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              <text>A student family at the USU trailer court&#13;
following the end of WWII, c. 1948.&#13;
USU Special Collections and Archives,&#13;
USU A-Board Collection, Image 388a</text>
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              <text>1950s and 1960s Dorms&#13;
Utilizing post-war federal housing funds in 1955, the college built Moen,Greaves, and Reeder Halls, the first women’s dormitories added to campus since Lund Hall in 1938. Three years later the college erected Richards and Bullen Halls for male students. In 1964, Mountain View and Valley View Towers added to the growing list of university housing. While these new buildings helped to ease some of the housing pressure, providing enough living space for the student body continues to challenge and change the university and its landscape to this day. In 1962, the Church of Jesus Christ of Latter-Day Saints (LDS) built and managed the David O. McKay Student Living Center. The facility catered to the university’s LDS student body and included both men’s and women’s dormitories. The university acquired the so-called “Morm Dorms” during the 1980s, retaining the Student Living Center designation, but renaming them in honor of university faculty and benefactors.&#13;
&#13;
LDS president David O. McKay with other church leaders breaking ground on the Student Living Center, May 2, 1961. &#13;
USU Special Collections and Archives, A-Board Collection, Image 421&#13;
&#13;
Bullen Hall (top), Mountain View Tower (middle),&#13;
and Moen, Reeder, and Greaves Halls (bottom).&#13;
USU Special Collections and Archives, A-Board Collection,&#13;
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              <text>Growin&#13;
&#13;
The layout and maintenance of the college grounds has&#13;
been an integral part of the built environment since the founding of the university. Initially,&#13;
the barren College Hill consisted of little more than sagebrush and wind. However, as the&#13;
buildings continued to grow so did the number of trees and green space.&#13;
&#13;
President John A. Widtsoe&#13;
In 1912, President Widtsoe engaged the east coast architectural firm of Pray, White, and Hubbard to&#13;
produce the first campus master plan. The plan clearly laid out the central campus, placing&#13;
prospective buildings east of Old Main along the north and south sides of a campus green, today’s&#13;
Quad. While the architects provided a vision for ordering the campus, they gave little advice&#13;
concerning the type of trees and other ornamentals to plant. Therefore, the sprouting Agricultural&#13;
College sought outside assistance to beautify its grounds&#13;
&#13;
Emil Hansen&#13;
In 1914, Emil Hansen, a landscape gardener born and educated in Denmark, became the first&#13;
superintendent of grounds at the college. Hansen brought to his position a unique eye for detail and knowledge of plants capable of thriving under local conditions. By 1919, Hansen had developed his own vision for the campus, proposing a variety of planted beds and landscaping that added depth and design to the 1912 master plan. For 15 years, Hansen worked to beautify the appearance of campus. During the 1920s, he guided the plowing and replanting of the central Quad, the laying of walkways, and the planting of trees. With President E.G. Peterson’s unswerving support, Hansen’s efforts permitted the college to become one of the most compact and scenic campuses in the western U.S. Capitalizing on campus aesthetics, Peterson announced the opening of a National Summer School (NSS) in 1924. During its first four years, visiting professors from many of the most prestigious institutions in the nation, including David Star Jordan (Stanford), Frederick Jackson Turner (Harvard), and Liberty Hyde Bailey (Cornell) spent six weeks of their summer lecturing in Logan.</text>
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              <text>G A Campus&#13;
Landscape Development and Design&#13;
&#13;
Laval Morris&#13;
In 1939, Laval Morris, a former student of Emil Hansen, returned to USAC and founded the Department of Landscape Architecture. Morris and his students, especially Kenji Shiozawa, one of the first students to graduate from the program, played an important role in developing the campus during the postwar boom.&#13;
&#13;
Agricultural College of Utah master plan&#13;
commissioned by President John A. Widstoe in 1912.&#13;
&#13;
Emil Hansen (right) and a student posing in&#13;
front of a model bungalow style home, c. 1920.&#13;
USU Special Collections and Archives,&#13;
USU A-Board Collection, Image 1080&#13;
