Nisky Hill Cemetery, Bethlehem, PA

On a bitterly cold and windy day in January, I met up with some friends to tour and make photographs in Bethlehem, Pennsylvania’s Nisky Hill Cemetery. Great art comes from great pain. Fifteen degrees with a wind chill right off the Lehigh River that can numb gloved fingers in fifteen minutes. Some snow and ice remained on the ground from a prior time, much as the monstrous and rusting hulks of the Bethlehem Steel blast furnaces sat dormant across the river. These “steel stacks” can easily be seen through the leafless trees at the edge of the cemetery. Looking toward them makes you assume that many of the graves here must have belonged to steel workers.

 

Dormant blast furnaces of Bethlehem Steel lurk across the Lehigh River

Or not. This was more likely an elite cemetery, with the actual immigrant steel workers buried in rude churchyard cemeteries like St. Michael's on the south (opposite) side of the river. Nisky Hill Cemetery appears to be in an affluent neighborhood of Bethlehem (check out this Christmas house across the street).

From what little I’ve been able to ascertain, Nisky Hill Cemetery was founded in 1864 as a Moravian burial ground. The original “Union Cemetery” (having nothing to do with the Grand Army of the Republic) at the eastern end of this large rectangular property, appears to have been annexed to Nisky Hill at some point in time.  The old gates along the front of the cemetery (East Church Street) offer the words “UNION CEMETERY” spelled out on them in wrought iron. I will assume Bethlehem Union Cemetery predates Nisky Hill.

Office at main entrance, Nisky Hill Cemetery

 The main entrance here is a bit odd. The entire cemetery is essentially build into the river bank, and slopes down toward it. Nisky Hill Cemetery is owned by the Bethlehem Area Moravians, Inc., a privately-held corporation which, it seems, has been in the local cemetery business since 1823 (ref.). Why, I’m not sure. I could fill a book with what I don’t know about the Moravians, so I’ll save that research for another time. Suffice it to say that “Bethlehem, Pennsylvania was founded in 1741 by a group of Moravians, members of a church that traces its heritage to pre-Reformation fifteenth-century central Europe”(ref.).

Interesting example of a "pre-need" cemetery monument

While it was a bit uncomfortable being out in the elements on this bright chilly winter’s day, it was actually kind of a cake walk. After some recent visits to abandoned cemeteries where I had to climb over fences and fall out of trees, this visit to Nisky Hill was so easy it seemed like I was getting away with something! While there was snow on the ground, the roads were plowed – in fact, the gates were wide open and we drove right in! Sometimes you take such conveniences for granted. There are in fact many cemeteries I’ve visited in winter where they don’t even plow the snow off the roads or even unlock the gate! Nisky Hill Cemetery is well-maintained and safe. I would guess that the caretaker lives on site in the old office building (there was a swing set behind it).

As we made our way methodically from one mausoleum to the next, I kept thinking about the heating packets for my gloves that I left in the trunk of my car. Oh well, cold fingers are better than the bloody ones ripped up by barbed wire a few weeks ago as a result of my last cemetery exploration! Today, we had a warm running vehicle to which we could adjourn about every fifteen minutes. Pampered.

Zinc ("White Bronze") memorial

As photographers, my friends and I ran off in our separate directions, pursuing our personal visions. Sometimes these interact, sometimes they are at odds with each other. While it can be interesting to see how different people photograph the same scene (like we did with the Civil War cannon above), I rather enjoy totally missing some awesome detail that a friend points out! In the case at Nisky Hill, I would have totally missed a few things, wrapped up in my own world of zinc monuments and snow. My friend Jonathan pointed out the disembodied heads (photos above) and the color photographic mausoleum glass window shown below.

The what? A photographic image about two by three feet, in color, of children in a boat, playing near a small waterfall. Trees crowd the sunny sky, while a hole from a bullet or stone mars the idyllic scene. What exactly is this? It is not stained glass nor painted glass, done in the usual fashion. A photograph printed on glass, then hand-painted? A type of 1860s lantern slide or an early 1900s autochrome? This is a positive image, like a color slide transparency. I am totally curious about this, so if anyone can offer a clue as to how this was done, please comment!

