Fresh off the airplane from Boston, and back to the blog! This past week I had the pleasure of attending the Society for Historical Archaeology’s (SHA) 2020 Annual Meeting in Boston, MA. It was my first SHA conference, and definitely one of the largest conferences I’ve had the change to attend so far, and it was such a wonderful experience! Of course, we did some touristing while we were in town…and most of the talks I attended had everything to do with colonial burials & settlements!
If you follow my social media, you might have gathered a few things recently. Firstly, I just got back from a lovely holiday in Scotland where I explored the morbid and macabre as one such as myself is wont to do, and secondly, I got engaged! So that is all very exciting, but because this is a death blog, I’m going to focus on the former for now.
The majority of my trip was based in the city of Edinburgh. The city is famous for being the home of the Royal Family’s Palace of Holyroodhouse, Edinburgh Castle and the Military Tattoo, and of course…Burke and Hare.
If you follow me on instagram, you’ve probably seen a photo of the tattoo on my knee. Surrounded by a cluster of foliage, most of which are native plants of British Columbia, is a bold, black hexfoil. I’ve talked about this symbol on the blog before but today I wanted to a bit more of a deep dive into the symbol’s history, it’s distribution, and it’s significance in a mortuary context. If you’re interested in this topic, keep an eye out for my upcoming book “Burial and Death in Colonial North America“, where I will be discussing hexfoils in a mortuary context in much more depth.
Consider this the taster!
Inscribed text is something that I’ve been passionate about studying ever since my first field school as a little baby undergraduate student. Recording gravestones in a rainy July in Ireland, I pieced together fragments of words that no one had read out loud for decades and recorded them onto my forms, creating a record once more for a nearly-erased gravestone. In doing so, I became fascinated by the way that letter forms evolved and were adapted through history, from inscribed letters in stone, to calligraphy, to typeface for printing presses which has become our digital text today!
Several years ago I conducted a project funded by the P.U.R.E Grants through the University of Calgary to explore the way in which letters erode from the face of gravestones, during which I spent a lot of time sitting in the rain with my waterproof notebooks, drawing letters using a hash-line system I developed to represent different stages of erosion. It’s a whole thing. The paper which resulted from this project is currently in peer-review, and I wanted discuss in part, one of the aspects of the project in conjunction with my recent interest in ritual protection marks. In this case, the letter W, and their use in inscriptions and as protective markings.
That title should also have the word ‘mortuary’ in it somewhere, but you probably guessed that’s where I’m going with this! Today I wanted to talk about above-ground material culture relating to historic burials. More specifically, about the classic gravestones of colonial New England and symbology that appears with some regularity throughout the region that display an iteration of several compass-drawn symbol often found in medieval churches and on items of furniture in the British Isles.