&#13;
USU Special Collections and Archives,&#13;
USU Publicity Portraits, Box 2, Image 129&#13;
&#13;
Student Gifts and A-Day/Agathon Projects&#13;
Markers inset into many of the sidewalks and stairways near Old Main proclaim the involvement of students in developing the campus grounds. Each spring, Aggies dropped their pencils and picked up shovels for the annual A-Day festivities. Students were expected to participate. A Student Association vigilante squad often rounded up “shirkers,” trying them before a student court. A-Day activities included a morning of construction, usually laying concrete for new walkways, followed with lunch prepared by Home Economics students. Afternoons featured athletic contests, and ended with a dance in the evening. The 1921 A-Day project is particularly important because students, under Emil Hansen’s supervision, laid out walkways and planted Norway Maples, some of which still adorn the perimeters of the Quad. A-Day became the weeklong celebration Agathon during the 1950s. Although it disappeared during the 1970s, the Alumni Association resurrected the event during the 1980s, and today’s A-Week still consists of service opportunities, along with other student events.</text>
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              <text>Educating Utah The Extension Campus&#13;
&#13;
In addition to educating students on Logan’s campus, USU has “extended” its land-grant mission by providing educational opportunities throughout the state since 1896. While creation of the Cooperative Extension Service in 1914 had particular significance for rural farm families, USU, throughout its history, built a variety of campus buildings and educational centers pursuant to making higher education available to Utah’s citizens.&#13;
&#13;
Experiment Station Building (1890-)&#13;
Built in 1890, the Experiment Station is one of the oldest extant buildings on campus. From 1890 to 1956, the Utah Agricultural Experiment Station served as the clearinghouse for all institutional research. As researchers developed new agricultural methods, the Extension Service disseminated them to the state’s practitioners. Experiment Station administration moved to the E.G. Peterson Agricultural Science Building in 1956. The renovated Experiment Station Building is presently home to the Public Relations and Marketing Department.&#13;
&#13;
Rural Arts Building (1941-2003)&#13;
Completed in 1941, National Youth Administration laborers (130 students) constructed the Rural Arts Building at the close of the Great Depression. It served as housing for rural people attending conferences and workshops offered by Extension Services, replacing the Farmer Encampment “tent city” formerly staged on the Quad. Razed in 2003, the Merrill-Cazier Library now sits on the site.&#13;
&#13;
Distance Education Building (2012-)&#13;
In 2005 USU renewed its commitment to Extension education by creating Regional Campuses and adopting a Distance Education Program. As a result of this, the Distance Education Building opened as a “nerve center” for the program in 2012. Today, USU offers more than 40 degrees through online education and hosts over 25 different campus Extension locations throughout Utah.&#13;
&#13;
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              <text>Built to Last&#13;
1888&#13;
Anthon H. Lund introduces legislation to&#13;
the Utah Territorial Legislature, establishing&#13;
the UAC as Utah's land-grant college.&#13;
&#13;
Portrait of Anthon H. Lund, who introduced the&#13;
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&#13;
1890&#13;
The south wing of Old Main, designed&#13;
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&#13;
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&#13;
1893&#13;
The north and central wings of Old&#13;
Main, designed by Karl C. Schuab,&#13;
under construction. The U.S. economy&#13;
plummets in the Panic of 1893.&#13;
&#13;
College Hill and Old Main without the completed tower.&#13;
&#13;
1901&#13;
The west wing and tower of Old&#13;
Main, designed by H.H. Mahler,&#13;
stands complete above Cache Valley.</text>
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              <text>1918&#13;
President E.G. Peterson receives funding from&#13;
Utah's governor to construct both the Ray B. West&#13;
and Geology Buildings for housing U.S. troops&#13;
1924 aerial photo of campus showing the completed Ray B. West,&#13;
Geology, and Animal Science Buildings.&#13;
&#13;
1921&#13;
During A-Day, students lay the&#13;
concrete Quad walkways and&#13;
plant the surrounding maple trees.&#13;
&#13;
1927&#13;
The Aggies celebrate the&#13;
construction of the first official&#13;
