Landscapes

Josiah Gilbert Holland Gravestone, Springfield, Mass

by

The gravestone of author Josiah Gilbert Holland in Springfield Cemetery, around 1892. Image from Picturesque Hampden (1892).

The scene in 2020:

Josiah Gilbert Holland was a prominent author during the second half of the 19th century, writing a variety of works, including novels, poems, history books, and advice books. He was also an assistant editor of the Springfield Republican, and he was one of the founders of the magazine Scribner’s Monthly. Born in Belchertown in 1819, Holland moved to Springfield as an adult, and he spent much of his literary career here, before moving to New York in the early 1870s. He died there in 1881, but his body was returned to Springfield, where he was buried here in Springfield Cemetery.

Holland’s books are rarely read today, in part because of the overly sentimental and moralistic style of his writings. However, these same qualities made his works very popular with the general public during the Victorian era, and after his death he was memorialized here at his gravesite with a bronze bas relief sculpture by prominent sculptor Augustus Saint-Gaudens. It features a profile image of Holland, with a sprig of lily-of-the-valley behind him, and the inscription “Et Vitam Impendere Vero,” which translates to “To devote one’s life to truth.” Beneath the bas relief, the base of the monument features another inscription that reads “For the great hereafter I trust in the infinite love as it is expressed to me in the life and death of my lord and saviour Jesus Christ.”

The first photo was taken only about a decade after Holland’s burial. Since then, several more gravestones have been added to this scene, but otherwise very little has changed here. Holland himself has been largely forgotten by readers and literary scholars, but his monument has been well-preserved throughout this time, and it remains one of the most artistically-significant gravestones in Springfield.

Pynchon Monument, Springfield, Mass

by

The Pynchon family plot in Springfield Cemetery, around 1892. Image from Picturesque Hampden (1892).

The scene in 2020:

Springfield Cemetery was established in 1841, but it includes the remains of many of Springfield’s earliest colonial settlers, dating back to the mid-1600s. Originally, these residents were buried in a graveyard in downtown Springfield, on Elm Street between Old First Church and the Connecticut River. However, by the 1840s that land had become valuable real estate in the center of a growing town, and part of the graveyard was in the path of a new railroad along the river. Because of this, in 1848 the remains were exhumed, and nearly all were reinterred in Springfield Cemetery.

A total of 2,434 bodies were removed from the old graveyard, along with 517 gravestones. Friends and family members of the deceased had the option of having the remains buried in a different cemetery, or in a private lot here in Springfield Cemetery, but most were interred along the Pine Street side of the cemetery. Those bodies accompanied by gravestones were buried beneath their respective stones, and the hundreds of unidentified remains with no gravestones were buried in an adjacent lot.

Among those buried in private lots were members of the Pynchon family. The Pynchons were probably the most influential family in the early years of Springfield’s history, in particular the family patriarch, William Pynchon, who founded the settlement in 1636. He returned to England in 1652 after the publication of his controversial book, which the Puritan leaders found heretical, so he was not buried in Springfield. However, his children stayed here in Springfield, where they would play an important role in the town throughout the rest of the 17th century.

One of William Pynchon’s children was his daughter Mary, who came to Springfield as a teenager in the 1630s and married Elizur Holyoke in 1640. She died in 1657, and her gravestone is the oldest surviving stone here in the cemetery. It is visible on the left side of this scene, just behind and to the left of the large monument in the center of the photos. Gravestones were uncommon in New England before the late 1600s, as early burials were typically marked by simple fieldstones or wooden markers, if at all. Few gravestones in the region are dated prior to the 1660s, and many of these were likely carved years or decades after the fact. It is possible that Mary’s gravestone was carved at a later date, but either way it is definitely very old and was likely carved at some point in the 1600s.

