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              <text>Utah State University sprouted from humble beginnings - a solitary building on a windy and arid hill. However, over the next 130 years, the university grew, constructing numerous buildings; several of the historic structures stand today as reminders of the institution’s past. Additionally, many structures were demolished as campus and curriculum development called for updated facilities. Yet, despite the fluctuating environment, the university’s commitment to providing students and faculty with quality education, recreation, and housing facilities remains steadfast. This obligation ensures that the Utah State University campus will continue to grow and adapt to meet future challenges presented by an ever-expanding student body and changing educational landscape.&#13;
&#13;
130 Years&#13;
...and many more to come</text>
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              <text>The disastrous fire of December 19, 1983, required the extensive renovation of Old Main. The fire began in the attic of the north wing, and thanks to the quick action of local firefighters, did not spread to the rest of the building. Water damage, however, decimated the northern section. Renovation plans called for gutting the fire-damaged portions, and remodeling Old Main’s entire interior. In order to maximize space, the university decided to restore Old Main’s historic exterior, but modernize the interior to increase the number of classrooms and offices. Like a “phoenix from the ashes,” Old Main rose to continue as USU’s flagship building.&#13;
&#13;
USU Special Collections and Archives, USU A-Board Collection, Image 1622a</text>
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              <text>The administrative center of campus, Old Main&#13;
stands as the university’s definitive symbol. At&#13;
one time, Old Main contained the college&#13;
library, auditorium, a chapel, faculty offices,&#13;
workshops, laboratories, and classrooms. In&#13;
fact, instruction in every subject from English to&#13;
Animal Science has taken place within the walls&#13;
of Old Main. At the insistence of President J.W.&#13;
Sanborn, students also participated in&#13;
mandatory, non-denominational chapel&#13;
exercises. The president kept attendance, even&#13;
issuing several demerits to his son Harry for&#13;
shirking the obligation.&#13;
&#13;
Old Main also featured other non-classroom&#13;
facilities, such as a museum and a gymnasium&#13;
on the third floor. In fact, the utility of Old Main&#13;
made it subject to frequent remodeling in order&#13;
to accommodate an expanding faculty, staff,&#13;
and student body.&#13;
&#13;
In addition to skipping chapel services, the Demerit&#13;
Book also noted other student infractions.&#13;
&#13;
USU Special Collections and Archives,&#13;
USU A-Board Collection, Image 3a&#13;
&#13;
Students held their early college balls and dances in the gymnasium. It also&#13;
served the needs of women students who could opt for physical culture&#13;
classes rather than military drill, which was mandatory until the 1950s.&#13;
&#13;
USU Special Collections and Archives, USU A-Board Collection, Image 1423</text>
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              <text>Old Main&#13;
&#13;
The Lighted "A" on the Hill&#13;
A beneficiary of the Morrill Land-Grant College Act passed by Congress and signed by President Lincoln in 1862, the Utah Territorial Legislature created the Utah Agricultural College in 1888. Two years later, the south wing of Old Main opened for classes in September. Built in three stages, and designed by three different architects, Old Main has anchored the university for nearly 130 year.s. &#13;
&#13;
Students studying in the Old Main Library reading room, 1903. USU Special Collections and Archives, USU A-Board Collection, Image 1359.&#13;
&#13;
Flush with cash after the Territorial Legislature nearly doubled the college's budget request in 1892, the Board of Trustees scrapped the original plans to complete Old Main drawn by C. L. Thompson, and adopted Karl C. Schaub's design for an enlarged central section to adjoin the south and north wings. After completing the north wing and the connecting center structure, a financial panic ensued in 1893, forcing the college to operate on a shoestring budget for the next seven years. In 1901, the economy finally improved, allowing completing of Old Main. H. H. Mahler, the third and final architect to work on Old Main, designed the now familiar tower adorned with its famous blue "A."&#13;
&#13;
Three artists’ conceptions of designs for Old Main.&#13;
(Top) C.L. Thompson’s design.&#13;
(Middle) Karl C. Schaub’s design.&#13;