football stadium on campus.&#13;
The Utah State football team enters Romney Stadium&#13;
through the portal entry, c. 1955.&#13;
&#13;
1929&#13;
The U.S. stock market crashes and initiates&#13;
the Great Depression. The UAC renamed&#13;
the Utah State Agricultural College (USAC).&#13;
&#13;
Boys at the Civilian Conservation Corps camp in Mantua Canyon&#13;
during the Great Depression, 1933.&#13;
&#13;
1935-1938&#13;
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the Public Works Administration,&#13;
constructs the Home Economics&#13;
Building, today known as Family&#13;
Life (1935), and Lund Hall (1938).&#13;
Students standing in front of Lund Hall.</text>
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              <text>World War II ends, and the USAC student&#13;
population balloons. Aggies begin work&#13;
on the Temporary Union Building (TUB).&#13;
Students dancing in the TUB.&#13;
&#13;
1952&#13;
Taggart Student Center opens&#13;
for the 1952 Christmas dance.&#13;
The Taggart Student Center, c. 1953.&#13;
&#13;
1957&#13;
E.G. Petersen Agricultural Building completed.&#13;
Edith Bowen Laboratory School enrolls the first&#13;
elementary classes. The Utah State Agricultural&#13;
College renamed Utah State University.&#13;
Program celebrating the opening of the Edith Bowen Laboratory School.&#13;
&#13;
1962&#13;
A 5.7 magnitude earthquake strikes Richmond, Utah. As a&#13;
result, several USU structures are condemned, including&#13;
the Mechanic Arts Building. Though condemned in 1966,&#13;
the structure remained in use until 1984.</text>
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              <text>1963-1966&#13;
Peterson Engineering Lab (1963) under construction,&#13;
Biology and Natural Resources Building (1965)&#13;
opens, and Romney Stadium moves from 800&#13;
North to the present site of Maverik Stadium (1966).&#13;
The Biology and Natural Resources Building&#13;
(BNR) shortly after completion.&#13;
&#13;
1967&#13;
The university dedicates the&#13;
Chase Fine Arts Center.</text>
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              <text>1970&#13;
George S. Eccles Business Building opens for&#13;
classes. The Aggie basketball team plays its&#13;
first game in the newly completed Spectrum.&#13;
&#13;
1983&#13;
College of Natural Resources celebrates the&#13;
completion of the Natural Resources Building.</text>
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              <text>1990&#13;
The Emma Eccles Jones Education&#13;
Building opens for classes.&#13;
&#13;
2000&#13;
Eccles Science Learning Center opens&#13;
conjoined with Widstoe Hall.&#13;
&#13;
2003-2008&#13;
Anderson Engineering Building&#13;
constructed (2003), Merrill-Cazier Library&#13;
opens (2005), and USU dedicates the&#13;
David G. Sant Engineering Lab (2008).&#13;
&#13;
2010&#13;
Emma Eccles Jones Early Childhood&#13;
Research Center opens&#13;
&#13;
2012&#13;
Stan L. Albrecht Agricultural Sciences Building&#13;
opens on the site of the former Merrill Library.</text>
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              <text>2015&#13;
The Aggie Recreation Center (ARC) becomes&#13;
the newest fitness center on campus.&#13;
&#13;
2016-2017&#13;
Jon M. Huntsman Hall opens for classes in Spring 2016.&#13;
USU begins construction of the Life Sciences Building.&#13;
&#13;
Primary Sources:&#13;
A-Board historical photograph collection, 1817-1984. USU_Aboard1. Utah State&#13;
University Merrill-Cazier Library Special Collections and Archives. Logan, Utah.&#13;
General University. University Archives Record Group 10.2. Utah State University&#13;
Merrill-Cazier Library Special Collections and Archives. Logan, Utah.&#13;
Harry Rueben Reynolds photograph collection, 1930-1980. USU_P0004. Utah State&#13;
University Merrill-Cazier Library Special Collections and Archives. Logan, Utah.&#13;
President E. G. Peterson papers. University Archives Record Group 3.1/6. Utah State&#13;
University Merrill-Cazier Library Special Collections and Archives. Logan, Utah.&#13;
President John A. Widstoe papers. University Archives Record Group 3.1/5. Utah State&#13;
University Merrill-Cazier Library Special Collections and Archives. Logan, Utah.&#13;
Student Life. University Archives Record Group 25.5/8. Utah State University&#13;
Merrill-Cazier Library Special Collections and Archives. Logan, Utah.&#13;
University Planning. University Archives Record Group 6. Utah State University&#13;
Merrill-Cazier Library Special Collections and Archives. Logan, Utah.&#13;
Utah State University Course Catalogs. University Archives Record Group 9.5/1. Utah&#13;
