Landscapes

Melvin Memorial, Concord, Mass

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The Melvin Memorial at Sleepy Hollow Cemetery in Concord, around 1909-1912. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2020:

This monument in Sleepy Hollow Cemetery was dedicated in 1909 in honor of Asa, John, and Samuel Melvin, three brothers who died during the Civil War. All three were Concord natives, and they served in Company K of the First Massachusetts Heavy Artillery. Their deaths represented three of the leading causes of death in the war: disease, combat, and poor conditions prisoner of war camps. John died of dysentery in 1863, Asa was killed in battle during the siege of Petersburg in 1864, and Samuel died of disease and malnutrition in 1864 at the Andersonville prison in Georgia, following his capture after the Battle of Spotsylvania.

A fourth brother, James C. Melvin, was too young to join older siblings at the start of the war, but he enlisted later in the war once he was old enough. He was the only one to survive the war, and he went on to become a businessman in Boston, where he was involved in a cold storage company. One of his goals was to create a memorial in honor of his three older brothers, so in 1897 he commissioned prominent sculptor Daniel Chester French to design one.

Although a native of New Hampshire, French was no stranger to Concord. One of his first major works was The Minute Man, a bronze statue dedicated in 1875 at Old North Bridge, at the site of the Battle of Concord. That iconic symbol of the American Revolution has remained one of his most famous works, perhaps eclipsed only by one of his last works, the 30-foot marble statue of Abraham Lincoln inside the Lincoln Memorial in Washington, D.C.

For the Melvin Memorial, French drew little inspiration from existing Civil War monuments, which typically featured some variation of a uniformed soldier holding a rifle. Instead, he took inspiration from classical art, creating a relief sculpture that he titled Mourning Victory. The design features a seven-foot-tall figure of Victory emerging from the marble, draped in an American flag and carrying a laurel sprig. These symbols express patriotism and the triumphant victory of the Union during the war, but French also portrayed Victory with downcast eyes, mourning the human cost of that victory. Directly beneath the sculpture are tablets for each of the three brothers, with inscriptions identifying them and the circumstances of their deaths. The other inscription on the memorial, located below Victory, reads:

In memory of three brothers born in Concord who as private soldiers gave their lives in the war to save the country this memorial is placed here by their surviving brother, himself a private soldier in the same war.

“I with uncovered head
Salute the sacred dead
Who went and who return not”

The memorial was dedicated on June 16, 1909, in a ceremony that was well attended by surviving members of the First Massachusetts Heavy Artillery. The first photo was taken shortly after the dedication, and it shows the monument in its location in Sleepy Hollow Cemetery. However, while it is in a cemetery, none of the brothers are actually buried here beneath the memorial. Only John’s body was returned home during the war, and he is buried elsewhere in the cemetery in the family plot, alongside his brother James, who died in 1915. As for the other two brothers, Samuel is buried in the Andersonville National Cemetery, while Asa lies in a mass grave in Petersburg.

Today, more than a century after the dedication of the Melvin Memorial, it still looks essentially the same as it did in the first photo, thanks to a restoration project that was completed in 2019. It is regarded as one of Daniel Chester French’s finest works, and a replica of it—which was also commissioned by James Melvin—is housed in the Metropolitan Museum of Art in New York. Overall, perhaps the only thing that has changed here in Sleepy Hollow Cemetery since the first photo was taken is the number of gravestones, which has obviously increased over the years. Appropriately enough, one of these stones is for Daniel Chester French himself, who died in 1931 and is buried up on the ridge behind the memorial.

Ralph Waldo Emerson Gravesite, Concord, Mass

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The Emerson family plot at Sleepy Hollow Cemetery in Concord, around 1900-1910. Image courtesy of the Library of Congress Detroit Publishing Company Collection.

