Within the grass of Konawa Cemetery, Kenowa, Oklahoma, the grave of Katherine Cross is most memorable for the epitaph: Murdered By Human Wolves. In a continuation of her sad story the gravestone was stolen in 2016.
Her gravestone was engraved with an arch, open gates, and a star.
The arch is a symbol of triumph and victory in death. It also represents being joined with a partner in Heaven. Open gates symbolize the soul entering heaven. The star piercing the darkness symbolizes the spirit overcoming evil and rising to heaven.
There are many legends surrounding her death including a fictional account in a novel written by Steven E. Wedel.
The facts: Katherine was the first born child of ten to John Taylor Cross and his wife, Mary Katherine Diehl Cross. Katherine Dau. Of J.T. & M.K. Cross Mar. 13, 1899 Oct. 10, 1917
An arrest and charge of first degree murder was made against Dr. Yates, a Konawa physician, for performing what is believed to be an abortion on Katherine who was three months pregnant. The father of the child was Fred O’Neil, the married principal of the Vamoosa School.
Seminole County News later reported that Katherine’s death was downgraded from first-degree murder to first-degree manslaughter.
The Korean War Veterans Memorial at the west end of the Mall near the Lincoln Memorial in Washington, D.C. was created by Frank Gaylord, a Vermont sculptor. The memorial was intended to “confront visitors with the reality of actual war” without glorifying it.
The sculptures cast in stainless steel represent American soldiers in their rain ponchos making their way through the rough terrain of Korea wooded areas. Various branches of the armed forces are represented including fourteen Army personnel, three Marines, one member of the Navy, and one member of the Air Force. The sculptures also represent an ethnic cross section of American society; fourteen Caucasians, three African-Americans, two Hispanics, one Oriental, and one Native American soldier. Regardless of where you are situated at the memorial, one of the soldiers will always be looking at you.
A black granite mural wall almost 164 feet long complements the statues. Designed by Louis Nelson it consists of forty-one panels showing 2,400 etched faces of military support personnel, (nurses, truck drivers, medics and chaplains) and equipment from all the branches of the armed forces.
The Korean War Memorial was dedicated in 1995 by President Bill Clinton and President Kim Young-sam of South Korea.
Our Nation honors her Sons and Daughters who answered the call to defend a Country they never knew and a people they never met. 1950 Korea 1953
These two stones are located in the Pantdu Cemetery, Cwmafan, Near Port Talbot, Wales.
The gravestone below shows a female hand (lace cuff) holding a single rose. The rose represents love and purity and the brevity of life on earth. Life, like a blooming flower, is never meant to be permanent. The deceased apparently suffered from a long illness before passing on.
In Loving Memory Of / Catherine / Wife Of John Webb / Who Died April 8 1894 / Aged 56 Years
Affliction Sore Long Time I Bore / Physicians Were In Vain; / Till God Was Pleased To Give Me Ease / And Free Me From My Pain.
Also The Above Named / John Webb / Who Died May 26 1915 / Aged 76 Years
For I Know That My Redeemer Liveth
The following headstone is engraved with three roses, one for each of the deceased. The stone is unusual in that the engraver added punctuation to the legend – not commonly applied.
In Loving Memory Of / Frederick, / The Beloved Son Of / John And Mary Jane Gamlin / Pontypridd, / Who Died June 18 – 1893, / Aged 9 Months.
Short Was Our Little Darlings Stay, / He Came Just As A Guest, / Just Tasted Life And Fled Away, / To His Eternal Rest.
Also The Above Named / John Gamlin, / Who Died July 7 – 1950, / Aged 80 Years. / Also His Beloved Wife / Mary Jane Gamlin, / Who Died May 21, 1954, / Aged 81 Years.
Both stones were erected in the late 1800s, and yet one appears to have endured much better than the other.
The hourglass and the sundial are symbols of time, and as such are often found within the cemetery. However, the perfect allegory for life and death is the clock identifying the passage of time. The clock face is a rare image and appears to have been most common in the late 1700s.
Here lies interred the body of / Mrs. Abigail Williams / the Relict of the / Rev M. John Williams of / this place. She died June y / 21st 1754 in the 82d / year of her age
Here lies the body of / Mrs. Abigail Paine / Relict widow of / Mr. Samuel Paine. / She died Jan y 13th / 1752 in the 80th / year of her age.
