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

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

Tags

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