The scene in 2020:

Ralph Waldo Emerson was one of the most important American philosophers of the 19th century. Born in Boston in 1803 to a family of Congregational pastors, he attended Harvard and briefly served as a pastor, but ultimately left the ministry following the death of his first wife Ellen. His beliefs subsequently shifted away from organized religion, and starting in the 1830s he began writing essays and delivering lectures that helped to establish the beliefs of Transcendentalism. Among Emerson’s most famous works were the essays “Nature” (1836) and “Self-Reliance” (1841), in which he outlines core Transcendentalist beliefs such as individualism, nonconformity, and an appreciation of the natural world. Emerson lived in Concord for most of his adult life, and the town became the center of this new philosophy, where he influenced other writers such as Bronson Alcott and Henry David Thoreau.

Transcendentalism coincided with the broader Romantic movement, which placed a greater emphasis on the natural environment than previous Western art movements. Although early 19th century Romanticism is primarily seen in artwork and literature, it also helped to inspire new ways of memorializing the dead here in New England. Prior to this time, most burials occurred in graveyards, which were typically open fields near village centers. In keeping with Puritan beliefs, these graveyards tended to be utilitarian in design, with little thought given to the aesthetics of the landscape. Even headstones were not always used, and the ones that were carved during the 17th and early 18th centuries tended to feature skulls and related imagery, in order to remind visitors of the inevitability of death.

In New England, these trends began to change during the early 19th century, particularly after the establishment of Mount Auburn Cemetery in Cambridge and Watertown in 1831. The cemetery was laid out like a park, with attractive landscaping that featured winding paths, hills, ponds, and ornamental trees. This was the start of the rural cemetery movement, which focused on creating a tranquil, peaceful environment that would serve as both a final resting place for the dead and a pleasant park for the living.

By the second half of the 19th century, most cities—and many small towns—in the northeast had their own rural cemeteries, which were often modeled on Mount Auburn. Here in Concord, Sleepy Hollow Cemetery was established in 1855 on Bedford Street, just to the north of the town center. Rather than creating an artificial landscape, the cemetery was designed to incorporate the natural features of the site, including its hilly terrain and native plants and trees.

The design of the cemetery was very much in line with what the Transcendentalists believed about the importance of nature, and Ralph Waldo Emerson expressed this in his dedicatory address for the cemetery on September 29, 1855:

Modern taste has shown that there is no ornament, no architecture alone, so sumptuous as well disposed woods and waters, where art has been employed only to remove superfluities, and bring out the natural advantages. In cultivated grounds one sees the picturesque and opulent effect of the familiar shrubs, barberry, lilac, privet and thorns, when they are disposed in masses, and in large spaces. What work of man will compare with the plantation of a park? It dignifies life. It is a seat for friendship, counsel, taste and religion.

Later in the address, he spoke of nature in relation to the name “Sleepy Hollow,” which predated the cemetery by several decades:

This spot for twenty years has borne the name of Sleepy Hollow. Its seclusion from the village in its immediate neighborhood had made it to all the inhabitants an easy retreat on a Sabbath day, or a summer twilight, and it was inevitably chosen by them when the design of a new cemetery was broached, if it did not suggest the design, as the fit place for their final repose. In all the multitudes of woodlands and hillsides, which within a few years have been laid out with a similar design, I have not known one so fitly named. Sleepy Hollow. In this quiet valley, as in the palm of Nature’s hand, we shall sleep well when we have finished our day.

Finally, near the end of his address he offered a prediction for the future of this cemetery:

But we must look forward also, and make ourselves a thousand years old; and when these acorns, that are falling at our feet, are oaks overshadowing our children in a remote century, this mute green bank will be full of history: the good, the wise and great will have left their names and virtues on the trees; heroes, poets, beauties, sanctities, benefactors, will have made the air timeable and articulate.

More than 165 years have passed since Emerson presented this speech, and we are certainly in “a remote century” by comparison to his time. In many ways, his predictions have held true, and Sleepy Hollow Cemetery certainly has its share of “the good, the wise and great” who are buried here. Appropriately enough, Ralph Waldo Emerson is among them. He died in 1882 at the age of 78, and is buried here on a hill in the back of the cemetery, which is known as Author’s Ridge. This is the final resting place not only for Emerson but also for some of the nation’s greatest writers of the 19th century, including Louisa May Alcott, Nathaniel Hawthorne, and Henry David Thoreau.

