well as strained international relations. Formosus was asked to intervene in a dispute in Constantinople, where his opposite number, the Patriarch had been relieved of office by a rival. Formosus also engaged in disputes relating to the French Crown, between the Count of Paris, and another Charles with another less than flattering soubriquet – Charles the Simple.

Closer to home Formosus had problems with the current Holy Roman Emperor Guy III Spoleto, things came to a head in April 892. when Guy is thought to have forced Formosus to crown his son Lambert as co-emperor [3].

Perhaps resenting the Spoleto’s strong-arm tactics, Formosus, not a pope to take things lying down, retaliated by inviting Arnulf of Carinthia to invade Italy and eject the Spoletos. Although Arnulf did invade Italy in 894 the plan fell apart. When Guy III Spoleto died in December, Formosus invited Arnulf to try again, possibly in response to the actions of another Guy, Guy IV Spoleto, who had recently invaded Benvenuto and expelled the Byzantines.

In 896 Arnulf entered Rome and was crowned Holy Roman Emperor by Formosus, who may have breathed a sigh of relief to finally be rid of the Spoleto stranglehold on his papacy. Fate had other ideas, however, and Arnulf became ill and returned to his kingdom where he died shortly afterwards. Formosus also exited this world on 4 April 896, probably from a stroke, and was succeeded with the exceedingly short-lived papacy of Boniface the VI who lasted an impressively brief 15 days.

In a world where popes might only last days or weeks, Formosus name and deeds might have been expected to quickly fade from memory and merit only a line or two in the history books. However, it is what happened after his death, that ensured his bizarre place in history.

Synodus Horrenda

The Trial of Pope Formosus by Jean Paul Laurens. Musee des arts Nantes.

The trial of a bad pope might not seem unusual, except that in this case, when Formosus sat silently listening to his accuser screaming out allegations against him, he had been dead for nine months.

The corpse of pope Formosus on trial. Detail.

Yes, Stephen VI, took the bizarre and macabre steps of having his penultimate predecessor’s rotting corpse exhumed, dressed in papal finery and sat upon a throne in the Basilica of St John Lateran, while he, the new pope, acted as a very rabid counsel for the prosecution. To be fair, Stephen did ensure that the dead pope could answer the charges himself, well, sort of. A deacon was employed to speak as Formosus and offer half-hearted responses when required – I can’t imagine that this was a job he boasted about afterwards.

Pope Stephen VI, on the other hand, appears to have thrown himself in to the role of cross-examining the defendant with rather too much vitriol and zeal for most people’s taste, screaming insults and accusations at his rival’s decayed corpse. Even the most cynical Romans felt a little queasy with Stephen’s blasphemous antics.

Pope Stephen VI accusing Formosus. Detail.

The outcome of this bizarre trial was never in doubt, Pope Formosus was found guilty and Litupriand of Cremona, a tenth century commentator, reports that Stephen VI had the corpse of Formosus stripped of its robes of office. Stephen then cut off the three fingers on Formosus right hand, a symbolic gesture, as the right had was used for offering blessings. Then, all of Formosus acts and ordinations were invalidated (ironically, with implications for Stephen as Formosus had ordained him as a bishop, and creating a headache for the church for years to come).

The corpse was then dragged out of the palace, tossed to the mob, who hauled it through the streets. Initially Formosus body was buried in the strangers cemetery, a burial ground for foreigners, however, this was not degrading enough for Stephen VI, and he had the corpse dug up, yet again, and in a final act of desecration it was weighted down and thrown into the Tiber like so much refuse.

River Tiber looking towards Vatican City. Image by Jean-Pol GRANDMONT – Own work, CC BY 3.0. Via Wikimedia.

Aftermath

Pope Stephen VI. Public domain via Wikimedia.

The posthumous trial of Pope Formosus is gruesome and bizarre, but what was behind it? It certainly didn’t help Pope Stephen VI cement his power – far from it. His macabre performance did not go down well in Rome, especially when, during the cadaver synod, an earthquake damaged the Lateran palace. Many saw this as an omen. Later, rumours also began circulating that Formosus corpse had washed up from the Tiber and was performing miracles. Soon Rome was in turmoil, there were riots on the streets and Stephen VI was imprisoned and ultimately strangled to death, all this only a few months after he wreaked his terrible revenge on Formosus. Later popes revoked the decrees of the Cadaver Synod and restored Formosus honour and re-validated his ordinations, it would seem Formosus had the last laugh after all.

