Here Is My Name When I Am Dead
This chapter explores death and mourning pictures within a shifting memorial culture that was rooted in historical modes of representation and theologies of redemption. Over the course of the nineteenth century, photographic portraiture emerged within this memorial culture as both the preferred iconography of mourning in nineteenth-century America and, significantly, as a relic of the departed that disclosed future glory to the bereaved. In this chapter, I explore the role of photographs as relics that illuminated the communion of shadows by mediating the body of the deceased with the grieving body of the bereaved. Here, photographs were devised not as tokens of the moldering body of the deceased but of promise of celestial reunion in glory. As memorial portraiture focused attention on the body of the deceased, another facet within the communion of shadows purported to provide evidence of the soul’s survival after death.