Aside from its age, Mary Pynchon Holyoke’s gravestone is also memorable for its epitaph, which reads:

Shee yt lyes here was while she stood
A very glory of womanhood
Even here was sown most pretious dust
Which surely shall rise with the just

When her body was disinterred from the old burying ground in the spring of 1848, the remains of two different people were found beneath this stone. Writing several decades later in 1885, in Record of the Pynchon Family in England and America, Dr. J. C. Pynchon speculated that the second body may have been Elizur Holyoke, although there is no known record of where he was buried. In any case, there was little left of either body, with Pynchon writing:

These remains were found side by side, in the white sand, about six feet below the surface. This sand was discolored, and some few pieces of the skulls and other bones were found, while even the screws or nails of the coffins were wholly destroyed, their places being marked by the rust only, while no other vestige of the coffins remained. The few remains were gathered, which soon crumbled to dust on exposure to the air, and, with the surrounding earth, deposited in the new cemetery, after having lain in the old burying ground, in the case of Mary Holyoke, one hundred and ninety-one years.

Aside from Mary’s gravestone, the Pynchon family lot here also includes the large monument in the center of the scene. As indicated by the inscription here on this side of it, the monument was “Erected under a provision in the will of Edward Pynchon, who died Mar. 17, 1830. Æ 55.” Edward Pynchon was the 4th great grandson of William Pynchon, and he held a number of local political offices, including town clerk, town treasurer, county treasurer, and county register of deeds. In his will, he noted that the old Pynchon family monument had fallen into disrepair, and instructed his executors to install a new monument on the same spot in the old burying ground, with inscriptions for the family members buried there. This was carried out after his death, and then in the late 1840s this monument was moved here to this lot in Springfield Cemetery, presumably accompanied by the remains of the Pynchons who were buried beneath it.

The monument is carved of sandstone, which was the most common gravestone material in the Connecticut River Valley during the 17th, 18th, and early 19th centuries. However, sandstone does not always weather very well, and many of the inscriptions on the Pynchon monument have been eroded away, particularly here on the west side, where the entire panel has been obliterated. Although much of the monument is now illegible, the Springfield Republican published a transcription of it in 1911, along with the location of each name:

(East side over panel):— Hon. John Pynchon died Jan 17 1702, Æ 76, Amy his wife died Jan 9 1698 Æ 74

(South end): Hon John Pynchon died Apr 25 1721 Æ 74, Margaret his wife died Nov 11, 1746

(On north end): John Pynchon 3d Esq. died July 12, 1742 Æ 68. Bathshua his wife died June 20 1710 Æ 27; Phebe his wife dwho died Oct 10 1722 Æ 36; John Pynchon his son died Apr 6 1754 Æ 49.

(On west side over panel): Erected under a provision in the will of Edward Pynchon who died Mar 17 1830 Æ 55.

(On west side in panel, probably a continuation of north end): Bathshua his daughter & wife of Lieut Robert Harris died 1760 Æ 52.
William Pynchon Eqs. son of Hon John Pynchon 2d died Jan 1741 Æ 52; Catharine his wife died Apr 10 1747 Æ 47; Sarah their daughter wife of Josiah Dwight Esq died Aug 4 1755 Æ 34. Edward Pynchon Esq son of John Pynchon 3d died Jan 11 1783, Æ 80.

(On west side under panel) Susan wife of Edward Pynchon died Oct 15 1872 Æ 82.

(East side panel) Sarah relict of William Pynchon Esq died Feb 21 1796 Æ 84.
Elizabeth relict of Benjamin Colton daughter of John Pynchon 3d Esq died Sept 26 1776 Æ 74; Capt George Pynchon son of John Pynchon 3d died June 26 1797 Æ 81; Maj William Pynchon died Mar 24 1808 Æ 69; Lucy his wife died Feb 17 1814 Æ 75; John Pynchon died Mar. 1826 Æ 84.

The first photo was taken a little over 40 years after the gravestones were moved here to Springfield Cemetery. Since then, there have been a few small changes, such as the deterioration of the inscriptions on the Pynchon monument. Along with this, there are now newer gravestones in this section of the cemetery, and several of the 19th century gravestones appear to have been removed or replaced, including the one in the lower foreground of the first photo. This one might still be here, as there is a mostly-buried gravestone in the same location today, but its lettering is mostly illegible. Overall, though, despite these changes this scene still looks much the same as it did more than 125 years ago, and Springfield Cemetery retains its appearance as a rural cemetery in the midst of a large city.

