Gravestones, Tombs & Memorials (10 page)

FIG 4.2:
On early gravestones the head of the stone features a number of individual symbols usually with a skull or angel's head, a grouping which represented death and resurrection, as in the top example. On the finest late 18th-century examples they tend to form a single scene, usually with a weeping figure, a tree and an urn as in the bottom left example.

FIG 4.3: ELMORE, GLOS:
The Knowles tomb dating from the early 18th century has one of the finest displays of symbolism and sculpture. This side panel features Father Time with an hourglass and scythe on the left, standing on a wheel which represents eternity. A skeleton with sexton's tools stands upon a globe on the right, representing mortality. The central roundel has two figures in robes holding an open book while two plump angels blow trumpets behind them. At the bottom, two crouching children sit upon squashed skulls.

In addition to these general carvings there were many which were favourites of individual masons. Some were just decoration copied from pattern books, architecture and furniture, or symbols from nature. Others were complete scenes composed in the head of the carver though due to their limited opportunities to travel these were probably based on somewhere in the locality. Occasionally a picture was based on an event from the Bible, while some were representations of a disaster or accident which befell the deceased.

FIG 4.4: ROTHLEY, LEICS:
An incredibly detailed carving of the Last Judgement with the tumbling spire based upon a neighbouring church.

Early symbols

FIG 4.5: SKULLS:
These are the most simple and common symbol of death, the mortality to which we must all succumb. Some early examples are simply stylised (top) while others were more accurate (middle). They can also be found with crossbones (see
Fig 4.7
), scythes, sexton's tools, and in some cases with bat wings (bottom).

FIG 4.6: ANGELS:
These represent resurrection, the soul of the deceased on its way to heaven. There is a wide selection of local types and stylised early examples (top) while a chubby-cheeked cherub's head with wings is the most common form in the 18th century (centre top), often with Heaven represented by sun rays through clouds (centre bottom). From the early 19th century, angels are usually shown as full figures (bottom and
Fig 4.13
).

FIG 4.7: BONES:
Two thigh bones, usually crossed, with or without a skull, form another mortality symbol. The skull and crossbones are believed to be the parts of the body required for resurrection and date back to at least the medieval period. Sometimes whole skeletons were carved but are rare, presumably because of the expensive amount of delicate carving (
Fig 4.26
).

FIG 4.8: HOURGLASS:
Another popular symbol of mortality, representing the passage of time. Sometimes they were winged (bird wing means day, bat wing night). Early ones could be simplified to inverted triangles or double hearts.

FIG 4.9: TOOLS AND TORCHES:
Spades and pickaxes, the tools used by the sexton to dig graves, could mean mortality or that this was the trade of the deceased (coffins were sometimes included as well). The flaming torch shown here pointing down also signified death, but when upright meant life.

FIG 4.10: SERPENT:
The encircled serpent biting its tail means eternity. It is often wrapped around another symbol like an hourglass which linked time and eternity, or a poppy which meant eternal sleep.

FIG 4.11: GLOBE:
Usually shown as a simple ball (sometimes with a band around the middle) it represented the pleasures of the world. It is often found offered by Death to the deceased or under a standing figure as in the above example.

FIG 4.12: HEART:
This usually represents the virtue of Love or Charity. When shown with flames it means the fire of Divine love. It is often found pierced with a dart, although in this example it appears to be a sword (which usually represents courage or martyrdom). The three virtues mentioned by St Paul are Faith, Hope and Charity and the figures representing these were popular from the late 18th century (see Figs
4.24
and
4.25
).