Rosedale Scavenger Hunt

Photo by Sterling Foster

Rosedale is our cemetery that borders the north side of our historic block, and faces Jefferson.  Some famous burials in Rosedale are:

Noah Broadway, a lawman and Politician

Rose Gregory, a famous Phoenix madam

However, there are also many burials there, some typical and some tragic. 

Below, you will see several clues to Rosedale.  

The answers can be found on Find a Grave.  Our volunteers have placed all of our interred on this platform.  However, we do hope you will join us in Person soon.  

Post Your Answers in the Reply Section.  Good Luck!

Find A Grave - Millions of Cemetery Records

1.  Was born in 1877, and was a railroad fireman.  Died in a tragic accident.

2.  Died in 1902, and was a native of Japan.  Involved in a Shooting Accident.

3.  Son of Pawnee Chief Rush Roberts, and died in 1910.

4.  Sibling infants who died in 1901 and 1902, and whose grandfather of Chinese descent, took his wife's last name.  

5.  Was a comedian, and born in 1868.  His grave marker has a dove and an olive branch.

The Mourning Veil

Picture by Val

Another significant piece of mourning clothing in the Victorian era was the "mourning veil." These veils were an integral part of a widow's attire and played a crucial role in concealing her face from the public eye. Made from fine materials like silk crepe or crape (a specially crinkled fabric), mourning veils were typically long and flowed elegantly down from the widow's head, effectively shrouding her features in a delicate, semi-translucent black fabric. The length and opacity of the veil often indicated the widow's stage of mourning, with longer, heavier veils worn during the initial period of intense grief and gradually transitioning to shorter, less opaque ones as mourning progressed. These veils were not only a symbol of sorrow but also provided a shield of privacy for grieving individuals during a time when mourning was a highly visible and socially prescribed process.

The Widow's Cap

Picture by Val

One particularly striking type of mourning clothing from the Victorian era was the "widow's cap." This somber accessory was worn by grieving women and symbolized their widowhood. The widow's cap was a delicate and often lace-adorned headpiece that covered the hair entirely, concealing it from view. Its purpose was to signify the woman's loss and her withdrawal from society. These caps came in various styles and sizes, with some being more modest and plain, while others were more ornate, showcasing the skill of the seamstress. The widow's cap was a powerful visual symbol of mourning, and it was worn alongside the customary black attire, embodying the strict mourning etiquette and social expectations of the time. It serves as a poignant reminder of the complex rituals and customs surrounding grief and loss in the Victorian era.

I.O.O.F Cemetery Scavenger Hunt

Photo by Sterling Foster

the I.O.O.F. Cemetery was created after the independent order of odd fellows purchased a piece of land to bury their dead, as well as others.  

Lindley Orme, a sheriff from one of our lawmen posts, is buried in the I.O.O.F. Cemetery.  

Below, you will see several clues to the I.O.O.F.  

The answers can be found on Find a Grave.  Our volunteers have placed all of our interred on this platform.  However, we do hope you will join us in Person soon.  

Post Your Answers in the Reply Section.  Good Luck!

Find A Grave - Millions of Cemetery Records

1.  What does I.O.O.F stand for?

2.  Murdered on his way to Florence in 1873.  Grave marker is a replica.  

3.  Born in 1876.  Father made coffins.  Buried with his mother.

4.  Owned the Phoenix Illuminating Gas and Electric Company.  Born in 1847.

5.  Stabbed by a knife in 1879.  Was originally buried in the 1st City Cemetery.  

Mourning Clothing

 

Val Wilson, Digital Art

During the Victorian era, mourning attire played a significant role in society, reflecting the period's intricate rituals surrounding death and bereavement. Mourning clothing, particularly for women, was characterized by its somber and austere appearance. In the initial stages of mourning, known as "deep mourning," women wore garments made of dull black crepe, devoid of any ornamentation or shine. As the mourning period progressed, they transitioned to "second mourning," where they could introduce slight embellishments and fabrics with a softer texture, like silk. Finally, in "half-mourning," muted colors like grey and lavender were permissible. The strict adherence to these mourning stages was not merely a fashion statement but symbolized the depth of one's grief and respect for the deceased. It also served as a visual cue for society, indicating the mourner's emotional state and the appropriateness of certain social interactions. The elaborate mourning rituals and attire of the Victorian era underscored the era's complex attitudes towards death, grief, and societal expectations.