The design of these two gravestones is identical. Note the Memento Mori of crossbones and a pick and shovel. The numbers on the clock face are Roman Numerals. The hands are most often set in a vertical line pointing to 12 and 6. The meaning for this is unknown although a possible explanation is that it represents a dividing line between the earthly life and the heavenly life.
*Relict is an old English term for widow
* Y is an abbreviation of ‘the’
A more recent gravestone still indicates to 12 and 6 o’clock but the numbers are not Roman Numerals, and in the image below according to the engraving, it would appear to have been an actual working clock. My Father’s Clock Placed Here At My Request.
Another modern clock uses Roman Numerals yet it is set to a specific time, perhaps the time of death? You Shared My Dreams For The Future / You Shared My Past / You Were My First Love / And You Are My Last / We Met, Loved And Will Again / Whither Thou Goest I Will Go.
Marcel Broodthaers, a Belgian poet and artist, who died in 1976, designed his own gravestone located in Ixelles Cemetery, Brussels. Engraved on both sides the front of the stone reveals that he was born and died on the same day and month; there is speculation that he committed suicide and may have therefore designed his death.
A phrase on the front of the stone, O Mélancolie Aigre Château Des Aigles, (Sour Melancholy Castle Of Eagles) is part of a line from one of Broodthaers’ poems. In 1968, he announced that he was no longer an artist and appointed himself director of his own museum, which he called the Musée d’Art Moderne, Département des Aigles (Museum of Modern Art, Department of Eagles).
The back of the gravestone is a compendium of symbols, and is indicative of Broodthaers’ first solo exhibition in 1964 where he exhibited everyday objects, words, lettering and drawings.
This eclectic mix of symbols is accompanied by letters of the alphabet and the words, Moderato and Allegro which are both music tempos. The phrase Chez Le Droguiste Op Den Hoek appears to be Dutch and translates as, At The Druggist On The Corner.
In 1968 he used thin vacuum-formed plastic signs to create industrial poems with cryptic text and imagery. Academie I was one of those art forms relating geometric shapes to nature.
The clock at the top of the stone differs from similar symbols in that the Roman Numeral XII is outside the clock face. Both hands point to midnight yet one hand is also located outside the clock face.
A bottle, perhaps champagne, is marked with his birth year 1924.
One of his well-known works, Casserole and Closed Mussels, was created from accessible materials and everyday objects including eggshells and mussels. He published a poem on the subject of La Moule in which he described the mussel as a perfect creature which creates the shell which then contains itself.
A tobacco pipe emitting smoke is a reference to a painting, The Treachery of Images, by his friend and famous Surrealist Rene Magritte. It portrays an image of a pipe with the words, This is not a pipe.
The four geometric shapes reflect the 1966 Primary Structures exhibition in New York and Broodthaers’ later pronouncement that there are no primary structures.
And lastly, in the bottom right hand corner is the image of an open book. This reflects his first art object in which he embedded into plaster fifty unsold copies of his book of poems, Pense-Bête.
John & Jacobina Dotterweich who lived at old Hamburg Turnpike near Green Brook Farm were the parents of nine children. On 13 December 1874, five of the children went out to ride a sled and ventured on to a pond that was not completely frozen. When the ice broke the children were plunged into the water.
In an attempt to save their children the mother and father waded into the water up to their necks and attempted to save the children using a rope. The bodies of the children were pulled from the pond an hour later.
Between 800 and 1,000 people attended the funeral for Caroline aged 16, Augusta aged 14, Maggie age 13, John aged 11, Philip aged 9, and Barbara aged 6 at the Preakness Reformed Church Cemetery, Passaic County, New Jersey.
Drowning is not so pitiful
As the attempt to rise.
Three times, ’tis said, a sinking man
Comes up to face the skies,
And then declines forever
To that abhorred abode,
Where hope and he part company –
For he is grasped of God.
The Maker’s cordial visage,
However good to see,
Is shunned, we must admit it,
Like an adversity. ~Emily Dickinson~
The Master of Design Degree from the Royal College of Art is but a footnote in the acclaim due to Welshman Ieuan Rees who is celebrated as one of Britain’s most versatile artist/craftsmen in the fields of lettering, letter carving, calligraphy, architectural lettering and graphic communication. His work speaks for itself. http://www.ieuanreeslettering.co.uk/index.html