Cenotaph

Cenotaph (pronounced sen-uh-taf or sen-uh-tahf)

A sepulchral monument in memory of and honoring a dead person or persons buried elsewhere; erected especially as military monuments.

1595–1605: From the French cénotaphe (empty tomb erected in honor of a dead person who is buried elsewhere or whose body is lost), from the Classical Latin cenotaphium from the Ancient Greek kenotáphion, the construct being κενός (kenós) (empty) + τάφος (táphos) (tomb) + -ion (the diminutive suffix) of uncertain origin.  Until well into the twentieth century it was thought ultimately derived (like the Armenian damban (tomb)) from the primitive Indo-European root dhembh- (to dig, bury) the the evidence is scant and some etymologists suspect both the Armenian and Greek could well be borrowings from other places.  Cenotaph is a noun and cenotaphic is an adjective; the noun plural is cenotaphs.

The Cenotaph to Reynold's Memory, Coleorton (circa 1833), oil on canvas by John Constable (1776-1837).

Percy Bysshe Shelly (1792-1822), The Cloud (1820).

I bring fresh showers for the thirsting flowers,
From the seas and the streams;
I bear light shade for the leaves when laid
In their noonday dreams.
From my wings are shaken the dews that waken
The sweet buds every one,
When rocked to rest on their mother's breast,
As she dances about the sun.
I wield the flail of the lashing hail,
And whiten the green plains under,
And then again I dissolve it in rain,
And laugh as I pass in thunder.
 
I sift the snow on the mountains below,
And their great pines groan aghast;
And all the night 'tis my pillow white,
While I sleep in the arms of the blast.
Sublime on the towers of my skiey bowers,
Lightning my pilot sits;
In a cavern under is fettered the thunder,
It struggles and howls at fits;
Over earth and ocean, with gentle motion,
This pilot is guiding me,
Lured by the love of the genii that move
In the depths of the purple sea;
Over the rills, and the crags, and the hills,
Over the lakes and the plains,
Wherever he dream, under mountain or stream,
The Spirit he loves remains;
And I all the while bask in Heaven's blue smile,
Whilst he is dissolving in rains.
 
The sanguine Sunrise, with his meteor eyes,
And his burning plumes outspread,
Leaps on the back of my sailing rack,
When the morning star shines dead;
As on the jag of a mountain crag,
Which an earthquake rocks and swings,
An eagle alit one moment may sit
In the light of its golden wings.
And when Sunset may breathe, from the lit sea beneath,
Its ardours of rest and of love,
And the crimson pall of eve may fall
From the depth of Heaven above,
With wings folded I rest, on mine aëry nest,
As still as a brooding dove.
 
That orbèd maiden with white fire laden,
Whom mortals call the Moon,
Glides glimmering o'er my fleece-like floor,
By the midnight breezes strewn;
And wherever the beat of her unseen feet,
Which only the angels hear,
May have broken the woof of my tent's thin roof,
The stars peep behind her and peer;
And I laugh to see them whirl and flee,
Like a swarm of golden bees,
When I widen the rent in my wind-built tent,
Till calm the rivers, lakes, and seas,
Like strips of the sky fallen through me on high,
Are each paved with the moon and these.
 
I bind the Sun's throne with a burning zone,
And the Moon's with a girdle of pearl;
The volcanoes are dim, and the stars reel and swim,
When the whirlwinds my banner unfurl.
From cape to cape, with a bridge-like shape,
Over a torrent sea,
Sunbeam-proof, I hang like a roof,
The mountains its columns be.
The triumphal arch through which I march
With hurricane, fire, and snow,
When the Powers of the air are chained to my chair,
Is the million-coloured bow;
The sphere-fire above its soft colours wove,
While the moist Earth was laughing below.
 
I am the daughter of Earth and Water,
And the nursling of the Sky;
I pass through the pores of the ocean and shores;
I change, but I cannot die.
For after the rain when with never a stain
The pavilion of Heaven is bare,
And the winds and sunbeams with their convex gleams
Build up the blue dome of air,
I silently laugh at my own cenotaph,
And out of the caverns of rain,
Like a child from the womb, like a ghost from the tomb,
I arise and unbuild it again.