Emerson’s gravestone, shown here in the center of these two photos, is a massive uncarved rose quartz stone. This seems only fitting for Emerson who, as he indicated in his dedicatory address, preferred natural beauty over manmade ornamentation. He is buried here alongside his second wife Lidian, who died in 1892. She is buried just to the left of his gravestone, and on his right is their daughter Ellen. She died in 1909, and her gravestone is not here in the first photo, which suggests that the photo was taken before her death, although it is also possible that the gravestone was placed here several years later.

Today, aside from the addition of Ellen’s gravestone and several others, not much has changed here in this scene. Sleepy Hollow Cemetery remains an active cemetery, with much of the same natural beauty that its 19th century founders had envisioned. It is also a popular destination for visitors to Concord, who come here to pay their respects to Emerson and the “heroes, poets, beauties, sanctities, benefactors” and other prominent individuals who are buried here.

Thoreau’s Cabin Site, Concord, Mass

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The site of Henry David Thoreau’s cabin at Walden Pond in Concord, around 1908. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2021:

As explained in the previous post, Walden Pond was made famous by Transcendentalist writer Henry David Thoreau, who spent two years, two months, and two days living in a cabin here on the northern shore of the pond from 1845 to 1847. At the time, Concord was at the center of the Transcendentalist movement, and it was the home of several of its leaders, including Thoreau and his mentor, Ralph Waldo Emerson. They placed a strong emphasis on values such as being self-reliant, living a simple and nonmaterialistic life, and having an appreciation for the natural world. Because of this, Thoreau decided to embark on an experiment here at Walden Pond, in order to determine whether he could, as he put it, “front only the essential facts of life” by living in a small cabin with only the basic necessities of human life.

Thoreau wrote about his experience in his book Walden, published in 1854. In the first chapter, titled “Economy,” he described how he selected this site and began constructing the cabin in the spring of 1845, writing:

Near the end of March, 1845, I borrowed an axe and went down to the woods by Walden Pond, nearest to where I intended to build my house, and began to cut down some tall, arrowy white pines, still in their youth, for timber. . . . It was a pleasant hillside where I worked, covered with pine woods, through which I looked out on the pond, and a small open field in the woods where pines and hickories were springing up.

He steadily worked on the cabin throughout the spring, and it was finally ready to be occupied by early July. His first night here was on July 4, a coincidence that marked the start of his own personal independence:

When first I took up my abode in the woods, that is, began to spend my nights as well as days there, which, by accident, was on Independence Day, or the Fourth of July, 1845, my house was not finished for winter, but was merely a defence against the rain, without plastering or chimney, the walls being of rough, weather-stained boards, with wide chinks, which made it cool at night. The upright white hewn studs and freshly planed door and window casings gave it a clean and airy look, especially in the morning, when its timbers were saturated with dew, so that I fancied that by noon some sweet gum would exude from them. 

Thoreau ultimately completed the cabin by winter, including shingling the exterior and constructing a chimney and fireplace. The finished structure was, as he described it, “a tight shingled and plastered house, ten feet wide by fifteen long, and eight-feet posts, with a garret and a closet, a large window on each side, two trap doors, one door at the end, and a brick fireplace opposite.” In Walden, he itemized his construction costs, which added up to $28.12. The single largest expense was $8.03 for wood, much of which was recycled materials. In April he had purchased the shanty of James Collins, an Irish laborer who worked on the nearby Fitchburg Railroad, and he used this as a source of building materials.

The interior of the cabin was as spartan as its exterior, consisting of only minimal furnishings and personal possessions. Of these, he provided the following description:

My furniture, part of which I made myself, and the rest cost me nothing of which I have not rendered an account, consisted of a bed, a table, a desk, three chairs, a looking-glass three inches in diameter, a pair of tongs and andirons, a kettle, a skillet, and a frying-pan, a dipper, a wash-bowl, two knives and forks, three plates, one cup, one spoon, a jug for oil, a jug for molasses, and a japanned lamp.

