Tag: taphophilia

  • Headstone, Gravestone, or Tombstone: Is There Actually a Difference?

    Headstone, Gravestone, or Tombstone: Is There Actually a Difference?

    Three words we use for the same familiar object, but their histories aren’t quite identical.

    You’re walking through an old cemetery when you find a stone that makes you stop.

    Maybe it’s leaning slightly to one side.

    Maybe moss has crept across the inscription.

    Maybe the name is still perfectly readable while the dates beneath it have almost disappeared.

    You take a photograph.

    And later, when you’re writing the caption, you encounter an unexpectedly difficult question:

    What exactly do you call the thing?

    A headstone?

    A gravestone?

    A tombstone?

    Surely there must be a rule.

    After all, the internet loves rules.

    You’ll find explanations confidently informing you that a headstone goes at the head, a footstone goes at the feet, a gravestone covers a grave, and a tombstone originally sealed a tomb.

    Some of that has historical reasoning behind it.

    Some of it is language being tidied up after the fact.

    Because in modern English, headstone, gravestone, and tombstone are largely interchangeable.

    But they didn’t all take exactly the same path to get here.

    And those paths tell us something interesting about how we have marked our dead.


    The Short Answer

    If you’re talking about the upright stone marker carrying someone’s name, dates, and perhaps an epitaph, you can usually call it a:

    headstone

    gravestone

    or

    tombstone

    …and people will know exactly what you mean.

    In contemporary usage, headstone and gravestone are particularly straightforward terms for a marker placed at a grave.

    Tombstone is also widely used that way.

    There isn’t a Cemetery Vocabulary Enforcement Division waiting behind the mausoleum to issue citations.

    But historically, the words developed from somewhat different ideas.

    So let’s dig them up.


    What Is a Headstone?

    This one seems obvious.

    A headstone is a stone placed at the head of a grave.

    And historically, that’s essentially where the term comes from.

    In some burial traditions, a grave could be marked at both ends.

    The larger marker at the head was the headstone.

    A smaller marker at the opposite end could be the footstone.

    You can still find this arrangement in older cemeteries.

    Sometimes the footstone carries initials.

    Sometimes it contains little information at all.

    Sometimes it’s simply there to mark the physical boundary of the grave.

    That creates something we’re prone to forgetting when wandering through cemeteries today:

    A grave marker wasn’t always merely a commemorative sign.

    It could also help tell you where the grave actually was.

    The headstone marked one end.

    The footstone marked the other.

    The body rested between them.

    Once you recognize that arrangement, some older cemetery landscapes suddenly make considerably more sense.


    What Is a Gravestone?

    Gravestone is perhaps the most wonderfully uncomplicated of the three.

    It’s a stone associated with a grave.

    That’s about it.

    A grave, of course, is the place excavated or otherwise prepared for burial.

    A gravestone marks that place.

    The term doesn’t inherently require the marker to stand precisely at the deceased’s head.

    It describes the relationship between the marker and the grave.

    This makes gravestone a particularly useful general term when discussing historic burial markers.

    But then we have the word that has probably accumulated the most atmosphere.

    Tombstone.


    What Is a Tombstone?

    Today, say tombstone and most people picture exactly what you’d expect.

    An upright slab of stone.

    A name.

    Two dates.

    Maybe:

    R.I.P.

    Popular culture has made the tombstone almost shorthand for death itself.

    Cartoons use them.

    Halloween decorations use them.

    Horror movies use them.

    You can buy little foam ones and stick them in your front yard every October.

    Which would probably confuse the person whose grave was marked by the original thing.

    Historically, however, tomb has a broader meaning than grave.

    A grave generally refers to the place of burial, particularly one excavated in the earth.

    A tomb can refer to a structure or chamber containing the dead.

    And historically, tombstone could be associated with stonework connected with a tomb rather than exclusively the upright cemetery marker we picture today.

    Over time, however, the distinctions blurred.

    Language does that.

    People began using tombstone broadly for grave markers, and eventually the image became so culturally familiar that nobody needs clarification when you use the word.


    Then What Is a Grave Marker?

    Here’s the term that solves nearly everything.

    Grave marker.

    A grave marker is any object intended to identify or mark a grave.

    That includes many things that aren’t traditional upright stones.

    Flat markers.

    Bronze plaques.

    Simple fieldstones.

    Wooden markers.

    Crosses.

    Government-issued military markers.

    Ledger stones.

    Temporary funeral-home markers.

    And many other forms humans have used to say:

    Someone is buried here.

    So while headstone, gravestone, and tombstone tend to make us picture stone, grave marker is the broader category.

