Victorian Death Imagery: Exploring Visual Culture, Mourning Rituals, and Macabre Art
Victorian literature is renowned for its vivid and elaborate visual descriptions. From the landscapes of the Bronte sisters to the portraits of Charles Dickens, visual imagery played a significant role in Victorian literature. This article explores the use of visual imagery in Victorian literature and its cultural significance.
One of the most famous examples of visual imagery in Victorian literature is the illustrations in Charles Dickens’s novels. The artist Hablot Knight Browne, who used the pseudonym Phiz, created the iconic illustrations for many of Dickens’ works, including “The Pickwick Papers”, “David Copperfield”, and “Bleak House”. These illustrations helped to establish the visual world of Dickens’ novels and became an integral part of the reading experience. The visual elements added a new dimension to Victorian literature, bringing the text to life and allowing readers to see the world the author had created.
Visual imagery was not limited to illustrations in Victorian literature, but also extended to descriptions of landscapes and settings. The Bronte sisters, for example, were famous for their vivid descriptions of the moors in Yorkshire. In Emily Bronte’s “Wuthering Heights”, the moors are described as a wild and rugged landscape, with harsh winds and unforgiving terrain. On the one hand, the moors represent a sense of freedom, and on the other a sense of isolation, reflecting the themes of the novel.
Visual imagery was also used to represent social issues in Victorian literature. The photographer and social reformer, Lewis Hine, used photography to document the harsh conditions of child labour in the United States. Hine’s photographs were used to raise awareness of the issue, and his work influenced the passing of child labour laws in the United States.
Mourning Rituals & Death Customs
The Victorian era was marked by a fascination with death and mourning, and this interest was reflected in the literature of the time.
Mourning rituals in the Victorian era were highly structured and formal. After the death of a loved one, the family would enter a period of mourning that could last for up to two years. During this time, they would wear black clothing and avoid social events. The level of mourning was often determined by the relationship of the deceased to the family member, with a widow or widower being expected to mourn for a longer period of time than a distant relative.
The funeral was also a highly structured event, with a set series of customs and traditions. The body would be placed in a coffin and taken to the church for a service. After the service, the coffin would be taken to the cemetery for burial. The funeral procession was often led by a group of mourners, who would walk behind the hearse carrying the coffin.
Victorian literature often depicted these mourning rituals and customs in great detail. In Charles Dickens’s “Bleak House”, for example, the character Lady Dedlock is consumed by grief after the death of her lover. She wears black clothing and spends much of her time in seclusion, refusing to leave her home or participate in social events. The novel also depicts the elaborate funeral procession of a wealthy character, with mourners dressed in black and a hearse carrying the coffin. The name ‘Dedlock’ leads me towards the idea of an extended mourning period that I mentioned previously.
The Victorian era was also marked by a fascination with death and the macabre. This interest in death and mourning is reflected in Gothic literature of the time, such as Bram Stoker’s “Dracula” and Mary Shelley’s “Frankenstein”. These novels often featured death and mourning as central themes, with characters consumed by grief or haunted by the dead.
In addition to mourning rituals and death customs, the Victorian era also saw the rise of post-mortem photography. This involved taking photographs of the deceased, often in elaborate poses or surrounded by family members. These photographs were intended to serve as a visual memory of the deceased and were often displayed in the home.
Photography
Victorian death photography, or “post-mortem portraiture,’ was a popular form of memorial photography that emerged during the Victorian era in the mid-19th century. Post-mortem portraiture was born out of a desire to remember and commemorate loved ones who had passed away. This type of photography involved taking portraits of the deceased, often posed in lifelike positions, as a way of preserving their memory and honouring their passing.
It was a common practice in the 1800s, particularly among wealthier families who could afford to commission portraits of their deceased loved ones. In an era before the widespread availability of photographs, these portraits were often the only visual record of the deceased and were viewed as a way to preserve their memory.
Post-mortem portraiture was often carried out by professional photographers who specialized in this type of work, and why not? If this were to be the only photograph of their loved ones, they might as well make it a good one.