The UK's then prime-minister (far left), joined by his seven predecessors at the Cenotaph for Remembrance Sunday, London, November, 2023.  The recent churn-rate in 10 Downing Street has meant that by 2024, there were nine living prime-ministers (current or former), a new record.

Left to right: Rishi Sunak (b 1980; UK prime-minister 2022-2024), Liz Truss (b 1975; UK prime-minister Sep-Oct 2022), Boris Johnson (b 1964; UK prime-minister 2019-2022), Theresa May (Lady May, b 1956; UK prime-minister 2016-2019), David Cameron (b 1966; UK prime-minister 2010-2016), Gordon Brown (b 1951; UK prime-minister 2007-2010), Tony Blair (b 1953; UK prime-minister 1997-2007) and John Major (b 1943; UK prime-minister 1990-1997).

The Cenotaph's unveiling ceremony, 11 November, 1920, Whitehall, London.

It was David Lloyd George (1863–1945; UK prime-minister 1916-1922) who commissioned Sir Edwin Landseer Lutyens (1869–1944) to design a catafalque past which the troops would march during the victory parade in 1919, giving the English architect only two weeks to have the structure in place.  Using a method close to what would now be called “rapid prototyping”, Sir Edwin drafted sketches and from these a full-sized catafalque was constructed in timber and plaster, so well-executed one architect thought it looked “as if it had stood sturdy for a century”.  It was so admired The Times lead a campaign demanding it be rebuilt in granite and this was done, the permanent structure in place by 11 November, 1920 for the anniversary of the armistice which ended World War I (1914-1918), the body of the Unknown Warrior carried past.

Catafalque

Catafalque (pronounced kat-uh-fawk, kat-uh-fawlk or kat-uh-falk)

(1) A (temporary or permanent) raised structure on which the body of a deceased person lies or is carried in state.

(2) A hearse (obsolete).

1635–1645: The orthodoxy is that catafalque is from the seventeenth century French catafalque, from the Italian catafalco, from the Late Latin catafalicum (scaffold), the construct being cata- (from the Ancient Greek κατά (katá) (downwards (and used in Medieval Latin with a sense of “beside, alongside”))) + fal(a) (wooden siege tower) + -icum (neuter of –icus; (the suffix used to denote "belonging to; derived from or pertaining to"), from the Etruscan.  However, etymologists are divided on the origin.  Some believe English picked up the word directly from the Italian and not via French and regard the Italian of uncertain origin, the connection with the Late Latin only speculative.  From the Medieval Latin catafalicum Old French gained chaffaut & chafaud (scaffold) which exists in the Modern French échafaud (scaffold).  Catafalque (the rare alternative spelling is catafalco) is a noun; the noun plural is catafalques.

The coffin carrying Queen Elizabeth II, rested on its catafalque for the lying in state, Westminster Hall, London, September 2022.

A catafalque is the platform upon which the body of the dead lies before their funeral.  In the West the modern practice is for the body to be placed in a coffin but historically the body was sometimes wrapped and this remains the practice for burials at sea.  Catafalques can be elaborately decorated or constructed with austere simplicity and can be mobile or stationary.  Although associated with state funerals they are a common fixture in crematoria or chapels and exist so the coffin is permitted to sit at an appropriate height for ceremonial purposes, most obviously during “open-casket” services.  Those used by undertakers (funeral directors) are usually mobile 9on wheels) so the coffin may easily be moved from one place to another, by one staff member if need be.  Thus, any appropriately elevated surface used from the purpose can be thought of (if only temporarily) as a catafalque although the name-proper is attached only to dedicated devices.  A catafalque party is a military formation, traditionally numbering four (though it may be more or fewer) assembled to stand guard over the coffin while the body is lying in state or at some other site of memorial.

A member of Queen Elizabeth II's catafalque party fainted shortly before his shift was due to end.  His injuries were said to be "not serious".

The 1865 (Abraham Lincoln) catafalque in 2006, after the most recent replacement of its fabric covering.