Civil War Soldier’s Monument, Springfield, Mass

by

The Civil War monument at the soldiers’ plot in Springfield Cemetery, around 1892. Image from Picturesque Hampden (1892).

The scene in 2020:

Springfield has three major Civil War statues in honor of its veterans. Of these, the one at Court Square is by far the largest and most visible, but the city’s first monument was the one shown here in these two photos. It was dedicated in 1877, and it stands in the soldiers’ plot in Springfield Cemetery, near the main entrance. It features a granite base topped by a bronze soldier, which was designed by noted sculptor Henry J. Ellicott and cast by Maurice J. Power at the National Fine Art Foundry in New York City. The funds for the monument came from the Soldiers’ Rest Association, which had been established during the war to provide assistance to soldiers. At the end of the war, a little over $4,000 remained in this fund, and this money was used to commission this monument.

The first photo shows the monument in the early 1890s, less than 15 years after its dedication. At the time, it was joined by four bronze cannons that had been donated by the United States government, but these have since been removed. Otherwise, the only significant difference between these two photos is the number of headstones here, as there were many Civil War veterans who were still alive when the first photo was taken. There are now about 200 veterans buried here in the soldiers’ plot, with some here in the upper section next to the statue, and others in the lower section on the other side of the trees.

Mount Washington Hotel, Carroll, New Hampshire (2)

by

The Mount Washington Hotel, with Mount Washington behind it in the distance, around 1906. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2020:

As discussed in more detail in the previous post, the Mount Washington Hotel was the finest of the many grand hotels that were built in the White Mountains during the Gilded Age of late 19th and early 20th centuries. It was completed in 1902, and could accommodate 600 guests who paid the princely sum of $20 per night to stay here. From here, guests enjoyed expansive views of the White Mountains, including the Presidential Range, which forms a dramatic backdrop here in this scene. The hotel’s namesake mountain, looms in the distance on the right side of the photos, and some of the summit buildings are barely visible, some seven miles away and 4,600 feet higher in elevation.

Today, nearly 120 years after it opened, the Mount Washington Hotel still stands as one of the few surviving grand hotels of its era in New England. It has entertained many prominent guests over the years, and in 1944 it was the site of the Bretton Woods Conference, which was a meeting of delegates of 44 Allied nations to establish postwar international monetary policies. The hotel is now known as the Omni Mount Washington Resort, and in 1986 it was designated as a National Historic Landmark, making it one of only 23 properties in the state to earn this recognition.

Mount Washington Hotel, Carroll, New Hampshire

by

The Mount Washington Hotel, with its namesake mountain behind it in the distance, around 1906. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2020:

The White Mountains became a popular tourist destination during the second half of the 19th century, and the region featured a number of grand hotels. However, few could match the Mount Washington Hotel, which was built here in the Bretton Woods area of Carroll, New Hampshire between 1900 and 1902. It was owned by Joseph Stickney, a coal tycoon who had been involved in White Mountain hotels since 1881, when he purchased the Mount Pleasant House. Located approximately where these two photos were taken, the Mount Pleasant House started small, but it was subsequently expanded under Stickney’s ownership and became a prosperous hotel.

Around the turn of the century, Stickney decided to build an even larger hotel across the street from the Mount Pleasant House. He hired noted New York architect Charles Alling Gifford, who designed this Spanish Renaissance-style building, as shown in these two photos. It has a Y-shaped footprint, and its most distinctive exterior features are the two large octagonal towers. The hotel was completed in 1902 at a cost of about $2 million, and it formally opened on July 31, with a ball that was attended by dignitaries such as Chester B. Jordan, the governor of New Hampshire.