(Bottom) H. H. Mahler’s design.&#13;
USU Special Collections and Archives,&#13;
USU A-Board Collection, Images 1, 1406, and 2.&#13;
&#13;
Along with the south wing of Old Main, other buildings encompassing the nascent campus in 1890 included the&#13;
Experiment Station and the Experiment Station director’s residence; the President’s House; and the model barn.&#13;
USU Special Collections and Archives, Agricultural College of Utah Cyanotypes, Box 2, Folder 6</text>
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              <text>The so-called father of USU, Anthon H. Lund introduced legislation to the Utah Territorial Assembly authorizing the college's creation in March 1888.&#13;
&#13;
Anthon H. Lund Portrait, USU Merrill-Cazier Library&#13;
&#13;
With a faculty of nine and a student body of 139, USU opened in September 1890.&#13;
&#13;
USU Special Collections and Archives, USU A-Board Collection, Image 1100</text>
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              <text>Credits&#13;
&#13;
Dylan Burns Curator&#13;
Vicki Read Contributor&#13;
Mikkel Skinner Design&#13;
Shay Larsen Design&#13;
Devin Greener Preparator&#13;
Darcy Pumphrey Digital Team&#13;
Alison Gardner Digital Team&#13;
Becky Thoms Digital Team&#13;
Adam Gifford Scanning Tech&#13;
Gravestone photographs by Devin Greener and Mikkel Skinner&#13;
&#13;
This exhibit has a companion digital exhibit online at exhibits.usu.edu/exhibits/show/mementomori&#13;
&#13;
Works Consulted&#13;
Ariès, Philippe. The hour of our death. Vintage, New York: 1982.&#13;
Barthes, Roland. Camera lucida: Reflections on photography. Macmillan, New York: 1981.&#13;
Chesnut, R. Andrew. Devoted to Death: Santa Muerte, the Skeleton Saint. Oxford University Press, Oxford: 2012.&#13;
Juan, Rose Marie San. "The turn of the skull: Andreas Vesalius and the early modern memento mori." Art History 35, no. 5 (2012): 958-975.&#13;
Kinch, Ashby. "Image, Ideology, and Form: The Middle English Three Dead Kings in Its Iconographic Context." The Chaucer Review 43, no. 1 (2008): 48-81.&#13;
Linkman, Audrey. "Taken from life: Post-mortem portraiture in Britain 1860–1910." History of photography 30, no. 4 (2006): 309-347.&#13;
Metcalf, Peter, and Richard Huntington. Celebrations of death: the anthropology of mortuary ritual. Cambridge University Press, 1991.&#13;
Oosterwijk, Sophie. "Of corpses, constables and kings: the Danse Macabre in late medieval and Renaissance culture." Journal of the British Archaeological Association 157, no. 1 (2004): 61-90.</text>
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              <text>The Weeping Woman &#13;
&#13;
The most well known headstone in the Logan City Cemetery carries the title “Weeping Woman” or “Weeping Lady.” Countless urban legends and folktales surround this monument to Emelia Cronquist. Some of these stories tell of a mother weeping for her deceased children, but there are many versions as to why and when she cries. Some say she cries on Halloween, others that she only cries on a full moon or on the 13th of each month. A small sample of these urban legends can be read here. More can be viewed in Special Collections under the call number SCAFOLK008aGr07Bx9a. If you have an urban legend about the “Weeping Woman,” feel free to write it down and submit your version to Special Collections.&#13;
&#13;
Folklore write ups, Utah State University, Merrill&#13;
Cazier Library, Special Collections and Archives,&#13;
Folklore Collection 008a, Group 07, Box 009a&#13;
&#13;
Photo by Devin Greener</text>
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              <text>Gravestones&#13;
&#13;
A headstone, tombstone, or gravestone is typically placed over the head of the deceased’s grave and inscribed with their name, birth date, and date of death. Many headstones also contain symbols or sayings that allow mourners and visitors to garner more information about the deceased. Each symbol can take on many meanings. The interpretation is in the eye of the beholder as well as in the skilled hands of the engraver.&#13;
&#13;
Mormon Temple &#13;
is a fairly recent symbol to headstones. Due to the intricacy of the image it was rarely used until the 1960s when sandblasting and air-powered chisels made it easier to replicate. Today the temple symbol is common in cemeteries throughout Utah. The symbol of the LDS temple is used to mark the graves of faithful members of the church and to reinforce the idea of eternal life and eternal families.&#13;
&#13;
Draped Cloth &#13;
can symbolism the veil that seperates life and death. In this case where the drapery is over a book the symbol refers to a life cut short before their book of life was completed.&#13;
&#13;
Wreath of Laurel &#13;
