Since the 1850, the funeral picture reflects a technological change from the porcelain medallions manufactured for the cemeteries to the portraits now engraved by laser. Those photographs also indicate a plastic and semantic evolution that, from a sociosemiotic point of view, shows a too rarely treated aspect of the Body image and the imaginary of funeral representation connected with photography. This paper considers how the lates’ portraits are mediates by photography and how those pictures inform us indirectly about the image of the Body – chosen as memorial matter by the relatives – to make mourning but also to make memory and remember their lates, according to an esthetics and codes shared by the family, the friends, fellow-citizens and/or compatriots. On the tombs, the arrangement of these portraits can metaphorically reproduce an effective or fantasmatic family or social hierarchy. According to this investigation, the photo funerary appears like an evolutionary object of popular culture that, in Europe as in North America, makes image, makes sense and matter in the grave’ space as well as in the cemetery’s environment.