Another example of a typical Slavic tombstone with inscriptions in two languages—again, we suspect that “OUR SON” came with the stone, and the inscription in Slovenian was supplied to order. The cross was not originally blank: if we look very carefully, we can trace the faint outlines of a crucifix in shallow relief that has eroded almost completely away.
A small stock mausoleum with indeterminate medievalish details. The cross-bearing angel on top has weathered into picturesque abstraction, looking far more otherworldly now than it did when it was new.
Flower-dropping mourners are very common in our cemeteries, but this one is made of bronze and unusually fine.
Here is a family plot that seems laid out for ancestor-worshiping rituals. The massive classical monument dominates the plot from the rear; in front of it is a classical altar where the descendants could kneel and offer their sacrifices. The older members of the family are named Schwartz; at about the time of the First World War, the younger ones adopted the easy Americanization of Black.
A richly detailed example of Renaissance classicism, with rusticated blocks, arched entrance, “modern Ionic” columns (that is, Ionic columns with volutes at the four corners of the capitals), and flanking urns.