The poses used in Victorian death photography were often highly stylized and reflected the cultural norms of the time. The deceased were posed in a peaceful, sleeping position, with hands clasped in a prayer-like pose. The images were often carefully arranged to present the deceased in a lifelike manner, with an emphasis on making the subject appear as if they were simply sleeping.
Victorian death photography was a sombre and emotional experience for families, and the portraits were often kept in private family albums and displayed in homes. In some cases, these portraits were even used as a form of mourning jewellery, with miniature versions being worn as a reminder of their life.
Some photographers went beyond traditional post-mortem portraiture, using long exposure techniques to create images that were intended to be more artistic or dramatic. Long exposure photography, which involves keeping the camera’s shutter open for an extended period of time, was a relatively new technique in the 1800s and was often used to capture images of static subjects such as landscapes and buildings. However, some photographers began to experiment with using long exposure techniques to capture images of deceased individuals for the purposes of post-mortem portraiture.
Photographs taken using long exposures resulted in the deceased person being in focus in the final image, but living people would appear slightly blurry because of their inability to remain perfectly still - since they’re still alive!
Post-mortem portraiture often depicted the deceased in elaborate poses or surrounded by symbolic objects and was sometimes staged to create a sense of narrative or drama. Eyes were even drawn onto the eyelids of the deceased! However, some thought the use of long exposure techniques to create these images dehumanized these individuals and turned them into mere objects of fascination or curiosity.
Today, Victorian post-mortem portraiture or death photography is considered an interesting and historical artefact of the Victorian era. These portraits offer a glimpse into a bygone era and serve as a reminder of the cultural attitudes and values of a time long gone. They also offer a poignant and touching reminder of the people who lived, loved, and died during this period.
Illustrations
Illustrations of death were a common form of artistic expression in the 1800s, reflecting the cultural attitudes and beliefs of the time. These illustrations appeared in a variety of forms, including paintings, lithographs, woodcuts, and illustrations in books and magazines. They were often created to commemorate significant events, such as wars and pandemics, or to provide visual representations of death for religious, educational, or scientific purposes.
One of the most popular forms of death illustrations in the 1800s was mourning prints. These were lithographs or engravings that depicted a deceased person, often surrounded by symbols of death and mourning, such as willow trees, graves, or broken columns. They were often created to commemorate the death of a loved one and were displayed in homes as a form of tribute.
Illustrations of death were also used in medical textbooks and anatomical atlases to provide visual representations of the human body and its anatomy. These illustrations, created by artists and engravers working in collaboration with anatomists, were often highly detailed and precise, and they provided important visual aids for medical students and practitioners.
Another form of death illustration that was popular in the 1800s was illustrations of death scenes from literature and folklore. These illustrations, created by artists such as Gustave Doré, were often intended to capture the essence of a story or to create a visual representation of a character or scene. His wood engravings were used to give Dante’s Divine Comedy a visual component.
A notable example of imagery in horror literature from the 1800s is “The Picture of Dorian Gray,” by Oscar Wilde, published in 1890. The novel features a character who is obsessed with his own youth and beauty. Dorian commissions a portrait of himself, which he believes will capture his beauty forever. As he becomes increasingly corrupt and evil, the portrait begins to show the physical manifestations of his sins, while Dorian himself remains unchanged. The painting, in this case, serves as a metaphor for the unflinching gaze of truth, which ultimately exposes Dorian’s true nature.
The Mezzotint is a ghost story written in 1904 by M.R. James, a renowned author of supernatural fiction. In this story, the central focus is on a mysterious and eerie mezzotint, a type of printmaking technique, that plays a pivotal role in the narrative.
The story begins with an unnamed narrator describing an auction of various items, including a collection of prints and drawings. Among these items, one mezzotint print stands out. The mezzotint is a depiction of a grand and imposing country house. The narrator is immediately struck by the peculiar details of the image.
