The coloration difference is due to a variety of image processing techniques I used to make the grave marker more readable to the naked eye. Oftentimes, boosting a particular hue, such as red brings out details that the camera lens does not capture.
In a similar fashion transitioning the image from color to black and white can highlight contrasting features. This is also a useful technique we can use in order to read grave markers and it is much safer than risking damage to the stone via a grave rubbing.
These three images all show the same grave marker of William Maxwell. Out of all of the still legible markers, Mr. Maxwell's puzzled me the most. His is the most decorative grave marker remaining at Second Site Cemetery with the highly pronounced script lettering complete with open ellipses as flourishes. The central design is difficult to make out. I attempted to find a similar symbol on other grave markers, but I could not find an exact match. I believe what we see here is two clasped hands, one on the bottom and one on the top, which may symbolize marriage. If that is the case, we would expect to find Mrs. Maxwell's grave nearby, but we do not see a visible grave that could belong to her.
The date of death, 1820, indicates that this particular grave marker likely came from the Bigham Family Workshop located in the southern section of Mecklenburg County. The cut of the stone shows a central tympanum, two small shelves on either side branching into a gentle curve and two smaller tympanums on the outer edges. This was a known style that came out of Bigham's Workshop. They were also known for custom symbols on grave markers, specifically coats of arms.
Little, Ruth. Sticks and Stones, Three Centuries of North Carolina Grave Markers. Chapel Hill: University of North Carolina Press, 1998.
Wilkie, Christine Dorothy. Early Gravestone Cutters and Acculturation in the Carolina Backcountry:The Bigham and Caveny-Crawford Stonecutter Workshops. Charlotte: UNC Charlotte, 2014
This grave marker is in memory of 12-year-old Newton Stinson who passed in 1823. The Bigham workshop was closed by this time, however, the shape of the stone is identical to William Maxwell's and consistent with other designs we see coming out of the Bigham workshop. Still, Newton's grave marker is decidedly less ornamental and significantly smaller. Other than the inscription there is no visible artwork on the stone.
Very little of this grave marker is readable, but we can also see evidence of a heavy restoration effort. A significant amount of the epitaph was replaced with concrete. This grave marker shows only a central tympanum, but when it was brand new it most likely had the two smaller tympanums on either side. Consequently, we can see concrete in place of where we would expect to see the two smaller tympanums.
Unfortunately a complete reading of this particular marker was not possible. Weathering and environmental damage obscured the name and the year of death as well as any added inscription along the bottom.
Sacred
The mem________________________________
Who departed this life
____________________________________
Aged _2 Year
Caveny-Crawford workshop produced similar designs to the Bigham Family Workshop, but they are somewhat more well known for their clean lines and simplistic designs. The pointed arch points toward a less Baroque style (like we see with the multi-tympanum shape) and more Neoclassical. With a death date of 1835, we can more likely attribute this grave marker to Caveny-Crawford.
James Young's grave marker is identical to his wife, Jane Young's, grave marker. Mrs. Young's marker is significantly harder to read.
Robert McCombs' grave marker also shows a Neoclassical style. With a death date of 1848 this grave marker dates to the Caveny-Crawford Workshop.
Eagles' wings are another common symbols seen on grave markers in the nineteenth century. Second Site Cemetery has two examples of such designs dating to 1811 and 1812 respectively. Oftentimes, we see this motif with a skull added to the center creating the appearance of a winged skull. The early date attributes these two stones to the Bigham Family Workshop. A design such as this would require a skilled artisan.