The Firework of the 1800s

 

Young Child with Sparkler, 1892

Library of Congress

During the 1800s, pyrotechnics used for fireworks displays were primarily based on gunpowder and a few other chemicals. While the specific formulations varied, here are some of the key pyrotechnic compositions commonly used:

Gunpowder (Black Powder): Gunpowder was the fundamental ingredient in most fireworks during that time. It consists of a mixture of sulfur, charcoal, and potassium nitrate (saltpeter). This composition, when ignited, burns rapidly, creating the explosive effects and propulsive force needed for various types of fireworks.

Stars: Stars were small spherical or cylindrical pellets made from a mixture of gunpowder and various chemicals. These chemicals produced different colored flames or sparks when ignited. Common substances used to create colored stars included metal salts, such as strontium for red, barium for green, and copper for blue.

Bursting Charges: Bursting charges were pyrotechnic compositions placed inside rockets or other aerial fireworks. These charges contained a mix of gunpowder and other chemicals that would explode upon ignition, creating the vibrant bursts of sparks and colors seen in the sky.

Whistles and Crackling Compositions: Pyrotechnic mixtures were used to produce sound effects in fireworks. Whistles were created by adding a composition that produced a high-pitched whistling noise when ignited. Crackling compositions contained substances that rapidly burned and crackled, generating a series of popping sounds.

Spark Compositions: Spark compositions were used in sparklers and certain types of fireworks. These compositions typically involved a mix of metal powders (such as iron, aluminum, or magnesium) and oxidizers. When ignited, these compositions produced bright sparks that added visual appeal to the fireworks display.

pyrotechnic compositions during the 1800s were simpler compared to the wide range of modern chemicals and effects available today. But they still provided an awe-inspiring display of light, color, and sound, creating a sense of celebration and wonder during Fourth of July festivities.

Celebrating Independence: The Significance of the Fourth of July

Declaration of Independence

Library of Congress

The Fourth of July, also known as Independence Day, is one of the most significant holidays in the United States. It marks the anniversary of the country's declaration of independence from British rule in 1776. As fireworks light up the night sky and families gather for barbecues, it's important to understand the historical and cultural significance of this cherished holiday.

The Birth of a Nation: On July 4, 1776, the Continental Congress adopted the Declaration of Independence, a document proclaiming the American colonies' independence from Great Britain. This historic event paved the way for the formation of the United States as a sovereign nation, establishing the fundamental principles of liberty, equality, and self-governance.

Time-Honored Traditions: Over the years, various traditions have emerged as part of Fourth of July celebrations. These include:

• Parades: Patriotic parades featuring marching bands, floats, and community organizations are a staple of Independence Day festivities. They showcase American pride and pay tribute to the nation's history and diversity.
• Fireworks: Fireworks displays evoke a sense of wonder and joy, symbolizing the "rockets' red glare" mentioned in the national anthem. Watching fireworks light up the sky has become a beloved tradition, bringing communities together in celebration.
• Picnics and Barbecues: Gathering with family and friends for outdoor picnics and barbecues is a quintessential part of the Fourth of July. From grilled burgers to homemade apple pies, these feasts foster a sense of togetherness and create lasting memories.

Reflection on Values: Independence Day offers an opportunity for individuals to reflect on the core values that define the nation. It encourages contemplation of the ongoing pursuit of freedom, justice, and equality for all. It serves as a reminder to cherish the hard-fought liberties and to actively engage in upholding them.

We at PCA wish you a very happy July 4th.  Be safe:-)

 

 

Weekly Vintage Chuckle

John Dalton, Chemist

Library of Congress

Why don't scientists trust atoms?

Because they make up everything!

**the concept of atoms was around during ancient greece.  the first modern evidence of atoms occurred in the early 1800s when John Dalton, a chemist, discovered that chemicals always contain whole number ratios of atoms.  

 

A Vintage Puzzle

weighing silver coins at the mint, 1888

Library of Congress

You have a collection of nine coins. Out of these nine coins, eight are identical in weight, and one is slightly heavier. However, you don't know which coin is the heavier one, and you don't have a scale to weigh the coins. You can use a balance scale only twice to find the heavier coin. How can you determine which coin is heavier using the balance scale only two times?

Answer will be posted Monday in the comments section.