One catafalque noted for its longevity is that hastily (and, from the point-of-view of a professional carpenter or cabinet maker, rather crudely) fabricated was that used for the coffin of Abraham Lincoln (1809–1865) US president 1861-1865) and still in use today.  Of simple construction and using plain framing timber, it’s not at all ornate and gains its aura from the long history of use, having being used in the funerals of some four dozen US figures from politics, the judiciary, the military or society (most recently Senator Harry Reid (1939–2021; US senator (Democrat, Nevada).  Over the years, it has been enlarged and strengthened to accommodate increasingly heavy coffins and the fabric covering has several times been replaced but almost all the original structure remains so it’s not a “grandfather’s axe”.  The simplicity has sometimes been emulated with intent, Pope John Paul II’s (Karol Wojtyła, 1920–2005; Pope of the Roman Catholic Church 1978-2005) plain cypress coffin sitting atop a catafalque so basic it might have been built by Christ himself.  It’s thought JPII’s successor might choose something just as simple.

Voltaire's catafalque.

Voltaire (François-Marie Arouet, 1694–1778), the radical writer of the French Enlightenment, as controversial in death as in life, was buried quietly some way distant from Paris because his friends feared church and state would seek to deny him the proper rites of burial and it was only some thirteen years after his death, just after the French Revolution that his body was disinterred and moved to the Panthéon in Paris, a site created to honor illustrious citizens.  His catafalque was an impressive three tiered construction inscribed: “Poet, philosopher, historian, he made a great step forward in the human spirit.  He prepared us to become free.”

David Lloyd George's funeral bier, Good Friday (30 March) 1945, Llanystumdwy, Wales.  It was Lloyd George himself who stipulated a “farm cart funeral”.

In the context of funerals, definitionally, there is no difference between a bier and a catafalque.  Bier ((1) a litter to transport the body of a dead person, (2) a platform or stand where a body or coffin is placed & (3) a count of forty threads in the warp or chain of woolen cloth) was from the Middle English beer, beere & bere, from the Old English bēr, from the West Saxon bǣr (stretcher, bier), from the Proto-West Germanic bāru, from the Proto-Germanic bērō, from the primitive Indo-European bher (to carry, bear) and was cognate with the Saterland Frisian Beere (stretcher, bier), the Dutch baar (bier) and the German Bahre (bier, stretcher).  It’s thus functionally the same as a catafalque and the only point of differentiation in modern use seems to be the convention that catafalque is used when the funeral is grand while for more modest affairs (like David Lloyd George’s (1863–1945; UK prime-minister 1916-1922) “farm cart funeral”), bier is preferred.  The pyre (from the Ancient Greek πυρά (pyrá), from πῦρ (pyr) (fire)), also known as a funeral pyre, is a structure, made almost always of wood, constructed for the purpose of burning a body as part of a funeral rite and thus a form of ceremonial cremation.  Dimensionally, it may be far larger than is required for purposes of combustion because big fires were often an important aspect of the spectacle.

The Cenotaph's unveiling ceremony, 11 November, 1920, Whitehall, London.

It was Lloyd George who commissioned Sir Edwin Landseer Lutyens (1869–1944) to design a catafalque past which the troops would march during the victory parade in 1919, giving the English architect only two weeks to have the structure in place.  Using a method close to what would now be called “rapid prototyping”, Sir Edwin drafted sketches and from these a full-sized catafalque was constructed in timber and plaster, so well-executed one architect thought it looked “as if it had stood sturdy for a century”.  It was so admired The Times lead a campaign demanding it be rebuilt in granite and this was done, the permanent structure in place by 11 November, 1920 for the anniversary of the armistice which ended World War I (1914-1918), the body of the Unknown Warrior carried past.

Hearse

Hearse (pronounce hurs)

(1) A vehicle, such as a specially designed car or carriage, used to carry a coffin to a place of worship and ultimately to a cemetery or crematorium; a bier or hand-cart for conveying the dead to the grave.

(2) A triangular frame for holding candles, used at the service of Tenebrae (in Christianity (Western), a service celebrated on the evening before or early morning of Maundy Thursday, Good Friday, and Holy Saturday, involving the gradual extinguishing of candles while a series of readings and psalms are chanted or recited).

(3) A framework of wood or metal placed over the coffin or tomb of the deceased and covered with a pall; also, a temporary canopy bearing wax lights and set up in a church, under which the coffin was placed during the funeral ceremonies.

(4) A hind (female deer) in the second year of her age.

(5) A grave, coffin, tomb, or sepulchral monument (obsolete).