as seen on the Weeping Woman statue. The laurel wreath is a common symbol usually associated with eternity of the human soul and life everlasting. This symbol can also mean victory of life over death, immortality, or the deceased reaching heaven.&#13;
&#13;
The Squires Headstone &#13;
is an example of many symbols. Note the archway at the top of the headstone. The keystone is missing sometimes, symbolizing a life cut short or unfinished. Lilies partially surround the name. The symbol of lilies is usually associated with purity or beauty. The pathway of cobbles leads to the pearly gates which are opened for the deceased to enter.&#13;
&#13;
Squires Headstone, Utah State University, Merrill-Cazier&#13;
Library, The Barre Toelken Collection Folk035aBx01-1986&#13;
&#13;
Clasping Hands &#13;
can have many meanings but the most common interpretations are remembrance of the affection between two people, commonly husband and wife, or mother and child. Guidance by a deceased partner who is leading the newly dead into everlasting life may also be symbolized with clasping hands. Yet another interpretation is the hand of God welcoming the newly deceased into heaven and eternal everlasting life.&#13;
&#13;
Lamb &#13;
often refers to the lamb of God, gentleness and purity. This symbol may also mean the innocence and purity of a child.&#13;
&#13;
Open Book  &#13;
can have many meanings. The book can be a religious tome such as the Bible, Koran, or Book of Mormon. The type of open book pictured here usually implies the deceased’s beliefs or vocation. An open book can also signify the “Book of Life” and believing that the deceased will have their name contained therein, thus ensuring them everlasting life in heaven. Another interpretation of an open book is the deceased’s eagerness to learn new or interesting things in life. The book may also signify the deceased’s pure life and be a record of accomplishment.</text>
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              <text>Cemeteries and Funerals&#13;
&#13;
Logan Cemetery&#13;
Before the 19th century, most burials took place on church yards or family-owned lands. Eventually cities saw the need to regulate the burial of human remains more closely. Public cemeteries became areas, usually on the periphery of cities, where families could purchase space for their loved one’s body to “rest.” Cache Valley contains many public cemeteries. Established in 1860, the current Logan City Cemetery resides at 1000 North 1200 East. The rst person interred here was Kate Blair. The original Logan City cemetery, located at 700 East 500 North, was relocated to accommodate the city’s growth. The exact date of the closure is lost to time. During the closure, family members could choose to have their loved one’s remains moved to the new cemetery, or to another location. The bodies of 42 unknown pioneers went unclaimed. Their remains were moved to the new Logan City Cemetery where they are interred in what is known as the “Pioneer Plot.”</text>
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              <text>Der Antichrist und die fünfzehn Zeichen&#13;
&#13;
Der Antichrist und die fünfzehn Zeichen vor dem Jüngsten Gericht (translated from German as "The Antichrist and the fifteen signs before the last judgement) is a German legend drawn from the apocryphal Apocalypse of Thomas in which the Antichrist brings about the end of the world. This block book version dates from the 1460s and features images of the Antichrist (represented as a figure shadowed by a demon) raising the King of Lybia’s (sic) parents and feigning death. In this block book, coffins represent death and the deceased, and invoke visions of the dead rising from their tombs at the end of times.&#13;
&#13;
H. Theodore Musper and Manfred von Arnim. Der Antichrist und die fünfzehn Zeichen. Utah State University, Merrill Cazier Library, Special Collections and Archives, ASL 838.3 An87 v. 1</text>
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              <text>Undeath &#13;
&#13;
As the macabre and gruesome depictions of death and dying suggest, the event of death itself is one many wish to avoid or circumvent. This desire often manifests in spiritual or religious responses, but sometimes it enters the realm of the paranormal or supernatural. Witchcraft and black magic offered the possibility of bypassing death, sometimes in the form of the dead rising from their graves, but also through communication with lost loved ones. These representations and beliefs provide an important cultural understanding of death and mourning.&#13;
&#13;
Secrets of Black Arts: Witchcraft, Demonology, Omens. Utah State University, Merrill Cazier Library, Art Book Room, Beat LCBF 1999 S431495&#13;
&#13;