Author at William H. Thomas monument

Perhaps the most unusual monument in the entire cemetery was the one at the main entrance. Before we met up at Nisky Hill, my friends texted me about their impending arrival. This was about fifteen minutes after I arrived. I texted them back, “Meet you at the giant phallus.” I took a selfie before they got there, to help gauge the size - I am six foot two inches tall. Imagine. What would possess someone to install such a thing on one’s grave is beyond me, but apparently William H. Thomas was possessed by exactly that prior to his death in 1928. Maybe he wanted his monument to be higher than the steel stacks across the river? This sixteen-foot high tan (I swear) granite testament to the male ego stands out like a witty analogy amidst the much smaller, normal-sized grave markers that surround it. 

According to Funeralwise.com, “Moravians focus on the simplicity of burial grounds. They believe in uniform, plain grave markers and inscriptions to emphasize the equality of all human beings.” Oddly, the phallus is right next to the office building so no one can ever miss it. "Equality" aside, whoever all there people were, the residents of Nisky Hill and Union Cemetery in Bethlehem, their choice of how to be remembered was personal. These markers and monuments represent their lives, their community, their collective soul. It is a varied collection.

 

Older Moravian grave markers

Although Nisky Hill was originally restricted to Moravian burials, at some point this changed. Older Moravian cemeteries have smallish, low to the ground grave markers, almost like a memorial park or a Quaker burial ground with no high tombstones or monuments. There are a number of Moravian stones in this cemetery, made of white marble – perhaps twenty inches long, fourteen inches wide, and four inches high. However, Nisky Hill/Union Cemetery evolved for the most part into a classic American Victorian-era cemetery, replete with angels, zinc monuments, mausolea, and other decorative details from that era of mourning art.

Sunrise in the Atlantic City Cemetery

What can I say about the Atlantic City Cemetery that I haven’t already said? A lot, probably, since I really don’t know anything about it. I’ve visited a few times, but I’ve never done any actual research. I just like going there when I’m in the area. I was in Ventnor (next to AC) with my family a couple weekends ago (mid August, 2014) so I got up early and drove inland to the cemetery.

I’m in the habit of heading out at sunrise before my wife and daughter are awake. I jumped in the car and drove the approximate five miles to Pleasantville, NJ, the town in which the cemetery actually resides. Not much going on at the shore at that time of day, though it did look a bit like rain. That was the actual prediction, and I was kind of hoping it would. I started the Facebook page “Cemeteries in the Rain” this past year (2014) so I’ve actually been trying to capture some images of, well, that.

Mausoleum glass in Greenwood

The rain threatened all morning, and there was some odd lighting. I photographed a few statues in the cemetery against the partly cloudy, but bright sunrise. I suppose statues and monuments all face one direction for a reason (the Victorian version of feng shui?), but it seems like that is never the direction I want them to be facing! You would also assume that mausoleum stained glass faces east or west, so the glass gets as much sunrise and sunset light as possible. Wrong! Over the course of the two hours I spent here and in the neighboring Greenwood Cemetery, it got headlight-dark a couple times, but then brightened up.

Mausoleum, Atlantic City Cemetery

Actually, my feng shui comment was not really a joke. Feng shui, the Chinese philosophical system of harmonizing things with the surrounding environment has actually been around since 4000 B.C. The practice originated with the ancient Chinese Book of Burial's principles relating the flow of qi (pronounced “chi”), an invisible life force, to the appropriateness of a tomb's location (ref.). So feng shui, the practice of positioning your lawn furniture in a certain way, actually originated with burial practice! According to Wikipedia, “Historically, feng shui was widely used to orient buildings—often spiritually significant structures such as tombs, but also dwellings and other structures—in a manner meant to … bind the universe, earth, and humanity together.”

Memorial sculpture in the Atlantic City Cemetery, sunrise

Death certainly binds humanity together, and the western world Victorians were as serious about death as the ancient Chinese and Egyptians. One look at the grand monuments and mausoleums will tell you that. Maybe "serious" is not exactly the right word, perhaps "accepting" is a better choice. And accepting is what I needed to be this morning, when the early rays of the sun were dramatic and golden. I experimented with this angel statue (below) - shooting her frontally into the sunrise (with fill flash) and from the rear illuminated by the sun, her white marble wings temporarily gilded, auriferous.