1250–1300; From the Middle English herse, hers & herce (a flat framework for candles, hung over a coffin), from the Middle French herse (a harrow; long rake for breaking up soil, harrow; portcullis (and in churches a descriptor of those large chandeliers with some resemblance to the long prongs of a rake)), from the Old French herce, from the Medieval Latin hercia, from the Classical Latin herpicem, accusative of hirpex (harrow), a rustic word ultimately from the Oscan hirpus (wolf), said by some etymologists to be an allusion to its sharp teeth but not all agree although all seem to concur the Oscan term is related to the Latin hīrsūtus (bristly, shaggy (and the source of hirsute)).

The verb rehearse dates from circa 1300 and was from Middle English rehersen & rehercen (to give an account of, report, tell, narrate (a story); speak or write words) and by the early fourteenth century the meaning had extended to "repeat, reiterate".  The source was the Anglo-French rehearser, from the twelfth century Old French rehercier (to go over again, repeat (literally "to rake over, turn over" (soil, ground, furrows in a field))), the construct being re- (again) + hercier (to drag, trail (on the ground), be dragged along the ground; rake, harrow (land); rip, tear, wound; repeat, rehearse;" from the French forms herce & herse (a harrow).  In English, the meaning "to say over again, repeat what has already been said or written" dates from the mid-fourteenth century, the now familiar sense (as a transitive & intransitive verb) of "practice (a play, part, etc.) in private to prepare for a public performance" emerged in the 1570s.

The use of hearse to describe the vehicles carrying coffins has become so pervasive that it’s now only in ecclesiastical jargon that funeral displays or church fittings are now so-named.  The funeral display picked up the name because they typically resembled a harrow and it was only in the fifteenth century that the sense of "a portcullis" appeared in English.  From there, use extended to other temporary frameworks built over the dead to be used while ceremonies were in progress while the idea of a "vehicle for carrying a dead person to the grave" came into use in the 1640s, the adoption presumably stimulated by covering structures being added to the horse drawn carts (or biers) on which coffins had traditionally been transported uncovered.

Recent hearses of note

Lindsay Lohan in habit, emerging from hearse in Machete (2010).  The Machete hearse was based on a 1987 Cadillac Brougham (1987-1992).

Between 1931-1979, General Motors' Cadillac division offered a line called the Cadillac Commercial Chassis, a long-wheelbase, heavy-duty platform which was mechanically complete but with a partially built body (without bodywork rear of the windscreen, doors and other panels included on request).  Produced on the D platform (exclusive to Cadillac), the Commercial Chassis was used by coach-builders to create high-roofed ambulances, hearses (often called funeral coaches in the US) and cleverly designed hybrids which at short notice could be converted from ambulances to hearses or used by a coroner's staff to transport a corpse; they were popular in towns with small populations.  The early Commercial Chassis were based on the Series 355 (1931-1935) and the Series 75 (1936-1992) from 1936 and although there were specific modification to the frame, the mechanical components were always shared with the 75 which, used for the big limousines, meant costs were amortized across the ranges.  After 1980, production continued on the downsized platform but there was no longer a separate D platform, the partially bodied cars structurally identical to the mainstream line.  The landau irons (which some coachbuilders insist should be called "carriage bars") on the rear side-panels emulate in style (though not function) those used on horse-drawn carriages and early automobiles (the last probably the Mercedes-Benz 300 (the “Adenauer”; W186 (1951-1957) & W189 (1957-1962)) Cabriolet D.  On those vehicles, the irons actually supported the folding mechanism for the fabric roof but on hearses they are merely decorative, there to relieve the slab-sidedness of the expanse of flat metal.

Funeral procession of Kim I: Kim Il-sung (1912-1994; The Great Leader of DPRK (North Korea) 1948-1994 (left) and Kim II: Kim Jong-il (1941–2011; The Dear Leader 1994-2011) (right).  For the latter sad event, Kim III (Kim Jong-un (b 1984; The Supreme Leader since 2011) was chief mourner and is here pictured with his left hand holding the wing mirror, the location of which identifies the cars as having probably been sold in Japan. 