    Not every grave marker is a headstone.

    But a headstone is a type of grave marker.


    What About Those Flat Stones on the Ground?

    Now we’re getting into the terminology I particularly enjoy.

    Because cemetery markers come in far more varieties than the familiar upright slab.

    A flat marker or flush marker lies approximately level with the ground.

    A bevel marker rises slightly above ground level and has a sloping face.

    A slant marker sits above ground with an angled inscription surface.

    An upright monument is the familiar vertical form.

    A ledger stone is a large slab that covers much or most of the grave itself.

    And then you encounter obelisks, columns, crosses, statues, pedestal monuments, table tombs and increasingly elaborate structures that make the word headstone feel almost comically inadequate.

    Walk through a large nineteenth-century cemetery and you aren’t merely looking at rocks with names written on them.

    You’re walking through generations of changing design.


    And That Design Wasn’t Random

    A grave marker does several jobs simultaneously.

    The most obvious is identification.

    This person is here.

    But humans are rarely satisfied with that.

    So we add:

    Who they were.

    When they lived.

    Whom they loved.

    What they believed.

    What organizations they belonged to.

    What military service they performed.

    Sometimes what occupation they held.

    Then we decorate the marker with symbols.

    Hands.

    Flowers.

    Angels.

    Lambs.

    Books.

    Crosses.

    Anchors.

    Urns.

    Columns.

    Trees.

    Fraternal emblems.

    Military insignia.

    And suddenly a piece of stone isn’t simply marking the location of a corpse.

    It’s communicating.

    That’s why old cemetery markers are so fascinating.

    They’re tiny pieces of public biography.


    Sometimes the Stone Tells You More Than the Words

    Imagine two markers.

    One says:

    JOHN SMITH
    1842–1907

    The other gives the same name and dates.

    But it’s a towering obelisk surrounded by an iron fence, carved from expensive stone, accompanied by several family graves and decorated with elaborate symbolism.

    Technically, both communicate the same basic information.

    John Smith lived.

    John Smith died.

    John Smith is buried here.

    But visually?

    They’re telling very different stories.

    Wealth.

    Status.

    Family structure.

    Religion.

    Fashion.

    Available materials.

    Local craftsmanship.

    Even changing attitudes toward mourning.

    This is one reason cemetery photography becomes addictive once you begin paying attention.

    You’re not merely photographing stones.

    You’re photographing decisions made by the living about how the dead should be remembered.


    The Problem With Permanence

    There’s also a quiet irony in all of this.

    We carve names into stone because stone feels permanent.

    And then you spend enough time in old cemeteries and discover that it isn’t.

    Marble softens.

    Letters disappear.

    Sandstone crumbles.

    Markers crack.

    Trees fall.

    Ground shifts.

    Lichen spreads.

    Iron rusts.

    Entire family burial grounds vanish beneath vegetation.

    Eventually you find stones where you can still see that something was written there, but no longer determine what it said.

    Someone once paid to have a person’s name carved permanently into stone.

    And time erased it anyway.

    That’s difficult not to think about while standing there.

    Perhaps that’s part of the appeal of photographing these places.

    The photograph preserves the stone.

    The stone preserves the name.

    The name preserves some tiny fragment of the person.

    Each layer attempting to hold onto the one beneath it.

    None permanently.

    But perhaps permanence was never really available.

    Maybe remembrance is something we keep doing precisely because forgetting is inevitable.


    So Which Word Should You Use?

    If you want a simple answer:

    Headstone — traditionally a marker positioned at the head of a grave; now commonly used for an upright grave marker.

    Gravestone — a stone used to mark a grave; an excellent general term.

    Tombstone — historically connected with tombs and stone memorials, but now commonly used interchangeably with headstone and gravestone.

    Grave marker — the broadest and safest term for an object identifying or marking a grave.

    And if someone tells you that you’ve committed an unforgivable linguistic offense by calling a gravestone a tombstone?

    Smile politely.

    You’ve both understood exactly what object was being discussed.

    Language has already done its job.


    The Stone Isn’t the Important Part

    That’s probably the thing worth remembering.

    Whether we call it a headstone, gravestone, tombstone, monument, or marker, the object exists because somebody once faced the same problem humans have been confronting for thousands of years:

    How do we mark the fact that someone was here?

    We put their name somewhere.

    We add dates.

    Sometimes a few words.

    Sometimes an angel.

    Sometimes nothing more than a rough stone.

    And then we leave it behind for people who may never have known them.

    Years pass.

    Then decades.

    Then centuries.