Mangled grating

You can enter both of these Victorian-era Pleasantville cemeteries any time of day or night as most of the gates are either broken or missing. That said, the grounds and monuments are in surprisingly fine condition. I suppose there is little vandalism here, though I did see some mangled bronze window grating on the largest mausoleum in Greenwood. The grating was there to protect the stained glass window, but it appeared that someone tried to remove the grating, probably to sell it for scrap. But generally, no one seems to venture into either cemetery to cause much mischief. None of the other (albeit less valuable) metal decorative objects have been stolen, the mausoleum stained glass is all intact, the statues are not broken. Even these forlorn and loosely-placed baby blocks (below) remain in their (I assume) original positions.

Child's grave, Atlantic City Cemetery, NJ

If you saw these cemeteries from the air, they would appear as three large rectangles. Atlantic City Cemetery makes up the two left rectangles (separated by an old set of railroad tracks) and the right rectangle, Greenwood, is separated from the AC Cemetery by West Washington Avenue. (Click link for aerial view.) The center portion of the trinity looks like the older original AC Cemetery, which began in 1865. While they may have originally been two distinct cemetery companies, they are now listed on the Internet as the “Atlantic City Cemetery and Greenwood Cemetery Associations.”

I like exploring these places when no one else is awake. Their little mysteries are usually solved in my mind by conjecture. For instance, why is this lone monument shrouded by tall weeds when everything else in the Atlantic City Cemetery is meticulously maintained? How incongruous it seemed to have a freshly-dug grave marked with a simple wooden cross right next to the elaborate mausoleum below. I drove to various parts of the cemeteries when it looked like rain, so as not to be caught in it. Did I want it to rain or didn’t I? I suppose I felt strongly both ways. I was prepared to get some good photographs either way.

It never did rain during my walk through the cemeteries, although it did drizzle later in the day as I lay on the beach. A strange feeling, lying there in the hot sun, waves lapping at your feet, while the cool rain sprinkles down on you. Like dreaming too close to the surface. One thing’s for sure – the dead don’t care whether it rains or shines. They also don't care if their graves are desecrated - but we should.

Vandals Strike in Wilmington Cemetery

Around mid-summer 2014, I was getting my car fixed at the Saab dealer in Wilmington, Delaware. After the sizable extraction of money from my wallet, I grabbed a burger and a Coke from a nearby fast food emporium. What better place to eat lunch than the nearby cemetery (its not just postal workers and cops who do this, you know). So I drove to Riverview Cemetery about half a mile down the road.

"Abiding faith and hope in a glorious reunion"

On entering the north side off Market Street (which is the newer half of the 1872 cemetery), I was a bit distracted by all the headstones that appeared to be knocked over, off their bases. I drove around to find some shade in which to park, and noted many more knocked-over headstones and small obelisks. Odd. I’d been in here many times before and would have definitely noticed this. Was it because the grass was cut so low that I’m seeing this? I’d been here before where the grass had grown kind of tall. Maybe I just never noticed them?

Doorless crypt

I stopped in the shade of some trees near a crypt which had its door removed; interesting stained glass window at the back. I ate my lunch and just got out of the car to photograph the stained glass when I realized a pickup truck was headed down the road toward me – I was blocking the road. There’s usually no activity at Riverview so it didn’t occur to me to pull off the road.

I moved my car to one side and then got out with my camera, to make it very obvious to the driver what I was doing there. Obviously the crypt had at one time lost its door to thieves so I didn't want anyone to think I was casing it out to steal the stained glass. Much thievery has occurred here over the years - you can tell by the blocked up doorways of the larger mausoleums. The truck stopped and the woman driving it looked at me and I said “Hi.” She asked if she could help me and I just told her I stopped to eat my lunch and take some pictures. I assumed she had some authority here so I wanted her to know that I was not up to no good. She probably assumed this, since I was driving a bright blue turbo Saab convertible – not the vehicle of choice for thieves and vandals.

Blocked up mausoleum

I mentioned to her that it appeared that many headstones had been knocked over. She told me this had only happened the previous week (July 15, 2014) – the work of vandals. Seventy monuments and other grave markers in all had been pushed off their bases. Given that horrible situation, I told her that it was great that she stopped me to see what I was up to. I introduced myself as a Board member of the Friends of Mount Moriah Cemetery, Inc. in Philadelphia, an organization of which she was well aware. She was the Secretary on the Board of the Friends of Riverview Cemetery.