Throughout the “Economy” chapter, Thoreau meticulously recorded his income and expenses, and concluded that, by simplifying his life, he was able to meet all of his expenses by working just six weeks out of the year. In contrast to his assertion earlier in the chapter that “[t]he mass of men lead lives of quiet desperation,” Thoreau argued based on his experiment here at Walden that:

In short, I am convinced, both by faith and experience, that to maintain one’s self on this earth is not a hardship but a pastime, if we will live simply and wisely; as the pursuits of the simpler nations are still the sports of the more artificial. It is not necessary that a man should earn his living by the sweat of his brow, unless he sweats easier than I do.

One popular misconception about Thoreau’s time here at Walden Pond is that he lived the life of a hermit in the wilderness. In reality, he was only a mile and a half from the center of Concord, and he often walked into town by way of the railroad, which ran just a quarter mile from here. As suggested by the presence of three chairs in the cabin, he also entertained guests here, although he found that the distance from town discouraged people from visiting for trivial reasons. In his book, he also wrote about interactions with other people who came to the pond for its natural resources, including fishermen and ice harvesters.

Thoreau moved out of the cabin on September 6, 1847, having decided that it was time to move on to the next stage in his life. It took another seven years before he completed his famous memoir about his stay here, and in the meantime his old cabin was put to a new use. Two years after Thoreau left, Ralph Waldo Emerson—who owned this land—sold the cabin to his gardener, who in turn sold it to two farmers. It was moved to a new location elsewhere in Concord, and it was used for grain storage for the next few decades, before ultimately being dismantled in 1868 and used for scrap. Thoreau did not live to see this, as he had died in 1862 at the age of 44, but he likely would have approved, considering he had built it from scrap lumber salvaged from an earlier structure.

In the meantime, the old site of Thoreau’s cabin began to attract attention as early as 1872, when Bronson Alcott—father of Louisa May Alcott—brought a visitor, Mrs. Mary Adams of Dubuque, Iowa, here to Walden Pond. At the time there was no marker here, so Mary suggested that a cairn might be an appropriate memorial. Writing in his journal, Alcott explained:

Mrs. Adams suggests that visitors to Walden shall bring a stone for Thoreau’s monument and begins the pile by laying stones on the site of his hermitage, which I point out to her. The tribute thus rendered to our friend may, as the years pass, become a pile to his memory. The rude stones were a monument more fitting than the costliest caring of the artist. Henry’s fame is sure to brighten with years, and this spot be visited by admiring readers of his works.

By the time the first photo was taken at the turn of the 20th century, the cairn had grown to a considerable size. The view faces essentially due south, with the pond visible beyond the trees in the distance. In the center of the photo is Thoreau’s Cove, the northernmost part of the pond, which comes within about 200 feet of the site of the cabin. The types of trees here are similar to what Thoreau would have seen, with a mix of pine and deciduous trees, but these actual trees were likely not old enough to have been here during Thoreau’s stay in the 1840s.

The cairn does not actually stand on the exact site of the cabin, although it is within a few yards. The actual location of the cabin was discovered in 1945 by archaeologist Roland W. Robbins, who uncovered the foundation of Thoreau’s chimney. These two photos were taken from right about the spot where the house stood, and it is now marked by an inscribed stone above the foundations of the chimney, along with nine cut stones that mark the dimensions of the cabin.

Today, aside from the stones marking the site of the cabin, the cairn is also still here. It is much larger than it was in the early 1900s, but it was briefly removed by state officials in 1975, before being returned here in 1978 after a public outcry over the loss of the “unsightly” memorial. Aside from the enlarged cairn, other changes since the first photo have included the path on the left, along with the sign next to the cairn, which features Thoreau’s famous quote about going into the woods because he “wished to live deliberately.” Overall, though, this scene still looks much the same as it did when the first photo was taken, and it is not all that different from what Thoreau would have seen from his front door some 175 years ago.