Upon completion, the hotel had 352 rooms and could accommodate around 600 guests. A night’s stay cost $20, which was a substantial amount of money at the time, and it included the room and three meals. Writing about a month before it opened, the Boston Herald declared it to be “one of the largest and most perfectly appointed resort hotels not only in New England, but in the summer resort world.” The article continued with the following description of the hotel:

It will contain, besides the ordinary accommodations for the comfort of guests, many novel and attractive features. The music room is 115 by 73 feet in size, with a spacious stage at one end to be used for amateur theatricals, and the rotunda, which is 135 by 103 feet, is the largest in any hotel in New England. The octagonal dining room in the northwest wing is 84 by 84 feet, and will seat 500 people. On two sides are spacious galleries, which can be utilized for the orchestra. Every suite has a private bath, and the chambers are all very large.

On the ground floor are the indoor amusements, including billiard rooms, ping-pong tables, golf club quarters, gun room, clubroom, bicycle room, shuffle boards, a large play room for children, and a mammoth swimming pool filled with water from the Ammonoosuc River, and tempered by steam jets to the right warmth. The floor of the pool is tiled, and adjoining are dressing and toilet rooms, with facilities for Turkish baths.

The first photo was taken only a few years after the Mount Washington Hotel opened. It shows the building and grounds from the main road, about a half mile away. In the foreground is the bridge over the Ammonoosuc River and the long driveway to the hotel. In the distance is the hotel’s namesake mountain, Mount Washington, which stands beyond and to the right of the hotel. The summit is about seven miles east of the hotel, and about 4,600 feet higher in elevation. Rising 6,288 feet above sea level, it is the highest mountain in the northeastern United States, and it is flanked by other peaks in the Presidential Range, including Mount Jefferson on the far left and Mount Monroe on the far right.

The Mount Washington Hotel was a popular resort destination throughout the early 20th century, drawing prominent guests such as Woodrow Wilson, Warren Harding, Winston Churchill, Thomas Edison, Mary Pickford, and Babe Ruth. However, the most famous gathering here occurred in July 1944, in the midst of World War II, when 730 delegates from 44 Allied nations met at the Mount Washington Hotel. Known as the Bretton Woods Conference, this meeting was held in anticipation of the end of the war, in order to establish international monetary policies for the postwar world.

The Bretton Woods Conference delegates included many of the world’s leading economists, including Harry Dexter White, John Maynard Keynes, and U.S. Secretary of the Treasury Henry Morgenthau Jr., who presided over the conference. Among the agreements reached here were the establishment of the International Monetary Fund and the World Bank, along with policies for currency exchange rates. The conference led to what became known as the Bretton Woods system, which remained the predominant international economic system until the early 1970s.

In the meantime, the mid-20th century was a difficult time for the grand 19th century hotels in the White Mountains. Many succumbed to fire, while others faced a slow, steady decline as the buildings aged and tourist preferences shifted. However, the Mount Washington Hotel managed to avoid the fate of nearly all its contemporaries, and it still stands here nearly 120 years after it opened.

Today, there have been few significant exterior changes to the hotel, and the scene still looks much the same as it did at the turn of the 20th century, although the trees are now much taller and partially hide the building from this spot. Now known as the Omni Mount Washington Resort, it remains one of the premier hotels in the region, and it stands as a rare surviving Gilded Age resort hotel here in New England. Because of its historic significance, particularly with regards to the Bretton Woods Convention, the hotel was added to the National Register of Historic Places in 1978, and it was designated as a National Historic Landmark in 1986.

Crawford Notch, Carroll, New Hampshire (2)

by

The view looking south toward Crawford Notch in New Hampshire, as painted by Thomas Cole in 1839. Image courtesy of the National Gallery of Art.

The scene in 1841, photographed by Dr. Samuel A. Bemis. Image courtesy of the Art Institute of Chicago.

The scene around 1890-1901. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2020:

This view is similar to the one in the previous post, although this one is a little further to the south, showing a closer view of the dramatic gap in the mountains at Crawford Notch. It is a view that has long captivated artists and photographers, as shown by the many different images here. This particular angle looks south through what are known as the gates of Crawford Notch, the narrowest point in the mountain pass. Barely 20 feet wide when discovered by European colonists in 1771, it has subsequently been widened to accommodate road and rail traffic, but it still retains much of the same appearance, with the steep cliffs on either side and the slopes of Mount Webster looming in the background. On the left side of the notch is an exposed rock formation known as Elephant Head, due to its somewhat vague resemblance to the head and upper trunk of an elephant.