Cylindrical grave markers displaced from their bases

Security is a major issue when you have limited funds to protect your space. Neither Riverview nor Mount Moriah have intact fencing, gates, or security patrols. Volunteers are left to patrol the grounds when they can. Local police sometimes cruise through, or park for a while. I myself have stopped people at Mount Moriah and asked if I could help them. Usually, they are there for a good reason, but sometimes not. You don’t want to lock the cemetery up and prevent visitors from accessing their loved ones’ graves while you’re keeping out vandals, scofflaws, and ne’er do wells. It is a challenge. After I posted the photograph below (with my blue car in it) on Facebook, someone made the comment, "One day the idiots responsible will go to visit their mother's grave and find it like this. Then they'll know the true cost of their criminality." Couldn't have said it better myself.

We struck up quite a conversation, the two of us there in Riverview, seeing many parallels between the cemeteries and our Friends groups. At some point the woman said, “What are the chances we would run into each other like this?” I replied, “Well, actually the chances are pretty good that two cemetery nerds would be in the same cemetery at the same time.” So I’ll make a few introductions and perhaps the two Friends groups can share some ideas to their mutual benefit. Like they say, everyone you meet knows something that you don’t!

Vandalized headstones at Riverview Cemetery

I had actually written about Riverview Cemetery back in 2012 (click here to read), when I noticed that the place seemed to be having a lot more attention paid to it than I was used to seeing. I’d been coming here since the early 2000s, when I first started having my previous Saabs repaired down the road at Sports Car Service. Weeds used to be waist high, but then new management took over in 2008 and things turned around. The Friends of Riverview Cemetery was actually granted legal ownership of the cemetery and through the hard work of these volunteers, Riverview Cemetery continues to be an active burial site. This is a goal for Mount Moriah Cemetery in Philadelphia/Yeadon – to once again have active burials once the ownership situation is resolved.

Riverview Cemetery chapel

It really is quite a nasty blow to Wilmington's Riverview Cemetery to have had all this damage done; the estimated repair cost is about $20,000, i.e., to reset all the stones and monuments. The owners, the Friends group, barely has enough money to cut the grass. I guess one of the useful things I did learn from this travesty is that so many grave markers, by design, merely sit on a stone base, without actually being attached to it. Perhaps modern headstone carvers should make headstones with steel dowels that fit into the base, to secure the stone. I have seen this with older marble headstones.

Anyone with information about the vandalism at Riverview Cemetery, please call the Wilmington police Confidential Tip Line at (302)576-3990.

References and Further Reading:
Riverview Cemetery website
Vandals damage 70 tombstones at cemetery
70 Headstones Toppled At Wilmington Cemetery

A Retrospective Show

While it is certainly true that artists exhibit their work to show it off and to sell it, there is a more subtle reason: to see how it affects other people. I don’t do this consciously myself, but after a recent exhibit, it was apparent to me that many people were affected by my photographs in various ways. The show was a retrospective spanning 15 years of my cemetery photography, though I hadn’t planned it that way. I just gathered together all the framed pieces I had lying around and set them up at a gallery for a one-night show. It was ad hoc, initiated at the request of a friend.

The gallery owner, Richard Prigg of Sycamore Studio in Lansdowne, Pennsylvania (a southwestern suburb of Philadelphia) needed art in a hurry as his scheduled artist backed out at the last minute. Each month, he has a one-day exhibit of his own paintings and stained glass work along with that of a guest artist. So I delivered about seven each 16x20 and 11x14 framed photographs, some images of which I've included here in this article.

"Stone Emotion," Holy Cross Cemetery, Yeadon, PA, 1997.

"Blessing," 2012

A few days later at the reception, I was quite pleased at how he hung my work in his gallery. One side of the white room were his original paintings and stained glass art, the other side had my photography. As I viewed the hodge-podge of my work on display, I realized that it was a loose retrospective of the cemetery photography that I've done over the past 15 years. From “Stone Emotion” - one of the very first stone angel images I’d made, back in say, 1997, to very recent work in the abandoned Gladwyne Jewish Cemetery ("Blessing," see right). There were also pieces from near and far – many from the Philadelphia area (where I live) to California and Rome, Italy. Looking at some of my more recent work, I could easily see some photographic miscegenation, which is just a nice way of saying that everything is derivative.