The pond and the surrounding land are now part of the Walden Pond State Reservation, which was established in 1922 after the Emerson family and several other landowners donated property around the pond to the state. Since then, the pond has continued to draw visitors for a variety of purposes, including swimming, fishing, walking the perimeter of the pond, or making a pilgrimage here to the site of Thoreau’s cabin. Although it is not located here at the original location, the park does feature a full-size replica of the cabin, which stands next to the parking lot a little less than a half mile from here, on the other side of Route 126. The following photos show the exterior and interior of the cabin, and were taken in 2021:

The exterior of the replica cabin, with the woodshed behind it

 

The interior of the replica cabin from the doorway

Thoreau’s Cove, Walden Pond, Concord, Mass

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The view looking south from the northern shore of Walden Pond, around 1908. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2020:

Walden Pond is one of many glacially-formed kettle ponds scattered throughout the landscape of eastern Massachusetts. Despite its relatively small size, it is notable for being the deepest natural pond or lake in the state, with a maximum depth of 103 feet. However, it is best remembered for having been the subject of Henry David Thoreau’s 1854 book Walden. In this book, Thoreau describes the two years, two months, and two days that he spent living in a small cabin near the shore of the pond, from July 1845 to September 1847. His cabin was located about 200 feet behind where this photo was taken, just to the north of this cove, which is now known as Thoreau’s Cove.

Writing in Walden, Thoreau outlined his reasons for living here at Walden Pond, explaining how, “I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.” With this minimalistic approach, he constructed a one-room cabin that measured 10 feet by 15 feet, and had a chimney and fireplace at one end. It cost him a total of $28.12 to construct, mostly using recycled materials, and it was located on land owned by his mentor, fellow Transcendentalist writer Ralph Waldo Emerson. He furnished the cabin with only the basic necessities, such as a bed, a table, a desk, and three chairs.

Although Thoreau’s time here at Walden Pond is often portrayed as him living off the land in solitude, it was hardly a wilderness experience for him. The pond is just a mile and a half south of the center of Concord, and the Fitchburg Railroad ran along the western shore of the pond, a quarter mile from Thoreau’s cabin. Far from living in solitude, he frequently entertained visitors at his cabin, and he remarked in his book that he had more visitors during this period than any other time in his life. And, despite conducting an experiment in self-sufficiency, he was not above traveling into town for a home-cooked meal, or occasionally having his mother clean his dirty laundry.

Throughout the book, Thoreau frequently makes observations about the natural environment around the pond, including occasional laments about the changes that humans have made to the landscape. He contrasts the “thick and lofty pine and oak woods” of his younger years with the subsequent deforestation along the shores of the pond, and he criticizes the arrival of the railroad, describing it as a “devilish Iron Horse, whose ear-rending neigh is heard throughout the town.” However, despite such intrusions, Thoreau was confident in the unchanging nature of the pond, writing:

Nevertheless, of all the characters I have known, perhaps Walden wears best, and best preserves its purity. Many men have been likened to it, but few deserve that honor. Though the woodchoppers have laid bare first this shore and then that, and the Irish have built their sties by it, and the railroad has infringed on its border, and the ice-men have skimmed it once, it is itself unchanged, the same water which my youthful eyes fell on; all the change is in me. It has not acquired one permanent wrinkle after all its ripples. It is perennially young, and I may stand and see a swallow dip apparently to pick an insect from its surface as of yore.

