The Park and Beyond: East Falls, Germantown, Mt. Airy and Chestnut Hill
Fairmount Park is large enough to split the City from its suburbs, and is partly a playground, partly a museum. East Falls, Germantown and Chestnut Hill are almost a separate world on the far side of the park.
Art in Philadelphia
The history of art, particularly painting and sculpture, has been a long and distinguished one. If you add in the art schools, the Philadelphia national influence on artists has been a dominant one.
Customs, Culture and Traditions
Abundant seafood made it easy to settle here. Agriculture takes longer.
Touring Philadelphia's Western Regions
Philadelpia County had two hundred farms in 1950, but is now thickly settled in all directions. Western regions along the Schuylkill are still spread out somewhat; with many historic estates.
Gardens Flowers and Horticulture
Gardening, flowers and the Flower Show are central to the social fabric of Philadelphia.
City Hall to Chestnut Hill
There are lots of ways to go from City Hall to Chestnut Hill, including the train from Suburban Station, or from 11th and Market. This tour imagines your driving your car out the Ben Franklin Parkway to Kelly Drive, and then up the Wissahickon.
|Laurel Hill Cemeteries|
There are two Laurel Hill Cemeteries in Philadelphia, sort of. Although both are described as garden cemeteries, the older part in East Fairmount Park is more of a statuary cemetery or even a mausoleum cemetery. When its 74 acres filled up, the owners bought expansion land in Bala Cynwyd, which could come closer to present ideas of a memorial garden. Particularly so, when the older cemetery area started to fill in every available corner and patch and began to look overcrowded. The name was used by the Sims family for their estate on the original area. Since June-blooming mountain laurel is the Pennsylvania state flower and a vigorous grower, it seems likely the bluff overlooking the Schuylkill was once covered with it. Somehow the May-blooming azalea has become more popular throughout the region, particularly in the gardens at the foot of the Art Museum. If extended a little, merged with laurel on the bluff, and possibly with July-blooming wild rhododendron, there might someday arise quite a notable display of acid-loving flowering bushes from the Art Museum to the Wissahickon, continuously for two or three months each spring.
There are interesting transformations in the evolving history of cemeteries, best illustrated in our city by the traditions of the early Quakers when they dominated Philadelphia.
Objecting to the ornate monuments which Popes and Emperors erected for their military glory, and probably to the aristocratic custom of burying important people inside churches where they could be worshiped along with the stained-glass saints, early Quakers were reluctant to mark their own graves with headstones, or even to have their names engraved on such "markers". By contrast with the splendor accorded aristocrats, the common people in Europe were largely dumped and forgotten, providing an unfortunate contrast. During the early part of what we call the romantic period, Thomas Gray popularized these attitudes in Elegy in a Country Churchyard. To be fair about it, the early Christian Church had a strong tradition of collecting the dead of all classes into catacombs. The Romans were quite reasonably upset by the potential for spreading epidemics through people living within such arrangements, although feeding the Christians to the lions seems like an overreaction.
At any rate, and to whatever degree the French Revolution was what shattered previous traditions, the Victorian or romantic period produced a new vision: garden cemeteries in Paris.
The concept soon spread to Laurel Hill, and thence to the rest of America. Acting with what probably had some commercial motivation, cemeteries then moved away from churches to suburban parks, promoted as places of great beauty in which to stroll and hold picnics, perhaps to meditate. The private expense was not spared in statues and mausoleums, which often became display competitions between dry goods merchants and locomotive builders. Revolutionary heroes were dug up from their original graves and transported here to be more properly honored, as were some private persons whose descendants wished for more suitable recognition than conservative church rectors had offered. The Civil War created the staggering number of 632,000 war dead; based on the proportion of the population, that would be equivalent to six million in today's terms. Since they were almost all male, there must have been at least a half-million surplus women as a consequence. The nation and this almost unbelievably large cohort of single women had an impact on society for thirty or forty years after The War. Eventually, this would lead to colleges for women, suffrage and other forms of feminism, but the initial manifestations of what we now call Victorianism took the form of formalized grief, particularly the 75 National Cemeteries of crosses row on row. But private initiatives also took a variety of forms, including Laurel Hill's statuary to honor the valor of the fallen, ranked by the number of generals buried there and visits by sitting Presidents of the United States. Laurel Hill, East, holds 42 Civil War Generals. It will be recalled that Lincoln's Gettysburg Address was delivered at a much larger final resting place for fallen soldiers, but Laurel Hill had the generals, including George Gordon Meade, himself. It is probably significant that Laurel Hill West, three times as large, was opened in 1867. At the headstone of each Civil War veteran is found a metal flag-holder, put there by the Grand Army of the Republic and marked with GAR surrounding the number 1. This is the home of Post Number One, the Meade Post, the original home of this organization responsible for many patriotic movements like the Pledge of Allegiance and commemorative reunion encampments and reenactments. The main purpose of the war was to preserve the unification of a continental nation, and the GAR sought to raise patriotic consciousness to a point where fragmentation would never again be conceivable.
Two names stand out in the history of these cemeteries, Notman and Bringhurst. John Notman was one of the early architects who fashioned the look and feel of Philadelphia. His identifying feature is brownstone, as seen cladding the Athenaeum building on Washington Square, and St. Marks Episcopal Church at 15th and Locust. At Laurel Hill, the main entrance confronts a brownstone sculpture by Notman of "Old Melancholy", depicting a typical Victorian romantic vision; just about all other monuments in the cemetery are either of acid rain-eroded marble or indelible granite. Brownstone from Hummelstown PA provided the characteristic look of New York residential architecture during this era. Philadelphia brownstone probably came from the same place. The other name is Bringhurst, dating back to 17th Century Germantown, long associated with the underlying sanitary purposes of the cemetery. The family finally and gladly sold the undertaking business a few decades ago.
Somehow, the image of cemeteries has now transformed from public places of meditation and reverence to places that are "spooky". Their greatest surge of visitors, these days, occurs at Halloween.
Originally published: Monday, August 28, 2006; most-recently modified: Wednesday, May 22, 2019
|Posted by: Steven Ralph Bringhurst | Apr 2, 2008 10:23 PM|