"Eros and Psyche"

A few nights later when people began showing up for the opening reception , I was frankly amazed at how most of them came up to me and asked me about my work, either in general or about some specific aspect. Oddly, no one but the gallery owner asked me the most obvious question, which is “Why do you photograph cemeteries?” (I really have no good answer to this.) But all topics and questions brought up were astute observations or probing questions, such as those related to the image at left: "What is this?" and "How did you manage the lighting?" It was very enjoyable discussing my work at both the artistic as well as technical levels. (This image, by the way, will be used as the front cover for the January 2013 issue of the [British] Journal of the Centre for Freudian Analysis and Research - the issue topic will be "Love.")

Sometimes people just show up at these opening receptions for the cheap wine and cheese doodles. This did not happen at Sycamore Studio (for the record, the gallery owner actually served craft beer, good wine, and fine crudités!) Most of the attendees were friends of his, and most were involved somehow in the arts - even the retired police officer/artist who used to sketch nudes on the backs of his reports. (Once when the judge was reading one of his reports at a hearing, the district attorney started laughing because everyone could see the nude on the back!) Since it was really an unusual experience for me to literally talk myself hoarse to dozens of people about so many aspects of my work, I thought I'd blog about it. Here are some of the topics and questions raised:

"Angel Face"

• "How do you title your work?" Not well, I'm afraid. Descriptive titles work better for me than artist gibberish. For example, "Angel Face" to describe the image at right, versus, oh I don't know, something like "Space and the Passage of Time." 
•  "How do you print your work?" Well, I pay other people to do it. In my book, Digital Photography for the Impatient (available from Amazon.com), the chapter on printing is the shortest! That's because its really difficult to do it yourself and trying to explain how and where to get professional prints made from digital media is an enormous topic. Also, the technology changes rapidly.
• "Have you photographed the wonderful oceanic view cemeteries of Ireland or Hawaii?" Um, no, but I have been to Baltimore.

By Ed Snyder (Amazon link)

I really appreciate the fact that some old friends of mine came too. It certainly takes some of the pressure off! There were also people in attendance who are involved with the Lansdowne Arts Board, a group of people exemplifying and promoting various artistic endeavors in the town. One project they are currently funding is an “art house,” in which people can take classes in the arts. The plan is for it to be staffed by three artists-in residence: a poet, a painter, and a sculptor. The fact that such a vibrant arts community exists in Lansdowne,  Pennsylvania was surprising to me, as I used to live nearby and had no idea this was all happening!  

"Under the Betsy"

• “Have you visited the abandoned buildings in Centralia [Pennsylvania]?” No, but it is on my bucket list. Along with the cemetery there. I think this came up as we were discussing my images of the discarded tombstones under Philadelphia’s Betsy Ross Bridge (click here for that bizarre story!). A photographer at the opening wondered if I thought it possible to film the  tombstones from underwater!
• “Would you like to do a show of your work in the old one-room schoolhouse in St. Paul’s cemetery?” [This is in Ardmore, PA, a suburb of Philadelphia]. Why certainly, thank you for asking.
•  “How do you achieve these photographic effects, Photoshop?” I'm always flattered when people ask this as I rely mostly on my skills to achieve the best initial image capture; very rarely will I Photoshop something afterwords.

Perhaps one of the most fascinating conversations I had was with a woman who was on the board of a non-profit organization called “In Company with Angels.” For those of you who appreciate Tiffany stained glass, this is noteworthy. She told me the fascinating story of how seven early-1900s Tiffany angel stained glass windows were found in a barn near West Chester, PA, in 2001. "In Company with Angels, Inc. was founded by people from a small town in Pennsylvania who were inspired to share their rediscovery of a unique set of seven Tiffany angel windows with the world." The angels are part of a traveling exhibit, currently at the Montgomery [Alabama] Museum of fine Arts. I'm sure these are amazing and hope to see them (and photograph them!) one day.

Rick Prigg, the owner of Sycamore Studio, is in fact a stained glass artist in addition to being a PAFA-educated painter (Pennsylvania Academy of Fine Arts). As I have photographed and written a bit about mausoleum stained-glass windows (and had a photograph of one in the exhibit, see above), I was able to discuss such things with him on at least a peripheral level. He shared some fascinating stories about retrieving valuable stained glass windows from old churches for the Archdiocese of Philadelphia which it had been closed by the Archdiocese over the years. Trying to remove stained glass windows as vandals were actively throwing bricks through them from the outside must have been a trying experience!