Although Thoreau was  the only person living along the shores of the pond at the time, he was hardly the only one to understand the value of its natural resources. He often interacted with fishermen on the pond, and in one chapter he also provided a lengthy description of the ice harvesting that occurred here on Walden Pond. At the time, naturally-produced ice was the only way to preserve perishable foods, and Boston merchant Frederic Tudor enjoyed a near monopoly on the trade, sending ships filled with New England ice to destinations as far away as India. Thoreau observed this work, likely from this vantage point here on the shore in front of his cabin, and drew parallels between the methods used for ice harvesting and farming:

In the winter of ’46–7 there came a hundred men of Hyperborean extraction swoop down on to our pond one morning, with many car-loads of ungainly-looking farming tools, sleds, ploughs, drill-barrows, turf-knives, spades, saws, rakes, and each man was armed with a double-pointed pike-staff. . .

To speak literally, a hundred Irishmen, with Yankee overseers, came from Cambridge every day to get out the ice. They divided it into cakes by methods too well known to require description, and these, being sledded to the shore, were rapidly hauled off on to an ice platform, and raised by grappling irons and block and tackle, worked by horses, on to a stack, as surely as so many barrels of flour, and there placed evenly side by side, and row upon row, as if they formed the solid base of an obelisk designed to pierce the clouds. They told me that in a good day they could get out a thousand tons, which was the yield of about one acre. . . .

Thus for sixteen days I saw from my window a hundred men at work like busy husbandmen, with teams and horses and apparently all the implements of farming, such a picture as we see on the first page of the almanac; and as often as I looked out I was reminded of the fable of the lark and the reapers, or the parable of the sower, and the like; and now they are all gone, and in thirty days more, probably, I shall look from the same window on the pure sea-green Walden water there, reflecting the clouds and the trees, and sending up its evaporations in solitude, and no traces will appear that a man has ever stood there. Perhaps I shall hear a solitary loon laugh as he dives and plumes himself, or shall see a lonely fisher in his boat, like a floating leaf, beholding his form reflected in the waves, where lately a hundred men securely labored.

Thoreau then concluded his description of the ice harvest with an observation about how interconnected the world had become, thanks to innovations such as trans-oceanic ice shipments:

Thus it appears that the sweltering inhabitants of Charleston and New Orleans, of Madras and Bombay and Calcutta, drink at my well. . . . The pure Walden water is mingled with the sacred water of the Ganges. With favoring winds it is wafted past the site of the fabulous islands of Atlantis and the Hesperides, makes the periplus of Hanno, and, floating by Ternate and Tidore and the mouth of the Persian Gulf, melts in the tropic gales of the Indian seas, and is landed in ports of which Alexander only heard the names.

Near the end of the book, Thoreau explained his reasons for leaving Walden Pond in September 1847, citing a need to move on to the next phase of his life. He then described the path that he had followed from his cabin to the shore of the pond, using it as a metaphor for the tendency of humans to fall into conformity and consistency in their behaviors and ways of thinking:

It is remarkable how easily and insensibly we fall into a particular route, and make a beaten track for ourselves. I had not lived there a week before my feet wore a path from my door to the pond-side; and though it is five or six years since I trod it, it is still quite distinct. It is true, I fear that others may have fallen into it, and so helped to keep it open. The surface of the earth is soft and impressible by the feet of men; and so with the paths which the mind travels. How worn and dusty, then, must be the highways of the world, how deep the ruts of tradition and conformity!

The exact route of Thoreau’s well-trod footpath is left to some speculation, but it seems unlikely that it would have led to this particular section of shoreline here in these photos. Despite being the closest part of the pond to his cabin, this spot offers only limited views, and the shallow, muddy water here would have made it a poor choice for bathing or collecting drinking water. In his 2018 book The Guide to Walden Pond, author Robert M. Thorson theorizes that Thoreau’s path ran along the western side of the cove, ending at the sandy beach on the far right side of the scene. From there, Thoreau could have observed the entire pond, and he would not have had to wade through the mud and weeds here at the northern end of the cove.

After Thoreau left Walden Pond, Ralph Waldo Emerson sold the cabin to his gardener, who in turn sold it to farmers who moved it to a different location in Concord. It was used for grain storage before being dismantled in 1868. As a result, the $28 cabin ultimately outlived its famous resident, as Thoreau died of tuberculosis in 1862 at the age of 44.

