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This article explores the roles that porcelain portraits on grave markers play in identity construction and performance. Through semi-structured interviews, the biographies of five individuals are examined and then compared to determine norms or differences regarding their views on sepulchral photographs as a form of memorialization. While the decision to display a gravestone portrait could simply be a long-standing cultural practice, this interpretivist study indicates that the role of photo-tombstones is negotiated through a hybridization process involving religious syncretism, cultural convergence, or familial expectations. The role of photography as material culture is also examined, both as a metonymic replacement for the deceased and for its links to memory recall and remembrance.

Depuis près d’un siècle et demi, près de quatre cent cinquante sépultures collectives ont été découvertes dans le Bassin parisien. L’information archéologique à disposition y est largement lacunaire. La connaissance des groupes chrono-culturels de la fin du Néolithique a tout de même été enrichie grâce au mobilier funéraire. Il a permis de définir une phase de construction et d’utilisation commune pour une grande majorité de sépultures collectives au Néolithique récent 2 (3350-3000 av. J.-C). Une minorité d’entre elles a été utilisée au Néolithique final 1 (2900-2550 av. J.-C.), voire jusqu’au début de l’Âge du Bronze. Malgré un horizon chronologique commun, les sépultures collectives du Bassin parisien présentent une étonnante diversité architecturale. Deux grands types de monuments ont été identifiés : les allées sépulcrales et les hypogées. Ils coexistent avec un ensemble de sépulcres anciennement appelés « dolmens » ou « sépultures en fosse », deux termes qui sont aujourd’hui à bannir. Chaque type architectural se caractérise par des techniques de construction, une répartition géographique, une logique d’implantation, une durée d’utilisation et une concentration de mobilier qui lui est propre. Cette diversité est-elle renforcée par des divergences au niveau des pratiques funéraires ? Les différents types de sépultures collectives du Bassin parisien se distinguent-ils également par leurs modes de fonctionnement ? Peuvent-ils constituer des caractères culturels originaux ? / For one century and an half, around four hundred and fifty collective burials had been discovered in the Paris basin. The archeological information is widely lacunar. The knowledge of the chronological and cultural groups of the end of the Neolithic had been enhanced thanks to the burial deposit. It permitted to define a common phase of building and use of a large majority of the collective burials during the recent Neolithic (3350-3000 av. J.-C). A minority of them had been used during the final Neolithic(2900-2550 av. J.-C.), or even till the beginning of the Bronze Age.In spite of a common chronological horizon, the collective burials of the Paris basin presents a suprising architectural diversity. Two main types of monuments had been identified : the sepulchral galleries and the hypogeums. They coexist with a group of burials formerly named “dolmen” or “burial grave”, two names that we could not use any more. Each archictectural type is characterised by his own building technique, geographical distribution, implantation logic, useful life and deposit concentration. Is this diversity reinforced by some differences on burial practices ? Are the different types of collective burials of the Paris basin distinguished between as well by their functioning ? Could they constitue original characteristic cultural ?

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In early 1505, at twenty-nine years of age, Michelangelo began work on a massive tomb for Pope Julius II. The formal, temporal, and constructional intertwinings of this project are plumbed to create the foundation of this text. Finding its only full manifestation in the narratives of Vasari and Condivi, this tomb was the site of Michelangelo's first engagement with the making of architecture. The execution of this project would go on to intermittently occupy nearly half of Michelangelo's lifetime, making it a pivotal and paradigmatic work in the understanding of his opera. Explored as an embodied architectural treatise, the tomb reveals Michelangelo's dynamic process of creative making. Problematic issues in the prevailing Twentieth Century analyses and reconstructions of the tomb are called into question and alternative approaches to establish a deeper understanding of the project are proposed. Conjectures on the relevance of history, the hegemony and limits of analysis, the physical manifestation of ideas, what it means to "finish" a project, and what constitutes a "work," are projected from the foundations of the tomb onto the making of architecture today.

