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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;
&#13;
Santa Muerte (“Saint of Death” or the “Holy Death”) is a Mexican folk saint. Drawing from both the Aztec and Catholic traditions, Santa Muerte straddles the line between Saint and personification of death. Although a skeleton, depicters often dress her as the Virgin Mary or other catholic saintly figures. Despite condemnation by both the Mexican government and the Catholic Church for her association with cartel activity along the United States/Mexican border, Santa Muerte endures as one of the most popular religious figures in Mexico and the southwestern United States. Portrayals of the Saint draw inspiration from popular imagery of the skull, known as the Calavera, in rites associated with All Soul’s Day (the Day of the Dead), a celebration observed across Mexico and the Unites States (including Utah). &#13;
 Examples of Day of the Dead celebrations and Santa Muerte can be explored in the Fife Folklore Collection in USU’s Special Collections and in engravings by Mexican artist José Guadalupe Posada, whose La Calavera Catrina (the dapper skull) is seen below. Santa Muerte, &#13;
&#13;
&#13;
https://en.wikipedia.org/wiki/Santa_Muerte#/media/File:Santa-muerte-nlaredo2.jpg&#13;
Calavera Catrina, Utah State&#13;
University, Merrill-Cazier Library,&#13;
MLCNE546pP6B471972&#13;
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              <text>Alas Poor Yorick, I knew him, Horatio&#13;
The fifth and final act of Shakespeare’s Hamlet begins in a graveyard. The diggers of Ophelia’s grave comment on an uncovered skull, which Hamlet then lifts and recognizes as Yorick, the court jester of his youth. The image of the skull raised in Hamlet’s hand became one of the most common icons associated with Shakespeare’s tragedies. In this moment, Hamlet reflects on both past and soon-to-be deaths. The scene also invokes the Danse Macabre as Hamlet wonders if Alexander the Great’s skull mirrors the lowly Yorick’s in death.&#13;
&#13;
Shakespeare, William. Hamlet. Act 5 Scene 1, Utah State&#13;
University, Merrill Cazier Library, Special Collections and&#13;
Archives, Book Collection 10 Number L 5 117</text>
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              <text>The common aspects of the Danse Macabre&#13;
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&#13;
Printed Book of Hours. Utah State University, Merrill Cazier Library, Special Collections and Archives, SCAV0423&#13;
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              <text>Vesalius&#13;
&#13;
Andreas Vesalius’s De Humani Corporis Fabrica (“on the fabric of the human body”), first published in 1543, provided a major leap forward in the fields of medicine and anatomy. The true-to-life accuracy of the text’s illustrations stemmed from Vesalius’s dissection and study of human cadavers. Dry, analytical, scientific text gives way to allegory through depictions of bodies posed as though still alive or deep in thought. Such posing complicates and comments on the origins of the cadavers themselves, as many lived poor and destitute lives, and some were executed criminals.&#13;
&#13;
Vesalius, Andreas. De Humani Corporis Fabrica. Facsimile,&#13;
Utah State University, Merrill Cazier Library, Special&#13;
Collections and Archives, Call Number ASL 611 V63a</text>
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              <text>Memento Mori&#13;
&#13;
Skulls act as reminders to both the limits of life, and the farce permanence of bones. Bones are the last part of the body to decompose, often remaining in reliquaries or crypts for centuries after the deceased’s passing. A viewer confronted with a skull is compelled to Memento Mori, or “remember that [they] will die.” The motif of the skull often serves a contemplative role in western art. Skulls placed with fruit and other still-life materials compose the tradition of “Vanitas” paintings (a reminder of earthly vanity). Similarly, anatomical texts from the pre-modern period took artistic liberties with their skeletal “actors” to spin narratives of death as well as teach the inner workings of the human body. Trophies like Old Ephraim’s skull serve as a reminder that we all meet the same fate – even the mightiest grizzly.&#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;
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&#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;
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&#13;
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              <text>The Danse Macabre,&#13;
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The Skeleton Dance. Animation Ub Iwerks, Music&#13;
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&#13;
The Nuremberg Chronicle&#13;
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Anton Koberger. The Nuremburg Chronicle. Utah State University, Merrill&#13;
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              <text>Why should I fear death? If i am, death is not. &#13;
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&#13;
Memento Mori, &#13;
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&#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;
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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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                <text>Digitized by: Utah State University, Merrill-Cazier Library.</text>
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