    Eventually a stranger walks through the cemetery, notices the stone, brushes away a leaf, and reads the name.

    For a few seconds, someone long dead occupies the thoughts of someone still living.

    Maybe that’s all a gravestone was ever really supposed to accomplish.

    Whatever you decide to call it.

    Morbidly Patient
    A Darker Curiosity.

    For those curious enough to look where others look away.

  • What Is a Taphophile?

    What Is a Taphophile?

    There’s a word for people who love cemeteries—and it probably doesn’t mean what you think.

    Maybe you’ve always done it.

    You’re driving somewhere when you pass an old cemetery.

    Not one of the perfectly manicured modern ones.

    An old one.

    Crooked stones.

    Large trees.

    Maybe an iron fence.

    A few monuments leaning at angles they definitely weren’t installed at.

    And almost automatically you look over and think:

    I wonder what’s in there.

    Not in a paranormal-investigation sort of way.

    You aren’t necessarily expecting ghosts.

    You’re wondering how old the cemetery is.

    Who is buried there.

    Whether there are interesting monuments.

    What the oldest stone says.

    Whether there are symbols you’ve never seen before.

    Maybe you want to photograph it.

    Maybe you want to walk among the graves and read names belonging to people who haven’t heard their names spoken aloud in a century.

    Maybe your traveling companion sees absolutely nothing unusual about your suggestion:

    “We’ve got twenty minutes. Want to walk through that cemetery?”

    Or maybe they look at you like you’ve just proposed spending the afternoon at the county morgue.

    If any of this sounds familiar, there’s a word you may want to know.

    Taphophile.

    And despite how ominous it sounds, it doesn’t mean someone who wants to do anything disturbing with dead bodies.

    It basically means:

    You really like cemeteries.

    Welcome to the club.


    What Does Taphophile Mean?

    A taphophile is someone with a strong interest in cemeteries, graves, tombstones, funerary monuments and related subjects.

    The word combines Greek roots associated with tomb or burial and love or affinity.

    Essentially:

    a lover of graves.

    That sounds considerably more sinister than the reality usually is.

    Taphophiles may be interested in:

    Cemetery history.

    Genealogy.

    Gravestone symbolism.

    Funerary art.

    Architecture.

    Photography.

    Epitaphs.

    Local history.

    Stone carving.

    Historic preservation.

    Burial customs.

    Or simply the experience of wandering through old cemeteries.

    There’s no membership card.

    No initiation ritual.

    No required black wardrobe.

    And you aren’t required to own a raven.

    Although admittedly, a raven would improve the aesthetic considerably.


    Isn’t That a Little Morbid?

    Yes.

    That’s sort of the point.

    But morbid doesn’t necessarily mean unhealthy, miserable or obsessed with death.

    The word has accumulated plenty of negative baggage, but curiosity about death is one of the most persistent features of human culture.

    We’ve built pyramids for dead people.

    Written books about death.

    Painted it.

    Photographed it.

    Created elaborate funeral rituals.

    Preserved bodies.

    Carved monuments.

    Written poems for the dead.

    Built entire cities devoted to housing their remains.

    Humans are a death-curious species.

    Some of us are simply less interested in pretending otherwise.

    And cemeteries happen to be extraordinary places for exploring that curiosity.


    Cemeteries Are Outdoor Museums

    This is one reason I think people misunderstand taphophiles.

    If you’ve never learned to read a cemetery, you may see:

    rows of tombstones.

    Once you begin paying attention, you see considerably more.

    A cemetery can be an outdoor museum containing sculpture, architecture, typography, religion, social history, genealogy, craftsmanship, botany and folklore.

    A broken column may tell you something.

    So can clasped hands.

    An anchor.

    A lamb.

    An urn.

    A willow tree.

    A finger pointing upward.

    A particular flower.

    Symbols belonging to fraternal organizations.

    Military insignia.

    Occupational imagery.

    Even the material used to make a monument can help place it within a particular period.

    Then there are the inscriptions.

    Some are painfully simple.

    Some are beautiful.

    Some are unintentionally funny.

    Some tell you almost nothing.

    Others give you enough information to send you down a historical rabbit hole for the next three hours.

    A cemetery isn’t merely where history is buried.

    Sometimes it’s where history is still visible.

    You just have to learn how to look.


    Every Stone Is a Tiny Biography

    Here’s something else that happens when you spend enough time in cemeteries.

    The stones stop being scenery.

    You start reading them.

    Elizabeth Morgan
    1847–1903

    That’s almost nothing.

    A name.

    Two dates.

