The Homewood Cemetery, in its vast array of man-made architecture and nature, demonstrates distinct ways in which individuals may represent themselves after death through their gravestones. As indicated on the Homewood Cemetery website, the cemetery is a place “to remember and be remembered,” serving as a meaningful site for both the living and the dead. Individuals who visit the cemetery may take note of the impressive architectural differences among each tombstone including size, shape, and even color. These factors, after a closer examination apart from their aesthetic appeal, may convey a substantial amount of contextual information about the deceased individual whom the tombstone represents. Engraved phrases such as “Wife of” or “Daughter of” are clear indicators of how the gravestones around each other may be grouped together to represent a collective family. Any small bit of contextual evidence places a more meaningful connection between the viewer and the deceased individual, leaving a lasting mark of his or her
“Marking the places where our dead are buried seems to be a human instinct older than recorded history,” says Beau Harmon in his article “What Is the Origin of the Gravestone?” According to Harmon, the traditional upright headstone most likely comes from European burial grounds that evolved over centuries to resemble the typical appearance of a gravestone today. Other architectural styles originated in other parts of the world, such as the obelisk (a tall, pointed style) which first appeared in ancient Egypt. Early Americans, however, did not always use stones to mark their deceased loved ones. Harmon addresses that the Puritan view of iconography had once “forbidden any kind of symbolism.” After the Great Awakening, a religious revolution in the colonies, the dismal Puritan outlook on death softened and caused a change in the appearance of gravestones to a more pleasant, telling symbol of the deceased. Today, gravestones are constructed in a wide variety of shapes and sizes that often correspond with the stories that they tell.
In rare cases, engraved icons work in conjunction with the name on a tombstone to give a prominent, distinct piece of information about the person it represents. In the case of George Hetzel, for example, a large, bold easel is engraved at the top of his stone to illustrate his prominent artistry over the course of his life. The easel is positioned above Hetzel’s name and the dates of his life, suggesting that his artistry was more than just an occupation, but rather a central part of him that lives on even after his death. Hetzel’s art reflects his life in such a vital way that the easel seems to be above his name (quite literally) in the rank of importance. The easel is likely the first part of the tombstone that catches an individual’s eye, guiding their attention downwards until he or she discovers more about the artist in their presence.
This distinct kind of iconography is not typical within Homewood Cemetery, however, as it conflicts with the Lawn Park style of the cemetery’s landscape. A Lawn Park balances the combination between man-made architecture and the flourishing nature that surrounds it, ensuring that neither overshadows the other. Why, then, was George Hetzel given the authorization to include an easel icon on his gravestone? After a closer examination of an archival article from The Bulletin newspaper, I discovered that Hetzel’s work was very well known in Pittsburgh which granted his position as the Director of the Pittsburgh Art School in 1887. After leaving France and moving to North Side at just two years old, the quality and popularity of his artwork grew throughout most of his life in Pittsburgh (avictorian.com). Hetzel’s large presence and influence among the Pittsburgh Art Association aided in his overall recognition in the city of Pittsburgh, making a clear case as to why the art easel on his tombstone remains such a fundamental part of his legacy.
Another significant aspect of self-representation after death is the size of the tombstone. While the hyphenated date signifies the exact age of the individual at the time of his or her death, the size of the tombstone is another signifier of age. In the case of Olivia and Margaretta Bell, for example, the small size of their tombstones indicate that the girls passed at a young age. Based on the image of the two side-by-side tombstones, it is clear that Olivia’s tombstone (left) is smaller than her sister Margaretta’s (right), showing that Olivia was the younger of the two sisters when they passed. Their nicknames (Ollie and Detta) are placed on the front outward end of the tombstone which also give its viewers a better sense of who these two girls were to their family members. Since children are not typically given the choice or agency to decide what is placed on their tombstone, the parents usually hold the responsibility of doing so. The chosen design for the child’s gravestone suggests how the family members want to remember their child, or perhaps how they feel their child should be remembered by others.
Self-expression through gravestones (or lack, thereof) is illustrated in Thomas Gray’s 1751 poem entitled “Elegy Written in a Country Churchyard.” In the twelfth stanza, Gray writes that “Perhaps in this neglected spot is laid/ Some heart once pregnant with celestial fire” (45-46). The “neglected spot” refers to an unmarked grave which lacks any contextual evidence about the person whom is represents, and the “celestial fire” seems to be metaphorical for the passion that this individual may have been full with prior to their death. Gray seems to support the idea that a gravestone serves as the lasting mark that individual leaves behind in these two lines, as he ponders what the “neglected” individual was like when they were alive. The ambiguity of an unmarked gravestone reinforces that without any basic contextual information, the deceased individual’s life becomes lost and open to misinterpretation in the vast array of the gravestones surrounding it.
In conclusion, through details such as iconography, size, and other engraved phrases, a tombstone can directly represent an individual in ways that extend beyond a simple name and the date of his or her death. What may first appear as a simple gravestone becomes something more elaborate and telling upon a closer examination, giving a small yet meaningful glimpse of a story that may live on forever.
Works Cited
Gray, Thomas. “Elegy Written in a Country Churchyard.” Poetry Foundation. https://www.poetryfoundation.org/poems/44299/elegy-written-in-a-country-churchyard. Accessed 3 December 2018.
Harmon, Beau. “What is the Origin of the Gravestone?” https://classroom.synonym.com/origin-gravestone-21957.html. Accessed 3 December 2018.
“George Hetzel." Avictorian. http://www.avictorian.com/Hetzel_George.html. Accessed 3 December 2018.