By Richard Meyer
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Example text
Wood III and Gaynell Stone, for reasons which I am sure they will understand; to Simon Bronner, for telling me the things I needed to hear; to Lotte Larsen, whose matchless gifts of love and support are ever my living monuments; and, finally, to all those countless thousands whose lives and deaths upon these shores have shaped the substance of a book on American cemeteries and gravemarkers. Page 1 Introduction: "So Witty as to Speak" Richard E. Meyer In 1693, inspired by one of his not infrequent visits to a local burial ground, the powerful Puritan clergyman Cotton Mather was moved to comment that "the stones in this wilderness are already grown so witty as to speak.
This changing image of the child would come to stand in stark contrast to the image of the marketplace. 2 Perceived as untamed blossoms, children were seen as pure, unblemished, and lacking in artifice. They were closely associated with the home, which stood in marked contrast to the world outside,3 a world understood to be dominated by men. " And if they died, they were depicted in the cemetery in a way that would have been denied to them had they reached adulthood. Children's markersspecifically, three-dimensional, sculptural depictions of children with domestic artifactsare one of the most elaborate material manifestations of a standard urban, middle-class, Protestant, Victorian vocabulary.
Underlying the idea of an artifact," anthropologist Steven Beckow has written, ''is the idea of culture. "3 It is, then, the voices of culture we are hearing when we pause to consider the objects produced by members of that culture. Whether whispering or shouting, plain-dealing or knotted in intentional ambiguity, they are there to be heard and read in material things ranging from Danish woven Christmas hearts to the tombstone of the Reverend Urian Oakes. 4 For artifacts, as Simon J. Bronner reminds us, "tell us of the everyday past and the cultural present.