Over the next few decades, Thoreau’s assertion about Walden Pond preserving its purity would certainly be put to the test. The cool, clear waters of the pond drew visitors here in increasing numbers during the late 19th century, and in 1866the Fitchburg Railroad opened an amusement park and picnic ground on the western shore of the pond. Known as the Walden Lake Grove Excursion Park, it had its own stop on the railroad, and it remained here until 1902, when it burned down.

The first photo was taken several years later, around 1908. By this point, recreation on the pond had shifted to the eastern side, along present-day Route 126. During the early 20th century that section of shoreline was turned into a large, sandy beach, and in 1917 bathhouses were constructed there to accommodate visitors. Five years later, the Emerson family, along with several other landowners around the pond, donated about 80 acres to the state, and the land became the Walden Pond State Reservation.

Over the next few decades, the number of visitors to Walden Pond would continue to increase. Automobiles made it easier than ever to access the pond, and by 1935 it had nearly half a million visitors over the course of the summer, including about 25,000 on busy weekend days. The result was a struggle between conservation and recreation here at the pond, which culminated in a late 1950s proposal to “improve” much of the land around the pond with amenities such as a new parking lot. However, these plans were ultimately halted by a Superior Court judge who ruled that they violated the stipulations of the 1922 donations.

Today, more than 110 years after the first photo was taken and nearly 175 years after Thoreau moved out of his cabin, Walden Pond remains a popular destination. The parking area fills up quickly on hot summer days, and the shores of the pond are often crowded with beachgoers, swimmers, and anglers, along with the occasional literary tourist making a pilgrimage to the site of Thoreau’s cabin. For the most part, a visit to the pond today is far removed from the experience that Thoreau had here in the 1840s, and as one New York Times writer put it, “there are more selfies than there is self-reliance.”

However, the woods along the shoreline do a remarkably good job at hiding the number of visitors. The second photo was taken on a very busy July morning, yet there is surprisingly little evidence of it in the photo, save for a few swimmers far off in the distance. Overall, the landscape from the northern end of Thoreau’s Cove is not dramatically different from what he would have seen here, and if he saw it today he would likely stand by his claim that “it has not acquired one permanent wrinkle after all its ripples.”

Springfield Cemetery, Springfield, Mass (3)

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A view looking east up one of the terraces in Springfield Cemetery, around 1892. Image from Picturesque Hampden (1892).

The scene in 2020:

As explained in the previous post, Springfield Cemetery was established in 1841 as one of the first rural cemeteries in the northeast. Inspired by Mount Auburn Cemetery in Cambridge and Watertown, these types of cemeteries sought to create a pleasant, park-like atmosphere, in contrast to the older, gloomier Puritan-era graveyards in town centers. The cemetery was laid out in an area once known as Martha’s Dingle, located a little to the east of downtown Springfield. The land here consists of several steep-sided ravines, making it poorly suited for real estate development but ideal for a tranquil rural cemetery.

In developing the cemetery, some of the slopes were transformed into terraces, such as this one here. This particular view shows the view of the cemetery facing east from near its geographic center. In the foreground is the lower section, which had few interments during the 19th century, and further in the distance is the slope leading up to the upper section, which is adjacent to Pine Street. In general, the further up the hill that the gravestones are, the older they tend to be, culminating with the colonial-era stones along Pine Street, which were moved there from the old burying ground on Elm Street in 1848.

In this particular scene, most of the gravestones in the first photo date to the late 19th century, so they would have been relatively new when the photo was taken. Since then, many more burials have occurred here, but there are still some stones that are recognizable from the first photo. Near the center of the photo is a rectangular granite stone of businessman Warner C. Sturtevant (1809-1891), his wife Nancy (1811-1885), and several of their children and grandchildren. Just to the right of it, and a little closer to the foreground, is the marble stone of Samuel W. Fisher (1817-1884) and his wife Lorinda (1826-1885). In the distance beyond this stone is a large obelisk for the Merriam family, including dictionary publisher Charles Merriam (1806-1887), his wives Sophia (1808-1858) and Rachel (1824-1888), and several of their children.