Joannes Baptiste Steyaert (1859-1897)

Steyaert/Swindall House

Courtesy of Donna Carr 

Joannes Baptiste Steyaert was born 7 October 1859 in Evergen, Belgium—avery small village.  He and his wife, Matilda Van Damme, had a total of eight children, whose birthplaces provide a map of the family’s journey from Belgium to Arizona.

The three eldest children—Marie Victoria, Emil Johan and Augustine Bernard--were born in Belgium.  The fourth child, Marie Leona, and the fifth child, Benjamin Paul, arrived in 1890 and 1891 while the family was living in Winnipeg, Canada.  The Steyaerts seem to have gravitated to heavily forested areas, suggesting occupations associated with lumber.

 By the time the seventh and eighth children, Medard Tracy and Joseph Julius, were born in 1894 and 1897, the family was in De Pere, Wisconsin.  In the summer of 1897, the Steyaert family left Wisconsin for Arizona with newborn Joseph.  Within just a few weeks of their arrival, Joannes fell desperately ill.   After a protracted bout with typhoid which exhausted the family’s financial resources, he died on July 21, 1897, and was buried in the Loosley Cemetery.  His daughter Marie Victoria died of pneumonia a few months later, on November 21, 1897, and was buried in the same cemetery.

This left Matilda Steyaert destitute, with seven children to support.  They ranged from Emil, almost 12, to Joseph, a mere babe in arms.  The local newspaper, the Arizona Republican, appealed to its readership to assist the family.  The Steyaerts were listed intermittently as indigent between 1898 and 1900.

In time, however, the Steyaert children became old enough to support themselves.  In 1913, the boys built a fine house, designed by Howard B. Claflin, for their mother at 1021 East Washington.  The ten-room brick bungalow is said to have had screened sleeping porches and much built-in cabinetry.  Owing to the use of an innovative truss, the front porch offered an unobstructed view of the street.

Ben and Gus Steyaert became locomotive engineers for the Santa Fe Railway and the Southern Pacific Railroad respectively.  Emil was by turns a miner, prospector and truck driver for Union Oil.  Joseph Julius worked as a heavy equipment operator.  Only Medard and Frank carried on the family tradition of working with wood.  In 1928, Medard was managing a planing mill at 1501 South Central, which made cabinets and office furniture. 

With her children grown up, Matilda converted her bungalow on East Washington into a boarding house and rented rooms to guests regardless of race.  After her death on 27 July 1941, the house was sold to Golden and Elvira Swindall, who continued Matilda’s legacy of providing accommodations to African American guests who were not welcome at the segregated hotels in downtown Phoenix.  The Swindall Tourist Inn was listed in the famous ‘Green Book’ for Negro travelers;  Count Basie, Dizzy Gillespie and Jackie Robinson are believed to have stayed there.  Bought in 1996 to serve as the headquarters for the Desert Mashies golf club, the house is now on the National Register of Historic Places.

-by Donna Carr

check out our website at Pioneers' Cemetery Assocation.

A Walk Through Time: Unveiling the Design of the Victorian Cemetery

 

Wilson, Digital Art

Cemeteries are more than just places where we inter our dearly departed; they are serene havens that offer peace and solitude. However, these hallowed grounds weren't always the lush landscapes we've come to know today. During the Victorian era, the concept of cemeteries and their designs underwent a significant transformation, resulting in the emergence of the 'Victorian Garden Cemetery.'

The Victorian era, spanning 1837 to 1901, was a period of profound change in societal attitudes towards death and mourning. As urban populations grew, so did the concern over hygiene and space in overcrowded church graveyards. This led to the development of large, suburban 'garden cemeteries' designed not only for the deceased but also for the living.

The concept of the garden cemetery was not merely a practical solution to overcrowding. It was an embodiment of the Victorian preoccupation with death, and the subsequent desire to commemorate and memorialize the departed in a manner befitting their social status and personal virtues.

The Victorian cemetery was designed to reflect the tranquility and beauty of an idealized landscape. Curvilinear paths wound through a picturesque tableau of rolling hills, meandering rivers, and large, mature trees. Beautiful, ornate mausoleums, chapels, and monuments adorned these scenic locales, creating an atmosphere more akin to a serene park than a burial ground. These spaces were as much about contemplation, remembrance, and public leisure as they were about internment.

The headstones and monuments of Victorian cemeteries were a testament to the era's intricate and symbolic craftsmanship. Much more than a means to mark a grave, these stone symphonies served to tell a story about the individual lying beneath.

