Editing and Sequencing – Grave Flowers

In feedback on Assignment 2 my tutor requested that I “Develop a series of carefully considered images that moves your idea forward”. My most complete set of images is the ‘grave flowers’ series, I submitted a first version for Assignment 2 but have added to them since.


Using the “very basic  editing” (Colberg 2017:82) I reduced the number to 24 photos as the first stage of editing removing duplicates and images where the quality was not high enough.. 

“Using actual, physical prints is supremely important during the process of editing” (Colberg 2017:113). 

So I laid them all out to consider those to include an in what order. This allows you to see how each image relates to those on either side of it.

As suggested by Colberg I tried to look at them dispassionately, not using what I knew about each photo but to let each image stand in its own right. I reduced the total number to 10 and moved the sequence around to try to tell a story with the photographs.

These photographs of flowers left in a cemetery strike the viewer in two different ways, those where natural flowers have wilted or withered (quite common during the Coronavirus lockdown) – and those where artificial flowers had been left. The artificial flowers were very bright, sometimes garish, often in contrast to the faded headstones. 

It is interesting to analyse these images in iconographical terms. “Iconography became the name in art history for one of the discipline’s central, and defining, activities: identifying the formal and symbolic elements in visual representation and then elaborating upon their wider social and cultural importance” (Harris 2006:148). The methodology was first proposed by Erwin Panofsky in the 1950s where “The subject matter or meaning was  … to be established by referring to the understandings of the symbols and signs in a painting that its contemporary audiences would have had” (Rose 2016:198). Panofsky constructed a frame which consisted of three separate levels of visual interpretation (ibid):

Primary                  natural                          pre-iconographic  

Secondary            conventional             iconographic

Intrinsic                 symbolic                       iconological

In terms of analysing an image Cbrich (2015) describes them as:

Primary                  a factual description of the image

Secondary             analysis of the meanings of the signs or symbols within the image

Intrinsic                  how the signs or symbols relate to the period in which the image was made


Primary level

At this level the photographs are of graves within a cemetery with the text on the headstones and there are flowers, some dying, some artificial, by the grave. Some of the graves have other ornamentation such as toys, lanterns, small figurines.


Secondary Level

There are a number of symbols within the images. Flowers, particularly when drooping or losing petals, are a typical motif of the transience of life, frequently used in Vanitas still life paintings, particularly in Dutch and Spanish art of the 17th century (Chilvers 2009). Flowers are a symbol of the transience of life when they bloom and die back “Doomed to die almost as soon as they bloom, they wither sadly on the stem in rank disorder, eventually falling to the ground from which they came” (Taussig 2003:118). 

 There are religious symbols within images GF005 and GF006. The cherubs  represent angels that “surrounded God in perpetual adoration” (Hall 2008:17) and perhaps also refer to the age of the deceased. The candles are symbolic of the light of faith and are “an attribute of faith personified” (Hall 2008:59).The lanterns in the two images are symbols of Christ the Redeemer most notably displayed in William Holman Hunt’s painting “The Light of the World“.

The leaving of toys at the graves of children, seen in images GF001, GF002 and GF005, perhaps dates back to Victorian times, in the late 19th century “it was customary for the family of a deceased child to leave a doll at the gravesite” (Cherrell 2019). While the leaving of doll likenesses of a child no longer occurs, leaving toys is still a regular occurrence and are symbolic of the young age at which the deceased passed away.

Intrinsic Level

The question arises as to the symbolism of artificial flowers, which don’t wither on the stem. Their colours may fade over time, but only after a considerable period. Artificial flowers are not a new phenomenon, “Immortelles were mass-produced fake flowers used in the Victorian and Edwardian period for placing on graves in lieu of real flowers” (Marriott 2018).

But can today’s mass-produced, brightly coloured, artificial flowers have the same symbolic meaning as natural flowers?  Some religious leaders have enforced rules against fake, Barkham (2011) quotes the The Rev Geoff Stickland “The metaphor of flowers is the beauty that weathers and decays. That is why we always put real flowers in the churchyard where they are associated with funerals. Plastic ones don’t decay, so the metaphor gets lost,”

However this is just one church leader and not all would agree with his approach, and many cemeteries outside church settings do not have  similar rules. Artificial flowers have been left for the same purpose as naatural flowers, but do they contain the same symbolic meaning. Have artificial flowers lost the symbolic nature of transience (as seen in images GF003 and GF004 the bright colours of the artificial flowers are in marked contrast to the faded headstones) or does our present day culture accept that the representation of a flower (in plastic) still carries the connotation of the transience of life. Is the artificial flower a symbol for a real flower which is symbolic of transience  or does it mean that in our present culture the act of leaving a symbol is as important as the symbol itself. 


Barkham, P. (2011) ‘Should fake flowers be banned from cemeteries?’ In: The Guardian 12/01/2011 At: http://www.theguardian.com/lifeandstyle/2011/jan/12/cemetery-ban-for-fake-flowers (Accessed 24/07/2020).

Cherrell, K. (2019) The World of Victorian Grave Dolls. At: https://burialsandbeyond.com/2019/01/20/the-world-of-victorian-grave-dolls/ (Accessed 24/07/2020).

Chilvers, I. (2009) The Oxford Dictionary of Art and Artists (4th Edition). Oxford: Oxford University Press.

Colberg, J. (2017) Understanding Photobooks: The Form and Content of the Photographic Book. Abingdon: Routledge.

Gbrich, C. (2015) Iconology and Iconography: Describing, Classifying and Interpreting Religious and Artistic Objects. Directed by Gbrich, C. (s.l.). At: http://methods.sagepub.com/base/download/DatasetStudentGuide/art-iconology 

Harris, J. (2006) Art History: The Key Concepts. Abingdon: Routledge.

Hall, J. (2008) Dictionary of Subjects and Symbols in Art. Boulder: Westview Press.

Marriott, J. (2018) Immortelles and inspirations: a logo for Life, Death (and the Rest). At: https://arnosvale.org.uk/life-death-and-the-rest-logo/ (Accessed 24/07/2020).

Rose, G. (2016) Visual Methodologies: An Introduction to Researching with Visual Materials (4th Edition). London: Sage.

Taussig, M. (2003) ‘The Language of Flowers’ In: Critical Inquiry 30 (1) pp.98–131.