In the West, the tradition is now for the coffin to be carried in a glassed-in enclosure, in effect a lengthened station-wagon, often with a raised roof.  Big station wagons are now extinct so hearses are fabricated by coach-builders usually with a large sedan or SUV as a base but in the wacky world of hearses, anything seems to be possible.  One quirky variation is pursued by Kim dynasty in the DPRK (North Korea).  There, the coffin is displayed on fluffy catafalque mounted on the roof of a limousine, something not far removed from the military tradition of using horse-drawn gun carriages.

The DPRK’s hearse appears to be a 1975 or 1976 Lincoln Continental which has been lengthened, presumably by one of the US coachbuilders with which Ford made such arrangements when the cars were new.  Given the state of US-DPRK relations since the end of the Korean War (1950-1953), the unexpected appearance of the big Lincolns attracted comment when first seen at the Great Leader’s funeral in 1994.  There were three stretched Lincolns in the cortege, all appearing to have been built in 1975 or 1976 (based on the full rear fender skirts and the five vertical bars separating the grille into six sections (the later Continentals used a narrower style)) and all would be powered by a 460 cubic inch (7.5 litre) version of Ford 385 series engine.  The wheelbase on two of the cars had been extended by an estimated 36 inches (915 mm), the other by perhaps a foot (300 mm) but all appeared equipped with fittings which suggested they’d been prepared for the Japanese market and the assumption is it’s from Japan they were exported.  That’s contrary to Japanese law but it’s known to happen, using third countries (usually China) as a first port-of-call, the practice being continued by Kim III who appears to have few problems obtaining the Mercedes-Benz and Rolls-Royces which now adorn the presidential fleet, despite Western sanctions intended to stop such imports by the DPRK.  As the funeral of the UK’s Queen Elizabeth II illustrated, there is much symbolism in the continuity of use of the symbols and regalia of a dynastic past and should the Supreme Leader die (God forbid), it’s highly likely the Lincoln will carry his corpse.

Land Rover used at the funeral Prince Philip, Duke of Edinburgh (1921-2021).

In the narrow technical sense, the Land Rover should probably be considered a funeral bier rather than a hearse because the coffin was un-covered, the word hearse applied to such vehicles only after the hearses (framed coverings used in churches) were added to funeral biers in the 1640s.  It’s a distinction unlikely to bother many and the Land Rover has been almost universally referred to as a hearse.

It may look like many a Land Rover but, remarkably, the duke tinkered with the design over sixteen years, the result a modified 2003 Defender TD5 130 chassis cab finished in a military specification green (called dark-bronze green (or GDB in army supply parlance, reflecting the color appearing as “Green, Dark Bronze" in military databases).  Functionally, the most obvious modifications are to the tray where stainless steel stanchions with buffered, laterally placed rollers were engineered to secure the coffin and fitted to a custom made catafalque, for strength fabricated in steel rather the aluminum used for most of a Land Rover’s bodywork.  It’s actually a quite thoughtful design, suitable for parade and non-parade modes of coffin conveyance.  For parades, the coffin can be carried atop the catafalque while for transport tasks, the long, external strap hinges on the heavy steel rear hatch allow a coffin to be slipped inside the bed and thus out of view.  The rear hatch opens not to either side, but down and it includes a centre brace which folds to the ground, thereby bracing the hatch flat and so providing the bearers with more convenient lateral access to the coffin as they slide it in and out.  Cut into either side of the cabin's rear are two curved rear windows, affording the attending footmen extra visibility of their load when it's atop.  As a functional device to be used by an old Navy man, the workmanship is sturdy and well-finished but there’s been no attempt to conceal or disguise the bolt-heads and rivets.  So, it was a bit more than most of the Land Rovers (“gun buses” he called them) he used on shooting parties here and there and while he had long ago told the queen “...just stick me in the back of a Land Rover and drive me to Windsor", sixteen years of mission creep followed.

Hearses by German coach builders, Pollmann of Bremen: 1959 Mercedes-Benz 300 (W189, left) and 1967 Mercedes-Benz 600 (W100, right).

Pollmann of Bremen have a long history in the construction of Mercedes-Benz hearses and after some difficult times in the early post-war years, the Wirtschaftswunder (the German post-war economic miracle) which emerged in the 1950s encouraged them to move from utilitarian designs to something more grand and they converted a number of 300s (W186 & W189, nicknamed the “Adenauer” because Konrad Adenauer (1876–1967; chancellor of the Federal Republic of Germany (FGR; West Germany) 1949-1963) used a number as the state limousine) models, one technical attraction being the innovative, self-levelling rear-suspension which provided a very stable load platform, regardless of the surface, something of some importance when carrying coffins.