Thy Son Liveth &#13;
Paranormal responses to death prove especially true in times of war. This 1918 book by children’s author Grace Dufe Boylan (first published anonymously) tells the story of Boylan’s son returning from death to communicate via Morse code and automatic writing. Boylan’s son died on a battleeld in France during World War I.&#13;
&#13;
Boylan, Grace Duffie. Thy Son Liveth: Messages from a Soldier to his Mother (Boston : Little, Brown, and company, 1919), Utah State University, Merrill Cazier Library, Special Collections and Archives, Call Number BOOK COLL 10 L2-61</text>
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              <text>John Taylor Funeral Programme &#13;
&#13;
John Taylor, the third president of the Church of Jesus Christ of Latter-day Saints, passed away in 1887. His funeral programme displays traditional black and cream Victorian-era designs and lists the procession of events including the prayers and hymns to be sung at the tabernacle.&#13;
&#13;
John Taylor Funeral Program, Utah State University, Merrill&#13;
Cazier Library, Special Collections and Archives, SCAVPAM126</text>
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              <text>Mourning Photography &#13;
&#13;
Funeral customs that might strike us as odd today were common a hundred yearsago. The advent of photography allowed the creation of keepsakes of lost loved ones. Photos capturing the recently deceased alongside living siblings or parents provided opportunity for one last family portrait. Attempts to create the illusion of sleep or rest in lieu of death blunted the sharpness of grief. Gradually, as funeral rites moved out of the home, photography shifted focus to processions, caskets, and oral arrangements. These images are from the Compton Family Photography Studio which served Brigham City, Utah, from 1884 to 1994.&#13;
&#13;
For Death must be somewhere in a society; if it is no longer (or less intensely) in religion, it must be elsewhere; perhaps in this image which produces Death while trying to preserve life.&#13;
-Roland Barthes, Camera Lucida pg. 92</text>
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              <text>Mourning Posters&#13;
&#13;
These two posters offer examples of mass manufactured mourning materials printed by The Art Panel Company of Philadelphia. Mourners provided a photograph, date of birth and death, and a poem in each of these ready-made posters for display at the deceased’s funeral or at home afterwards. Heber C. Kimball, an original member of the LDS Quorum of the Twelve, and his wife, Violate Murray Kimball, passed away in 1868 and 1867 respectively. These posters, including their photographs and information, were created nearly three decades after they died. The posters are part of the permanent collection of the Cache Daughters of the Utah Pioneers Museum in Logan, Utah.</text>
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              <text>Mourning Imagery&#13;
&#13;
Unlike the macabre iconographies explored earlier in the exhibit, funeral and mourning rituals and images ring more somber and muted. Funerals and mourning, once primarily a home affair, began to reflect larger trends toward mass marketing and mass production by the end of the 19th and start of the 20th centuries. Here we explore similar iconography to the gravestones featured in flyers from Allen-Hall Funeral Home in Logan.</text>
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              <text>Santa Muerte&#13;
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              <text>The common aspects of the Danse Macabre&#13;
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Printed Book of Hours. Utah State University, Merrill Cazier Library, Special Collections and Archives, SCAV0423&#13;
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              <text>Vesalius&#13;
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Ephraim’s Skull, Utah State University, Merrill-Cazier&#13;
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              <text>Hans Holbein’s Dance of Death&#13;
&#13;
Universality proves a common theme in the Danse Macabre as the dead dance with both commoners and aristocrats alike. Consequentially, the Danse Macabre was often used for social critique. Hans Holbein the Younger, a German Swiss painter and printmaker active during the Northern Renaissance, served as court painter for Henry VIII of England. His 41 woodcuts featuring the Dance of Death, created between 1523-1526, stirred controversy because of their Reformist satirical tones. Featured here are ghastly images of three Catholic leaders: the Pope, the Holy Roman Emperor, and the Knight.</text>