As the narrator observes the mezzotint more closely, they notice something strange and unsettling about it. The image seems to change over time, revealing a disturbing and supernatural sequence of events. The mezzotint appears to be a sort of window into the past, showing a series of scenes involving a mysterious and terrifying figure. It becomes apparent that the mezzotint is haunted and that it records a malevolent presence associated with the house depicted in the print.
The story unfolds as the narrator becomes increasingly obsessed with uncovering the history and secrets behind the mezzotint. Through research and investigation, they uncover a tragic and horrifying tale connected to the house in the print. Ultimately, the story leaves readers with a sense of dread and unease as the true nature of the haunting is revealed.
M.R. James was a master of ghostly tales, and The Mezzotint is no exception, showcasing his talent for building an atmosphere of suspense and unease through subtle details and supernatural elements. The mezzotint itself serves as a unique and eerie focal point in the story, acting as a conduit to a dark and mysterious past.
Penny Dreadful
In the 1800s, Penny Dreadfuls were a popular form of cheap literature in Britain. These sensationalist publications featured stories of horror, crime, and adventure, and often included graphic and explicit depictions of violence and death. The publications earned there name as their readers could pick up a copy for only one penny.
One of the most common themes in Penny Dreadfuls was death. Images of death were used to shock readers and to create a sense of danger and excitement in the stories. From gruesome murders to supernatural beings, Penny Dreadfuls were filled with death images that fascinated and repelled readers.
One of the most iconic images of death in Penny Dreadfuls was that of the vampire, such as Varney the Vampire. These undead creatures were often depicted as elegant and seductive, but also as vicious and bloodthirsty. In the pages of Penny Dreadfuls, vampires are shown preying on innocent victims and battling brave heroes, creating a sense of terror and excitement for readers.
Another common image of death in Penny Dreadfuls was that of the murderer. Jack the Ripper was a feature, and these publications often sensationalized real-life crimes and murders, depicting them in graphic detail and exploring the motivations of the killers. These stories often featured detectives and other investigators trying to solve the crimes, creating a sense of tension and mystery for readers.
Supernatural beings such as ghosts and demons were also popular images of death in Penny Dreadfuls. These entities were often depicted as malevolent and terrifying, preying on innocent victims and wreaking havoc on the world. These stories tapped into a sense of superstition and fear that was prevalent in 19th-century Britain and created a sense of excitement and dread for readers.
The use of images of death in Penny Preadfuls was intended to shock and thrill readers, while also tapping into a sense of fear and fascination with mortality. These publications were often criticized for their graphic and explicit content, but they remain an important part of the history of horror literature and popular culture. While the use of graphic and violent imagery has become more common in contemporary media, it is important to remember the ways in which these images have been used in the past to both entertain and disturb audiences.
Illustrated Police News
In the 1800s, the Illustrated Police News emerged as a popular publication in London, England. The paper featured illustrations of crime scenes, murders, and other violent events, often with graphic depictions of death and gore. These illustrations of death in the news were a reflection of the period’s fascination with crime and the macabre, as well as the advancements in printing technology that made it possible to produce high-quality illustrations quickly and inexpensively.
The Illustrated Police News was founded in 1864 and quickly gained a reputation for its sensational coverage of crime and violence. The paper was published weekly and included stories about murders, robberies, and other criminal activities. The illustrations that accompanied these stories were often graphic and detailed, depicting blood, gore, and other gruesome details of the crime scene.
One of the most famous illustrations in the Illustrated Police News was the image of the notorious serial killer, Jack the Ripper. The paper covered the Ripper murders extensively, and the illustrations that accompanied these stories helped to create a vivid picture of the crime scenes and the brutal nature of the killer’s attacks.
The popularity of the Illustrated Police News was due in part to the advancements in printing technology that made it possible to produce high-quality illustrations quickly and inexpensively. The use of lithography and woodcut engraving made it possible to create detailed and realistic illustrations that captured the attention of readers and helped to bring the stories to life.
