Infant son of Frederic Webster & Louise Mowry (Mason) Vinal.
I found an interesting article concerning tree style HS:
[They came at what she (author of book) calls a transitional period in American funerary art, when cemeteries were emphasizing nature and markers grew more modest. The customs around death were starting to focus more on the deceased’s life and the people left behind, and a tree proved a powerful symbol of both eternity and humanity, recalling the Bible’s tree of life and tree of knowledge.
Some are tree-stump markers take the shape of a cross. Others are simpler, four or five feet tall, with their branch shorn off. One is a short, cleanly cut stump, like one a hiker might rest on during a long walk through the woods.
They date mostly to 1880s to 1920s, when funerary art in the United States was moving away from the grand mausoleums and obelisks.
The tree-stump stones were part of a movement to turn the focus of death back to life, and they’re a unique form connected with the secret societies of the time. “They qualify as folk art,” writes Susanne Ridlen, in her 1999 book Tree-Stump Tombstones].
I found an interesting article concerning tree style HS:
[They came at what she (author of book) calls a transitional period in American funerary art, when cemeteries were emphasizing nature and markers grew more modest. The customs around death were starting to focus more on the deceased’s life and the people left behind, and a tree proved a powerful symbol of both eternity and humanity, recalling the Bible’s tree of life and tree of knowledge.
Some are tree-stump markers take the shape of a cross. Others are simpler, four or five feet tall, with their branch shorn off. One is a short, cleanly cut stump, like one a hiker might rest on during a long walk through the woods.
They date mostly to 1880s to 1920s, when funerary art in the United States was moving away from the grand mausoleums and obelisks.
The tree-stump stones were part of a movement to turn the focus of death back to life, and they’re a unique form connected with the secret societies of the time. “They qualify as folk art,” writes Susanne Ridlen, in her 1999 book Tree-Stump Tombstones].
Infant son of Frederic Webster & Louise Mowry (Mason) Vinal.
I found an interesting article concerning tree style HS:
[They came at what she (author of book) calls a transitional period in American funerary art, when cemeteries were emphasizing nature and markers grew more modest. The customs around death were starting to focus more on the deceased’s life and the people left behind, and a tree proved a powerful symbol of both eternity and humanity, recalling the Bible’s tree of life and tree of knowledge.
Some are tree-stump markers take the shape of a cross. Others are simpler, four or five feet tall, with their branch shorn off. One is a short, cleanly cut stump, like one a hiker might rest on during a long walk through the woods.
They date mostly to 1880s to 1920s, when funerary art in the United States was moving away from the grand mausoleums and obelisks.
The tree-stump stones were part of a movement to turn the focus of death back to life, and they’re a unique form connected with the secret societies of the time. “They qualify as folk art,” writes Susanne Ridlen, in her 1999 book Tree-Stump Tombstones].
I found an interesting article concerning tree style HS:
[They came at what she (author of book) calls a transitional period in American funerary art, when cemeteries were emphasizing nature and markers grew more modest. The customs around death were starting to focus more on the deceased’s life and the people left behind, and a tree proved a powerful symbol of both eternity and humanity, recalling the Bible’s tree of life and tree of knowledge.
Some are tree-stump markers take the shape of a cross. Others are simpler, four or five feet tall, with their branch shorn off. One is a short, cleanly cut stump, like one a hiker might rest on during a long walk through the woods.
They date mostly to 1880s to 1920s, when funerary art in the United States was moving away from the grand mausoleums and obelisks.
The tree-stump stones were part of a movement to turn the focus of death back to life, and they’re a unique form connected with the secret societies of the time. “They qualify as folk art,” writes Susanne Ridlen, in her 1999 book Tree-Stump Tombstones].
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