State University Merrill-Cazier Library Special Collections and Archives. Logan, Utah.&#13;
Utah State University Photographic Services Collection, 1943-1984. USU_P0376. Utah&#13;
State University Merrill-Cazier Library Special Collections and Archives. Logan, Utah.&#13;
&#13;
Secondary Sources:&#13;
Crook, Susan and Aaron Smith. LAEP 75th Anniversary Celebration: The History of the Department of&#13;
Landscape Architecture and Environmental Planning 1939-2014. Logan, UT: Utah State University&#13;
Department of Landscape and Architecture and Environmental Planning, 2014.&#13;
National Park Service U.S. Department of the Interior. National Register of Historic Places. Accessed&#13;
September 16, 2017. https://www.nps.gov/nr/&#13;
Parson, Robert. “Encyclopedic History of Utah State University” (unpublished manuscript). Logan, UT: Utah&#13;
State University Library Faculty &amp; Staff Publications, 2009.&#13;
Ricks, Joel E. The Utah State Agricultural College: A History of Fifty Years. The Desert News Press, 1938.&#13;
Simmonds, A.J., Utah State University: A Centennial Celebration. Logan, UT: Utah State University Press, 1988.&#13;
&#13;
Exhibition Credits&#13;
Robert Parson . . . . . . . . . . Curator&#13;
Cody Patton . . . . . . . . . . . . Curator&#13;
Elsner Curatorial Intern&#13;
Dan Davis . . . . . . . . . . . . . . Contributor&#13;
Mikkel Robb . . . . . . . . . . . . Design&#13;
Shay Larsen . . . . . . . . . . . . Design&#13;
Devin Greener . . . . . . . . . . Preparator&#13;
Digital Team . . . . . . . . . . . . Darcy Pumphrey&#13;
Alison Gardner&#13;
Becky Thoms&#13;
Scanning Techs . . . . . . . . . Amanda Cook&#13;
Martha Díaz Adam&#13;
Katie Henrie&#13;
Jon Leslie Hunt III&#13;
Rebecca Nelson&#13;
The Elsner Curatorial Internship, named for the&#13;
late Larry and Yoko Elsner, is made possible by the&#13;
generosity of the Elsner Art Foundation.&#13;
This exhibit has a companion&#13;
digital exhibit online at&#13;
exhibits.usu.edu/exhibits/show/-builtenvironment&#13;
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              <text>Why should I fear death? If i am, death is not. &#13;
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&#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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              <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>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;
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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>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>Hans Holbein’s Dance of Death&#13;
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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;
&#13;
Ephraim’s Skull, Utah State University, Merrill-Cazier&#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;
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              <text>The common aspects of the Danse Macabre&#13;
&#13;
Because of its focus on the afterlife, the Danse Macabre carries deep religious connotations. Saintly relics and art depicting the violent death of Jesus contributed to a cultural obsession with the macabre. Linguists believe that even the word “macabre” stems from the slaughter of the Maccabees (leaders of a Jewish rebel army that took control of Judea 164 BCE-63 BCE), a conflict showcased by a well-known miracle play of the Middle Ages. These Danse Macabre icons occur in the repeated woodblock border of a 15th century book of hours, a devotional text. &#13;
&#13;
Printed Book of Hours. Utah State University, Merrill Cazier Library, Special Collections and Archives, SCAV0423&#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>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>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>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 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>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>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>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>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>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>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>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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&#13;
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&#13;
With a faculty of nine and a student body of 139, USU opened in September 1890.&#13;
&#13;
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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 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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