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              <text>The most common text follows,&#13;
with the original Middle English:&#13;
&#13;
‘I am afraid’&#13;
(Ich am afert),&#13;
‘Lo, what I see!’&#13;
(Lo whet ich se),&#13;
‘Methinks these be devils three’&#13;
(Me þinkes hit bey develes þre).&#13;
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‘I was well fair’&#13;
(Ich wes wel fair),&#13;
‘Such shall you be’&#13;
(Such schel tou be),&#13;
and ‘For God’s love, beware by me’&#13;
(For godes love bewer by me).&#13;
&#13;
from the De Lisle Psalter at the British Library Arundel MS 83 c 1308</text>
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              <text>I was well fair, such shall you be&#13;
&#13;
An early example of the Danse Macabre comes from the story of “The Three Living and the Three Dead.” While the story’s exact origins remain a mystery, scholars have traced its theme to 13th century murals, illuminations, and poetry. An illustration of this story can be seen here in the DeVillers Book of Hours (circa 1480), where three living kings cross paths with three dead kings. This illumination appears in the “Office of the Dead” portion of the family prayer book, which also contains Catholic last rites delivered to the dying. While the De Villers illumination of the “Three Living” offers no accompanying text, viewers in the 15th century would have recognized the iconic story.</text>
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              <text>Danse Macabre &#13;
&#13;
The Danse Macabre is an eternal round in which the dead alternate with the living. The dead lead the dance; indeed they are the only ones dancing.&#13;
-Philipe Aries&#13;
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              <text>The Danse Macabre,&#13;
or Totentanz (“dance of death” in English) marked an important milestone in the art of the Middle Ages. Ghastly figures, often skeletons with tattered hair and clothing, dance and converse with both ordinary and extraordinary people of the age. The dance’s origins as an artistic statement remain unclear. Many scholars ascribe the Black Death and other disasters of the 14th century as the foundation of fascination with the macabre, while others suggest a civilization-wide focus on moral penitence and guilt culture as the source. Despite its peak being in the late Middle Ages, the Danse Macabre endures in 19th and 20th century classical music, and the 1929 Silly Symphony animation “Skeleton Dance” by Ub Iwerks and Walt Disney&#13;
&#13;
The Skeleton Dance. Animation Ub Iwerks, Music&#13;
Carl W. Stalling. Walt Disney. 1929. Short Film&#13;
&#13;
The Nuremberg Chronicle&#13;
Found in Anton Koberger’s Liber Chronicarum (a text more commonly known as the Nuremberg Chronicle), this is perhaps the most well-known Danse Macabre image. The Chronicle, printed in 1493, spans world history from Biblical Creation to the “Seventh Age,” or the days of Judgement, where the dance of death takes center stage.&#13;
&#13;
Anton Koberger. The Nuremburg Chronicle. Utah State University, Merrill&#13;
Cazier Library, Special Collections and Archives, OV ASL 901.1 SCH 22</text>
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              <text>Why should I fear death? If i am, death is not. &#13;
If death is, I am not. Why should I fear that &#13;
which can only exist when I do not?&#13;
-Epicurus&#13;
&#13;
Memento Mori, &#13;
"Remember that you will die,"&#13;
&#13;
is a Latin saying that conveys the inevitability of death. No matter how good a life you lead, or how rich or famous you become, death awaits – a bookend to all lives. At the dawn of western Christianity, symbols of death and the afterlife became dominant in art, reaching a peak in the dark of the 14th century amid the years of the Black Death. Memento Mori: The Art of Death and Mourning traces these thematic iconographies of death, dying, and mourning across the centuries.&#13;
&#13;
While death awaits us all, art and media do not always frame death as such a somber reality. Representations range from skeletons dancing with Popes and Kings of the Middle Ages, to anatomical illustrations of skulls and bodies. Despite this variety of depictions, however, each remind us that our time will run out. Symbolic cemetery monuments and memorials guide our view of the hereafter. Photographs memorialize the lost and capture the fleeting. Legends and folktales impart that death is not the end, but perhaps a haunting new beginning. Throughout it all, death plays a central role in art and expression.&#13;
&#13;
We invite you to explore the darker side of our collection through hallmarks of how we mourn, celebrate, deny, and ultimately accept death.</text>
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