The purposes of this creative project were (1) to develop a stone conservation plan for some of the markers in the "Old Part" of Beech Grove Cemetery, (2) to bring attention to the plight of a sampling of the cemetery stone markers in the "Old Part," and (3) to provide a written and photographic database for those individuals who are concerned with the preservation/conservation of Beech Grove Cemetery, in the hopes that a conservation plan can be implemented throughout the cemetery.Results revealed that a vast majority of Beech Grove's markers are deteriorating due to several natural factors such as weathering and erosion, as well as to neglect and vandalism. I have included, in this project, 195 stone inventory forms with a correlating map and photograph of those stones surveyed. The results also confirmed my theory that little conservation has taken place in the cemetery. Some conservation efforts that have been applied to the stone markers have further damaged them due to inappropriate methods. / Department of Architecture

American cemeteries have evolved from unsophisticated and crowded burial grounds to curvilinear and elegantly designed rural cemeteries to the functional business of the memorial park. Regardless of the type, all cemeteries are constantly changing due to their natural features and because of the deterioration of stone after prolonged exposure to the elements. Then add neglect or vandalism into the mix and cemeteries appear to be particularly doomed.This creative project examines the cemeteries in Delaware County, Indiana. Working from "Cemeteries in Delaware County, Indiana" by Rosaella Cartwright and Elizabeth Modlin, an inventory was completed for the sixty located cemeteries. The ten that were not inventoried were outside the scope of the project, could not be located, or inaccessible. The landscape features, markers, funerary art motifs, and preservation efforts were recorded and the data was then analyzed. Issues and challenges facing the cemeteries were investigated, including how to go about properly documenting a cemetery and general information on cleaning and repairing markers. Finally preservation guidelines and recommendations were proposed for the cemeteries in Delaware County. / Department of Architecture

*Graveyards are significant sites that are consciously and deliberately created. As both architecture and landscape architecture, graveyards are an intrinsic part of history that have helped define and establish architectural styles as well as address land use and associated issues.Graveyards provide some of the best and most lasting examples of art and sculpture through the ages. By examining the size, shape, ornamentation/articulation, style of carving and materials from which the stones are constructed, elements of social status and what individuals thought of the themselves are revealed. Valuable historic documentation is gleaned from graveyards in the form of genealogical information, social history, widespread diseases, wars/battles and demographics. The study of epitaphs discloses biographies of individuals and indicates what type of professions were dominant during a certain period. The religious symbolism of individual stones differentiates denominations and may lend evidence of a once-existent church or parish.*This term was traditionally used throughout the seventeenth, eighteenth and nineteenth centuries and therefore will be applied in the text where appropriate. The need to preserve graveyards is essential to humankind's understanding of the past,, people and the environment. As outdoor museums that are open to all, regardless of social or economic status, to visit and experience, graveyards are potentially one of the best educational tools for interpreting history, yet are seldom used. Graveyards must begin to be viewed as "interpretive sites" and not just as functional and emotional places for the dead. As a tangible aspect of history that contains sensitive records, the preservation of a graveyard must be carefully and innovatively handled. The stability that a cemetery presents in the ever-changing environment of a disposable society is threatened unless the site and its artifacts are properly maintained.Historic Blandford Cemetery in Petersburg, Virginia, presents itself as a significant eighteenth, nineteenth and twentieth-century graveyard/cemetery. It is the site of the 1781 Battle of Petersburg and the burial grounds for approximately 30,000 Confederate soldiers from the United States Civil War. The Old Blandford Church is the oldest church in the Petersburg area (ca. 1734-1737) and was the last of three brick churches built for Bristol Parish of Bristol, England, in colonial Virginia. The church also contains fifteen Tiffany stained-glass windows designed by Louis Comfort Tiffany.Since the historic fabric at Blandford Cemetery needs to be preserved, restored, maintained and innovatively managed to ensure its future, this study has been undertaken with the sincere hope that others will find the enthusiasm, support and encouragement to seek out, preserve and interpret old graveyards and cemeteries. / Department of Architecture

Habilitationsschrift--Freiburg im Breisgau, 1968. / Includes indexes. Includes bibliographical references (p. 7-18).