    Fifty-six years reduced to a few inches of carved stone.

    But then your brain starts doing something troublesome.

    Who was Elizabeth?

    What did she sound like?

    Did she have children?

    What did she worry about?

    What did she think the future would look like?

    Did she ever imagine a stranger would stand above her grave more than a century later wondering about her?

    Sometimes another stone nearby gives you part of the answer.

    Her husband.

    A child.

    Her parents.

    Maybe several children who died unusually close together.

    Suddenly the cemetery isn’t a collection of objects anymore.

    It’s a collection of interrupted stories.

    And perhaps that’s part of what draws some taphophiles back.

    The stones remind us that history wasn’t populated by historical characters.

    It was populated by people.

    People who were once every bit as alive and ordinary as we are.


    Why Do People Photograph Cemeteries?

    Photography and taphophilia naturally find one another.

    It’s easy to understand why.

    Cemeteries are visually extraordinary.

    Weathered marble.

    Lichen.

    Moss.

    Iron fences.

    Sculpture.

    Symmetry.

    Decay.

    Old trees.

    Changing light.

    Fog.

    Architecture.

    The contrast between objects intended to be permanent and nature slowly demonstrating that nothing actually is.

    But cemetery photography can also preserve something.

    Gravestones deteriorate.

    Marble inscriptions disappear.

    Markers are damaged.

    Trees fall.

    Cemeteries are vandalized.

    Family burial grounds become overgrown.

    Development encroaches.

    Sometimes a photograph taken casually twenty years ago becomes a historical record of something that no longer exists in the same condition.

    The photograph becomes another kind of memorial.

    A record of a record.


    Do Taphophiles Believe in Ghosts?

    Some do.

    Some don’t.

    The two interests overlap, but they aren’t the same thing.

    You can be fascinated by cemeteries without believing they’re inhabited by anything except squirrels, insects, birds and the occasional irritated groundskeeper.

    You can also be deeply interested in ghosts, paranormal folklore and supernatural traditions.

    Neither is a requirement.

    That’s important around here.

    We don’t need to manufacture supernatural stories to make cemeteries interesting.

    The documented history is usually strange enough.

    If there’s a ghost story associated with a place, we’ll happily explore the folklore.

    But folklore and evidence aren’t necessarily the same thing.

    “I don’t know” remains a perfectly acceptable answer.


    There Is an Etiquette to This

    Being interested in cemeteries doesn’t mean treating them like amusement parks.

    They’re historical spaces.

    They’re also places where people have buried people they loved.

    Sometimes very recently.

    So wandering cemeteries comes with a few basic expectations.

    Respect posted hours and rules.

    Don’t climb on monuments.

    Don’t move objects.

    Don’t take souvenirs.

    Don’t disturb flowers, coins or other items left at graves.

    Be particularly considerate around active funerals and grieving visitors.

    Be thoughtful when photographing identifiable people visiting graves.

    And if a cemetery prohibits photography, respect that.

    Most of this shouldn’t require a rulebook.

    The simplest guideline is:

    Be curious without becoming intrusive.

    The dead may not care what you’re doing.

    The living sometimes do.


    Maybe You’ve Been a Taphophile for Years

    That’s the funny thing about discovering the word.

    You may have had the interest long before you knew anyone had bothered naming it.

    Maybe you photograph old stones.

    Maybe you search for forgotten family cemeteries.

    Maybe you study funerary symbols.

    Maybe you read epitaphs.

    Maybe you enjoy the silence.

    Maybe you’re interested in the art.

    Maybe walking through a cemetery makes mortality feel a little less abstract.

    Or maybe you’re simply incapable of passing an old iron cemetery gate without wondering what’s on the other side.

    You don’t need to justify it.

    You don’t have to make it spooky.

    And you certainly don’t have to believe anything in particular about what happens to the people underneath those stones.

    Curiosity is enough.

    In fact, that’s largely what Morbidly Patient is built around.

    Not an obsession with dying.

    A curiosity about the enormous collection of things human beings have created because we know that we do.

    Cemeteries just happen to be one of the best places to see it.

    So the next time somebody asks why you want to spend a perfectly pleasant Saturday afternoon wandering among dead people, you have options.

    You could explain the history.

    The sculpture.

    The genealogy.

    The photography.

    The architecture.

    The symbolism.

    The preservation.

    Or you could save yourself a considerable amount of time.

    Tell them:

    “I’m a taphophile.”

    Then walk away without explaining what it means.

    Sometimes a little mystery is good for people.

    Morbidly Patient
    A Darker Curiosity.

    For those curious enough to look where others look away.