The 600 was built on a (lengthened) 1967 short wheelbase (SWB) platform and remains a genuine one-off, the only 600 hearse ever built.  The story (which may be true), repeated whenever it’s offered for sale, is it was originally a sedan purchased by a German farmer (always referred to as Herr K) whose particular experience of the Wirtschaftswunder was the massive capital gain enjoyed when he sold his farmland for urban development.  Happy, he bought a Mercedes-Benz 600 (in champagne metallic gold) for his wife and commissioned an architect to design a house for them to enjoy.  Unfortunately, he arrived home one day to find the ungrateful hausfrau had run off with the architect and, unable to bear to keep the 600 because it was a reminder of the strumpet’s infidelity, he returned the car to the dealer to off-load.  It was sold to the coach-builders Pollmann which converted it to a hearse which seems appropriate although it's not known if the former farmer was impressed by the symbolism of the transformation.  It was for some years used for the purpose for which it was designed and has since been restored by US-based expert in all things 600esque, Karl Middelhauve.

Daimler DS420 hearse, funeral of Diana, Princess of Wales, London, 6 September 1997 (right).

Diana's hearse (B626MRK) was a 1985 model, built by Wilcox Limousines and owned by the Funeral Directors Leverton & Sons; it was the last DS420 so modified by Wilcox before hearse production was shifted to the sister company Eagle Specialist Vehicles and was the same car used to collect her coffin from RAF Northolt after its arrival from France.  In 2003, Levertons sold B626MRK after it had for some years been in storage.  It was purchased by an anonymous buyer for £90,000, the somewhat macabre celebrity association gaining it quite a premium over the £3,000 and £4,000 a typical DS420 hearse of this age and condition would be expected to attract.  Inevitably, there was criticism, some claiming the thing should have been donated to a museum but, accustomed to death, undertakers are pragmatic and to Levertons doubtlessly it was just another piece of obsolete equipment to be sold to the highest bidder.  In production between 1968-1992, the DS420 was built on the platform of the old Mark X (1961-1966 which, substantially unchanged was renamed 420G and sold until 1970).  The bulk of the Mark X had in the 1960s proved an impediment to success but it made a fine basis for a limousine and spin-offs such as hearses and for decades the DS420 was a fixture in the wedding and funeral trades.  With the exception of some recent, lucrative forays into the "continuation" business (it's XKSS & lightweight E-Types), the DS420 was the last car to use the XK-six, first shown in 1948 in the XK120.     

State Jaguar XF hearse of the Royal Mews, built for the funeral of Elizabeth II (1926-2022; Queen of the UK and other places 1952-2022).

Elizabeth II was the first monarch of the television age and quickly grasped its implications, understanding better than many politicians of the early years of the mass-adoption of the medium that it used wisely it was a useful tool but that little good came from over-exposure.  Well acquainted too with a feeling for color, light and angle from long and sometimes doubtlessly tiresome sessions with painters and photographers, she sometimes surprised television producers with her knowledge of the technical aspects of their trade.  Her contributions the design of her own Jaguar XF hearse were those of someone who knew her funeral would be her last performance as a content provider for television and probably one which would attract the greatest audience in history.

Accordingly, the queen specified a design which would afford the best possible view of her coffin, regardless of the camera angle, so the glass would be more expansive, the roof was raised several inches from the dimension supplied originally by the royal household, the roof panel above the coffin fully glazed a particular request.  Climate change has affected the UK but it can still be relied upon sometimes to be dark and gloomy and, not knowing what the weather would offer on the day, she had the rear compartment fitted with lighting which would illuminate in a way that, if need be, there would be a clear, reflection-free view through the glass.  The state hearse was finished in Royal Claret, a specific royal-family color (and an official part-number used by manufacturers with a royal warrant) and has a notably large hood ornament, a silver-plated bronze statue of St. George slaying a dragon, a personal mascot of Her Majesty which appeared also on the state Bentley limousine.  The automotive ornaments seem to have been a bit of a thing for the queen, renderings of dogs sometimes observed on her Range Rovers.