The first image here is a painting of Crawford Notch by prominent landscape artist Thomas Cole. He is generally regarded as the founder of the Hudson River School, an artistic movement that emphasized the natural beauty of the American landscape. Cole typically used his artwork to convey the power of nature, and this painting features several of his common motifs, including gnarled trees, ominous storm clouds, and a small human figure that is barely noticeable amid the surrounding landscape. Perhaps the most foreboding element is the dense fog in the valley beyond the notch, giving a sense that the notch is a sort of passage to another world.

Thomas Cole made several visits to the White Mountains, including one in the summer of 1839, accompanied by fellow artist Asher Durand. While here, he sketched this view of Crawford Notch, and he painted this painting after returning to his home in Catskill, New York. Titled A View of the Mountain Pass Called the Notch of the White Mountains (Crawford Notch), it was commissioned by Rufus L. Lord, who paid Cole $500 for the finished work. It is now regarded as one of Cole’s finest American landscapes, and it is currently on display at the National Gallery of Art in Washington, D.C.

The second image here is a daguerreotype taken in 1841, just two years after Cole’s visit. It is the oldest photograph that I have featured on this blog, and among the earliest photographs to be taken in the United States, just a few years after Louis Daguerre invented the daguerreotype process. The photographer was Dr. Samuel A. Bemis, a Boston dentist who became one of the first photographer in the country. He began taking photographs in 1840, but evidently abandoned the hobby around 1843, leaving behind a relatively small number of photographs, most of which are poorly exposed. However, his works include the earliest photographic images of the White Mountains, many of which were taken in and around Crawford Notch.

This particular photograph shows nearly the same scene that Thomas Cole had painted two years earlier, although Bemis was a little closer to the notch than Cole was when he sketched the view. On the left side is the Notch House, which appears to be the same building shown in the distance on the left side of the painting. This inn was built in 1828 by Ethan Allen Crawford, and it was operated by his brother Thomas. From here, visitors could ascend to the summit of Mount Washington by way of the 8.5-mile Crawford Path, which Ethan Allen Crawford and his father Abel had cut in 1819.

In 1845, a few years after the photo was taken, the Notch House was expanded with a new addition. The attic was also converted into rooms, giving the inn a capacity of 75 guests. Then, around 1850 Thomas Crawford decided to build a new hotel nearby, just a little to the north of here. However, he ran into financial trouble and ended up having to sell the partially-completed hotel in December 1850. The hotel was finished under the new ownership, and it was named the Crawford House, with Joseph L. Gibbs as its manager. With this new, modern hotel nearby, the old Notch House quickly faded into obscurity. It was used occasionally for overflow accommodations, but it was ultimately destroyed by a fire in June 1854.

The Crawford House ultimately suffered a similar fate when it burned in 1859, but it was quickly rebuilt on the same site and stood there for well over a century, until it too was destroyed by fire in 1977. By the time the third image was taken of Crawford Notch in the 1890s, it was a popular resort destination. The hotel was located about a quarter mile behind where this photo was taken, so it is not visible in this scene, but there are other signs of changes here in the 1890s photo, particularly the railroad. In the 1841 image, the Notch House would have been accessible only by stagecoach, but in 1875 the Portland & Ogdensburg Railroad opened through the notch, making it much easier for tourists to visit the area.

Today, nearly two centuries after Thomas Cole painted Crawford Notch, the foreground of this scene has undergone substantial changes. Cole himself hinted at some of these impending changes with the cleared ground and tree stumps, but he probably did not anticipate that a railroad would one day be built through here, or that the rough stagecoach road would eventually become the modern US Route 302. However, despite these changes, the surrounding landscape has remained nearly unchanged. Cole did embellish parts of the scene, including the prominence of Mount Webster and the narrowness of the notch, but overall the landscape is still instantly recognizable from the painting, and Crawford Notch remains one of the most impressive natural features in the White Mountains.