a b Linkman, Audrey (2006). "Taken from Life: Post-Mortem Portraiture in Britain 1860-1910". History of Photography: An International Quarterly. 30 (4): 309–347. doi: 10.1080/03087298.2006.10443484. S2CID 191646714.

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Woman,’ said he, continuing his speech, and now, pointing his long, bony finger at the old lady, ‘had you not gold enough without taking Annie’s birthright? Get up and come with us!’ Almost a year passed away, when one day I received a note from Annie asking me to call on her at the Gilsey House, where she was staying a few days, on business of the utmost importance. On going there she told me a strange story, so strange that I feared she had lost her mental balance, but I saw she was perfectly earnest about it.Views 2 Comments Munich Air Disaster: Causes, Facts and Photos of the Plane Crash That Killed Manchester United Players, Staff, and Crew Some sense of the difficulties of postmortem photography can be gleaned from remarks by leading daguerrotype photographer Albert Southworth printed in an 1873 edition of the Philadelphia Photographer: “If a person has died, and the friends are afraid that there will be a liquid ejected from the mouth, you can carefully turn them over just as though they were under the operation of an emetic. You can do that in less than a single minute, and every single thing will pass out, and you can wipe out the mouth and wash off the face, and handle them just as well as if they were well persons.”

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a b Hirsche, Robert (2009). Seizing the Light: a Social History of Photography. New York: McGraw-Hill Higher Education. pp.34–35. Here, in a mean street in a poor district, is a house let out in rooms. In the lower front room the ragged dirty blind is down. From this house you will see in a couple of hours, if you wait and watch, a grand funeral procession start. There will be an open car drawn by a pair of horses, and on it will be a wreath-laden coffin. Funeral coaches and four-wheel cabs will follow with many mourners, and the street will be filled with a crowd of women and children assembled to see the grand funeral of Widow Wilson’s eldest son. Post-mortem photography was particularly popular in Victorian Britain. [23] From 1860 to 1910, these post-mortem portraits were much like American portraits in style, focusing on the deceased either displayed as asleep or with the family; often these images were placed in family albums. [4] The study [ clarification needed] has often been mixed with American traditions, because they are similar. [15] [24] [3] [25] Post-mortem photography continued in the inter-war years [ clarification needed]. [15] Mrs. Jones, when the disaster was made known to her, told her story to her poor neighbours. They generously clubbed together, and in a few days they handed her the needed amount.The body lay in the cupboard for another week, and the news of the delayed funeral reaching the authorities, an official called, and baby was at last taken away and buried by the parish.

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A few days afterwards, being in school with the children about noon, I heard a great noise overhead, as if the top of the house was coming down; I went out to see the garret, and there was nothing amiss. A few days afterwards, Mr. Higgon, of Pont-Faen’s son died. When the carpenter came to fetch the boards to make the coffin, which were in the garret, he made exactly such a stir in handling the boards in the garret, as was made before by some Spirit, who foreknew the death that was soon to come to pass.Morris Griffith. A Relation of Spirits in the County of Monmouth and the Principality of Wales,Rev. Edmund Jones, 1813. A good shroud was of the utmost importance for a “decent” burial. One benevolent English gentleman, seeing a young Irishwoman sewing what looked like a bridal gown, commented on the “finery.” The young woman rather tartly set him straight: she was sewing her own shroud and whatever happened to her, at least she’d be properly dressed for burial.

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The Ghost Map: The Story of London's Most Terrifying Epidemic—and How It Changed Science, Cities, and the Modern World One of the most curious characteristics of the Parisians is their respect for the dead. It forms a striking contradiction to their treatment of the living. If there be a people more sceptical and changeable than another, it is the people of Paris; and yet in the matter of their dead they are immutable. They regard the cemeteries as sacred places; they revere the dead, and render them a kind of worship which may be described as a mixture of superstition and idolatry. The great day in the year for the celebrations of this worship is All Soul’s Day, which the French call the “Day of the Dead,” and it being fine, the worshippers in the churches and cemeteries were more numerous than usual. After death, a photograph, from which the accompanying woodcut was obtained, was taken by Mr. Mason, of Bellevue Hospital, by simply suspending her in a head rest. Transactions of the International Medical Congress, Seventh Session, 1881