From angels denoting innocence and ascension to heavenly peace, to hands pointing upwards symbolizing the journey of the soul, the symbols carved on the headstones were replete with meaning. The intricacy of design varied with social class and wealth, with the affluent commissioning lavish Gothic Revival or Classical styled mausoleums, while the less wealthy settled for simpler but no less poignant headstones.

Marble was a common material of choice for these headstones and monuments due to its luminosity and the relative ease of carving it. However, as time passed, the marble's susceptibility to weathering and erosion led to the shift towards more durable materials like granite.  

and Not everyone could afford an elaborate headstone, so wood, rock, and inexpensive materials were also used.  Unfortunately, these were not always durable.  In some cases, a headstone wasn't placed due to costs.  

The design of the Victorian cemetery was incomplete without its complement of carefully selected and strategically placed vegetation. The Victorians ascribed specific meanings to different plants, and these meanings were not lost in the design of their cemeteries.

Cypress trees symbolizing mourning, weeping willows representing sorrow, and rose bushes denoting beauty, love, and respect, were common features. These, combined with seasonal flowers, created a constantly changing panorama of colors and scents, contributing to the cemetery's tranquil ambiance.

The Victorian cemetery represents a vital chapter in the evolution of burial practices, reflecting the era's attitudes towards death, remembrance, and public space. Its design elements, from the carefully laid out landscapes to the symbolic headstones, continue to intrigue and invite exploration.

Bryan Darell Duppa (1832 - 1892) - Phoenix City Pioneer

 

Lord Duppa - Arizona Archives

Bryan Philip Darell Duppa was born 9 October 1832 in Paris, France, where his parents, Baldwin Francis Duppa and Catherine Darell, were living at the time. Although not a titled family, they were landed gentry. The family seat, Hollingbourne Manor, was in Maidstone, Kent, England. It was to this mansion that Duppa came as a three-year-old in 1835.

Duppa received a classical education at Cambridge University, where he learned French, Spanish, Italian and German, in addition to the required Greek and Latin. In later life, he was known to recite Shakespeare for hours from memory.

Since Duppa had an older brother, Baldwin, who would inherit the Duppa estate, he had to find some other occupation. It seems more likely that he spent some time on his uncle George’s sheep station in New Zealand and that this might have whetted his appetite for further adventure.

Duppa was known to have been in Prescott, Arizona in December of 1863. He became friends with Jack Swilling and it is likely that the two came to Phoenix together in 1867. Recognizing the area’s potential for growth, Duppa homesteaded 175 acres near what is now downtown Phoenix.  An
adobe building that has been associated with the property sits at what is now 116 West Sherman.

Both he and Swilling were much interested in the evidence of a vanished Hohokam culture on the banks of the Salt River—specifically, its system of canals. When the question of what to name the new settlement arose, Duppa proposed Phoenix, for it suggested a city rising from the ashes of a previous civilization. Duppa is also credited with having named Tempe. - Adapted story of Debe Branning and Donna Carr.

Find out why he was called "Lord" and was actually re-buried in 1991 by coming to Pioneer Military and Memorial Park!

See us on our website: azhistcemeteries.org

The Significance of Mirrors in Victorian Death Practices

Wilson, Digital Art

During the Victorian era, mirrors played a significant role in funeral rituals, accompanied by superstitions and beliefs. Covering or turning mirrors to the wall during mourning was a common practice with deep-rooted meaning. 

1.  Mirrors as Gateways: Victorians believed mirrors held a spiritual connection, reflecting more than just physical appearances. They were considered gateways between the living and the deceased, capturing and reflecting a person's essence.

2.  Superstition of Covering Mirrors: To prevent the departed soul from becoming trapped or haunting the living, mirrors were covered or turned during mourning in the home. This practice aimed to safeguard against any potential harm to the deceased person's spirit or to the living.  

3.  A Horrible Realization:  It was also believed in some cultures, that if the deceased saw a reflection of themselves in the glass, they would become horrified that they had become a ghost.  

4.  Mirrors in the Death Chamber: In the room where a person passed away, mirrors were often covered with a white cloth. This act ensured a smooth transition for the deceased person's spirit into the afterlife, preventing any potential entrapment.  This may also have included pictures.

Mirrors held great significance in Victorian funerals and in death, symbolizing the connection between the living and the departed. The practice of covering mirrors during mourning reflected the superstitions and beliefs of the era. Understanding these customs provides insight into the Victorian fascination with the afterlife and their complex views on death and the supernatural.