Today, more than 125 years after the first photo was taken, there are now many more gravestones here in this scene, most dating to the first half of the 20th century. Among the more notable burials here in this scene are George Walter Vincent Smith (1832-1923) and his wife Belle (1845-1928), who were both prominent philanthropists and art patrons. They amassed an extensive art collection that they subsequently donated to the city as the George Walter Vincent Smith Art Museum, and they are buried here, just to the right of the tree on the left side of the scene.

Aside from the addition of more gravestones, some of the stones from the first photo are now gone, possibly having been replaced by newer monuments. Overall, though, this scene remains largely the same as it appeared in the late 19th century. Springfield Cemetery is still an active cemetery, and it continues to have the same natural, park-like appearance that its founders envisioned some 180 years ago. The city has since grown up around the cemetery, but from here it is hard to tell that these wooded ravines are right in the midst of one of the largest cities in New England.

Springfield Cemetery, Springfield, Mass (2)

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A scene in Springfield Cemetery, facing the southern section of the cemetery, around 1892. Image from Picturesque Hampden (1892).

The scene in 2020:

Springfield Cemetery was established in 1841, and it was part of a trend that involved creating well-landscaped, park-like cemeteries on the outskirts of cities and towns, as opposed to the older, often gloomier Puritan-era graveyards in town centers. The first of these cemeteries was Mount Auburn Cemetery in the suburbs of Boston, which opened in 1831, and many other cities soon followed, including Springfield a decade later. Over the years, it would become the final resting place for many of the city’s prominent 19th century residents, and it remains an active cemetery today.

The cemetery is located in a ravine that was originally known as Martha’s Dingle. In transforming the area into a cemetery, the designers incorporated the natural features into the landscape by creating a series of terraces that were separated by wooded slopes. These were linked together by curving paths that followed the contours of the land. Overall, the intent was to create a place that would serve not only as a burial ground for the dead, but also as a quiet, peaceful place for the living to visit.

The view here in these two photos shows the upper section of the cemetery, facing south in the direction of Cedar Street. In the distance is the southernmost section of the cemetery, which, unlike the rest of the cemetery, lacks the winding paths and landscaped terraces. Instead, the lots here are laid out on flat ground, with few trees and with straight paths that intersect at right angles in a grid pattern. Most of the gravestones in that section date to the second half of the 19th century, and by the time the first photo was taken in the early 1890s it was already crowded with towering obelisks and other monuments.

By contrast, the slightly lower area here in the foreground was nearly devoid of gravestones when the first photo was taken. Of the two that are present near the foreground, the one in the lower center of the scene has apparently been removed or replaced, but the other one, further to the left, is still there. It features a veiled figure with an urn standing atop an Ionic column, marking the grave of James Abbe, who died in 1889 at the age of 66. He was a stove and tin merchant, and he was also a director for several local corporations, including serving as president of the Hampden Watch Company. In addition, he was a state legislator from 1876-1877, and he served as a trustee for the Springfield Cemetery Association.

Today, more than 125 years after the first photo was taken, Abbe’s gravestone is still here, although it is now mostly hidden by a tree from this angle. Otherwise, the most significant difference here is the number of gravestones in the foreground. This section was mostly empty in the early 1890s, but it now features a number of 20th century gravestones. Perhaps the most prominent person buried in this section is Horace A. Moses, a paper manufacturer and philanthropist who was one of the founders of Junior Achievement. He died in 1947, and his gravestone is the bench-like monument on the far left side of the scene.

Overall, despite the increase in gravestones, this section of Springfield Cemetery has not changed much since the late 19th century. The level upper section in the distance is mostly hidden behind trees from here, but it still looks largely the same as it did in the first photo, with rows of large monuments. By contrast, even though it has more gravestones now than in the first photo, the area in the foreground still has much more of a rural, park-like appearance, with its winding roads and mature shade trees, as shown in the present-day scene.