Sympathetic Magic and Carolingian fallout

So why go to such lengths to destroy the reputation of a dead rival? One interesting interpretation of this papal Grand Guignol, proposed by ER Chamberlain, is that the act of degrading Formosus corpse was a case of sympathetic magic. In stripping and defiling the corpse of the former pope, Stephen VI (and whoever was pulling his strings) intended to symbolically degrade and strip Formosus supporters of their power as well. The whole affair points to a revival of the ancient Roman practice of Damnatio Memoriae repurposed for a Christian audience [4].

There are several theories as to why Stephen VI took part in this gory spectacle. Firstly, he could simply have been insane, after all, it takes a certain kind of person to be able to harangue and despoil a corpse in such an elaborate and public spectacle. It hardly seems to fit with the dignity of office of the pope. Alternatively, he could have been attempting to curry favour with Formosus enemies in order to strengthen his own hold on the papacy.

The Frankish king Charlemagne and Pope Adrian I.  Charlemagne had close ties with the papacy.  Antoine Verard. Source , Public Domain

For a long-time the most prominent theory was based on factionalism surrounding who should be Holy Roman Emperor. Following the death of Charlemagne, a slew of illegitimate offspring had vied for the role. Formosus had been viewed as pro-Carolingian, however John the VIII had crowned Guy III Spoleto as Holy Roman Emperor, precipitating Formosus flight to Tours. Later, Guy III Spoleto was thought to have forced Formosus, when pope, to crown his son Lambert in 892. Formosus called upon Arnulf of the Franks, a Carolingian, to help him be rid of the Spoleto’s, but this failed when Arnulf died, leaving Carolingian power in Rome in tatters, and allowing for the return of Lambert and his mother, Angiltrude, bent on posthumous revenge [5].

Later interpretations by Joseph Duhr in 1932, and supported by Girolamo Arnaldi, suggest that relations between Lambert and Formosus were far better than the above theory would allow. Citing positively friendly relations between Formosus and Lambert as late as 895, Arnaldi proposes relations only soured when Guy IV, Lambert’s cousin, invaded Benvenuto and kicked out the Byzantines. To counter this aggression, Formosus called again upon Arnulf to invade Rome.

Lambert of Spoleto. Public domain via Wikimedia.

The alternative theory is that when Formosus and Arnulf died, Lambert and his mother returned to Rome, accompanied by Guy IV Spoleto, and it was he, not Lambert that was the prime mover behind the Cadaver Synod [6].

Arnaldi cites further evidence to support this theory, stating that when the latter pope John IX decided to revoke the decrees of the Cadaver Synod, Lambert appeared to actively support the rehabilitation of Formosus memory [7]. Surely it would be a brave or foolish pope that confronted the instigator of the synod and attempted to reverse its decisions?

I can’t help think that there must have been a lot of personal animus involved to exhume a corpse, but that the act of revenge, being so theatrical and symbolic, undoubtedly had a wider public purpose. This purpose appears to have backfired, and rather than cementing the new pope and the Holy Roman Emperor’s power, actually destabilised it (in the following 12 months there were 4 more popes, some of whom only reigned for days or weeks). It may be that Lambert was more implicated in the cadaver synod than he wished to be, even if he was not its instigator. Perhaps, seeing the horror it evoked, and the political turmoil it caused, he was happy enough to put the past behind him and rehabilitate Formosus when John IX offered him the chance.

Sources and notes

https://www.atlasobscura.com/articles/morbid-monday-cadaver-synod

Chamberlain E.R., The Bad Popes, 1969, Barnes and Noble [4]

Litupriand of Cremona (quoted from ER Chamberlain) [1]

https://en.wikipedia.org/wiki/Cadaver_Synod [5]-[7]

https://en.wikipedia.org/wiki/Pope_Formosus [2] [3]

https://en.wikipedia.org/wiki/Pope_Stephen_VI