In this image, there is a poetical contrast between the permanence of the tomb and monuments—constructed of brick, iron, and marble—and the surrounding trees in their natural cycle of growth and decay. The fallen tree in the center foreground may be a memento mori, a picturesque device to encourage reflection on mortality and the inevitable passage of time. Richardt’s tomb scene thus bears witness to the oppositional pull between transience and permanence and, ultimately, the importance of actively remembering Washington’s life and legacy before those lessons, too, are gone. As tensions flared between the northern and southern states during the antebellum era, George Washington’s tomb became a powerful symbol of Americans’ shared past. Mount Vernon, and specifically Washington’s grave, were essential sites for well-travelled American and foreign tourists intent on learning more about Washington’s life and heroic deeds during the Revolution and early republic. Danish landscape artist Ferdinand Richardt was thus one of many artists who visited the first president’s home in the summer of 1858 to document the family tomb. At that time, Richardt was gathering materials to include in an illustrated travel journal celebrating the wonders of the United States and knew his views of the tomb and mansion would raise awareness of the importance of preserving Mount Vernon as a national shrine.