So, sometimes you do a show of your art work to score a point or just stay even. Sure, you might make a few sales, but perhaps the best reason for showing your work publicly is to stimulate discussion. This may (or perhaps should) result in the stirring of your own creativity. It may reinforce what you're doing right and make you consider ways to improve your weaker areas. So my advice to anyone who publicly exhibits their artwork: don't ever pass up an opportunity. As for an answer to the question sometimes posed to me of “Why do you photograph cemeteries?” The best answer may very well be to stimulate discussion in related areas. And since cemeteries are really all about us, I suppose anything and everything can be a related area!

Stained Glass Woman

Learned a few interesting things about stained glass recently when I posted this image on Facebook. My initial caption under the photos was this:

 "Likeness of the Deceased?" - I've always wondered about the stained glass widow in this mausoleum. Does anyone know if it is supposed to be an anonymous face? Looks too realistic to me."

The replies that were posted by various people surprised me. Most importantly was the request to please remove the location information for security purposes. Security to the stained glass window, that is. I promptly removed any identifying  location information from the post. It’s very possible that the window (created in 1909) was made by the Tiffany Studios. And therefore, the window could easily fetch half a million dollars on the art black market. Doubt that? Don’t think people would rip a stained glass window out of a mausoleum and sell it?

According to a (year) 2000 article in the Maine Antique Digest entitled, “Alastair Duncan Gets 27 Months, Must Pay $220,000 Restitution, ”Tiffany expert, author, and dealer Alastair Duncan was sentenced in Manhattan federal court to 27 months in prison for two schemes to deal in Tiffany stained-glass windows stolen from cemeteries and mausoleums in the New York metropolitan area and to export them abroad." Laurel Hill Cemetery in Philadelphia (not the location of the window I photographed) had all seven of its Tiffany windows stolen from their respective mausoleums in the 1970s, shortly after a news article appeared mentioning their existence! (The cemetery was in a sad state of disrepair at that time.)

So back to the female likeness in my photograph, which is a bit too realistic and doesn’t really “fit” on the less-detailed body. Several stained glass artisans responded to my post. One person states that “the Tiffany studio, like many others, would sometimes include a family member as the model for a window.” (I assume this to mean a member of the glass artist's family.) So this was accepted practice. A verified example can be seen here.

Interestingly, I also received this comment:

“If the painting staff at Tiffany was anything like those of Beyer Studio [a contemporary stained glass studio, referenced below], the reference for the portrait was that of a co-worker. If you paint the other staff members of the studio you don't have to shell out for a model and the subject can look as if they are helping you when really all they are doing is standing still and complaining about the coffee or the mess in the break room."

I thought that was hysterical! Now, if your only exposure to Tiffany stained glass is the Tiffany lamp, you would never think that their artisans actually painted people’s faces on glass. The Tiffany glass studios were quite diverse, even responsible for creating (with artist Maxfield Parrish), the immense stained glass mural (15 feet high, 49 feet wide!) "The Dream Garden" in 1915 that was installed in the lobby of the Curtis Publishing Building in Philadelphia (Sixth and Walnut Streets). As I didn't have any photos of this masterpiece, I just took a walk at lunch time today and shot the photos you see here (the Curtis Building is a few blocks from where I work).

"The Dream Garden" glass mosaic by Parrish and Tiffany

From the plaque in the lobby:

The mosaic’s images [of an original Maxfield Parrish painting] are rendered in “favrile” glass following a complex hand-firing process developed by Tiffany to produce over 100,000 pieces of glass in 260 color tones. Most of the glass was set in 24 panels in Tiffany’s New York studios. Installing the panels in this location took six months. The finished work was hailed by art critics as “a veritable wonderpiece at the official unveiling in 1916. The amazing variety of opaque, translucent, and transparent glass entirely lighted from the lobby, achieves perspective effects that have never been duplicated.

References and Further Reading:

"Dream Garden" mural by Louis Comfort Tiffany and Maxfield Parrish

For a fascinating look at a contemporary stained glass studio, please visit http://www.beyerstudio.com/

Alastair Duncan Gets 27 Months, Must Pay $220,000 Restitution