However, the sensational nature of the paper also drew criticism from some quarters, who saw it as exploiting tragedy and violence for commercial gain. The Illustrated Police News was accused of glorifying crime and violence, and some argued that it encouraged copycat crimes and contributed to a culture of fear and paranoia.
Despite the criticism, the Illustrated Police News remained popular throughout the 1800s, and similar publications emerged in other countries as well. These illustrated newspapers were a reflection of the period’s fascination with crime and the macabre, and they helped to shape the way that the public thought about crime and violence.
Cards
The sending of macabre or death-themed cards was a popular trend in the Victorian era. These cards were often designed as a form of mourning and remembrance, or as a way to mark the passing of a loved one. The cards were created by artists and printers and were often intricately designed and decorated with symbols of death, such as black crepe, skulls, and crosses.
The trend of sending macabre cards was also influenced by the popularity of postcards during the time. Postcards became popular as a way to send quick and inexpensive messages, and many artists and printers began to create postcards with death themes. These cards were often used as a way to send condolences or to mark the passing of a family member or friend.
Macabre cards were often sent as part of the mourning process and were used to express sympathy and condolences to the bereaved. They were also used to commemorate the death of a loved one and to provide a visual representation of their passing. The cards were often decorated with images of angels, graves, and crosses, as well as images of the deceased person.
In addition to being used for mourning and remembrance, macabre cards were also used for more playful or humorous purposes. For example, some artists created macabre cards with humorous death scenes, such as a skull sitting at a table drinking wine, or a skeleton playing a musical instrument. These cards were often sent as a joke or as a way to make light of death.
Despite the popularity of macabre cards in the 1800s, they fell out of favour as the 20th century approached. The trend of sending macabre cards was replaced by more traditional forms of mourning, such as flowers and sympathy notes. Today, macabre cards are considered a unique and interesting artefact of the Victorian era and are prized by collectors.
Final Thoughts
The use of visual imagery in Victorian literature was a significant element of the genre, adding a new dimension to the reading experience. From illustrations to descriptions of landscapes and settings, visual imagery was used to create a sense of realism and bring the world of the novel to life. The use of visual imagery in Victorian literature also had a cultural significance, reflecting the rapid transformation of society and the rise of industrialization. The legacy of visual imagery in Victorian literature continues to influence the genre today, with many contemporary writers using visual descriptions to create a sense of realism in their work.
Mourning rituals and death customs were an important part of Victorian culture, and this interest in death and mourning is reflected in the literature of the time. Victorian literature often depicted these customs in great detail, showing the elaborate mourning rituals and funeral processions. The era was also marked by a fascination with death and the macabre, which is reflected in the Gothic literature of the time. The legacy of Victorian mourning rituals and death customs can still be seen today, with many people continuing to observe these traditions in their own lives.
Victorian death photography was a unique and important part of the cultural landscape of the Victorian era. These portraits were a way for families to remember and honour their loved ones who had passed away and offer a fascinating look into the attitudes and values of a time long gone. Despite the controversy that surrounded this practice, these portraits remain an important and moving testament to the memories and lives of those who came before us.
Illustrations of death were a common form of artistic expression in the 1800s, reflecting the cultural attitudes and beliefs of the time. They appeared in a variety of forms, including mourning prints, medical illustrations, and illustrations from literature and folklore. These illustrations provide a fascinating glimpse into the attitudes and beliefs about death in the 1800s, and they continue to be an important part of our cultural heritage.
The illustrations of death in the news, as exemplified by the Illustrated Police News in the 1800s, were a reflection of the period’s fascination with crime and violence, as well as the advancements in printing technology that made it possible to produce high-quality illustrations quickly and inexpensively. While the sensational nature of these publications drew criticism from some quarters, they remain a fascinating and valuable historical record of the way that the public thought about crime and violence in the 19th century.
Sending macabre cards was a popular trend in the 1800s, reflecting the cultural attitudes and beliefs about death and mourning of the time. The cards were used for a variety of purposes, including mourning, remembrance, and humour, and they provide a fascinating glimpse into the cultural attitudes and beliefs about death in the Victorian era.