Showing posts with label erastus dow palmer. Show all posts
Showing posts with label erastus dow palmer. Show all posts

Sunday, December 25, 2016

Grief and The Elusive Daniel Campbell.

I first came across this monument - both in person and in Henry P. Phelp's The Albany Rural Cemetery - Its Beauties, Its Memories - while still in high school.  Works by Erastus Dow Palmer had already become a favorite "find" at Albany Rural by then.  But information on the Daniel Campbell buried here was elusive until recently when I came across a tattered copy of a sermon preached by the Reverend William B. Sprague at an 1851 funeral.

The following is crossposted from my Facebook page, Albany Rural Cemetery - Beyond The GravesAdditional photos are posted there.

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Located in Lot 4, Section 18, this monument is quite well documented in early written histories of the Albany Rural Cemetery, but the story behind it is a little more elusive.

In Edward Fitzgerald's 1871 “A Handbook For The Albany Rural Cemetery,” it's described as “a marble obelisk...erected by the young men of Albany” and that its inscription provides “an enduring record of that deed.” In his 1893 “Albany Rural Cemetery – Its Beauties, Its Memories,” Henry P. Phelps goes into a bit more detail and hints at a romance cut short, writing “The monument is of Italian marble and, on the reverse side will be found a bas-relief by Palmer, representing Grief, a bowed female figure, suggestive of the betrothed one whose heart was broken forty years ago.”

The inscription on the south face of the monument reads:

“The young men of the City of Albany, in their grief for his too Early Removal, have erected this Monument to the memory of Daniel Campbell; a man who loved humanity as most love their nearest kindred, and who, as his only riches, the blessings of the needy.”

The north face contains the relief of Grief by Erastus Dow Palmer. It depicts a young woman in a kneeling pose with her head bent and resting on one hand.

The monument, however, gives no further information on the identity of Daniel Campbell. He was obviously much loved, but no date of birth or death is given on the beautiful tombstone.

The lot was deeded to Archibald Campbell, the Scottish immigrant who had served as Acting Secretary of State of New York in the early 1840s and who died in 1856. The Cemetery's burial records list a Daniel D. Campbell in this lot. His index card states that this person died of consumption at the age of 22 on September 3, 1863. This, however, cannot be the same Daniel Campbell honored with the Palmer monument described above.

The Daniel Campbell so beautifully eulogized in marble must have died before 1858 as an engraving of the monument and a copy of the epitaph were included in the second edition Henry W. Churchill's “Guide Through The Albany Rural Cemetery” which was published that year. Erastus Dow Palmer's records indicate that he worked on “Grief” in 1852.

No other Daniel Campbells are recorded in the Cemetery's burial cards so information on his life must be gleaned from other sources. A pamphlet, “Sermon, Address, &c., Occasioned By The Death of Daniel Campbell,” contains both a sermon by the Reverend William Buell Sprague on the Sunday following Daniel Campbell's death. Also printed in the pamphlet is the sermon given by Ray Palmer, Minister of the Congregational Church in Albany.

The funeral's date was October 8, 1851. The newspapers indicate that Campbell died on the morning of October 6 at his father's home. His cause of death was not stated, but an illness is implied.

The fragile booklet also reprints several death notices published in the Albany Argus.

“We discharge a very painful duty in announcing the death of Daniel Campbell, a young gentleman in whose character all the better ingredients of our nature were harmoniously blended, and whose life has been devoted, assiduously, to works of unostentatious goodness and mercy....The deceased was a son of Archibald Campbell. He was born, educated, and has always resided in Albany. His impulses and sympathies, ever warm and generous, were ever prompting him and leading him to do good. He was known in the Schools, at the Asylums, in the Benevolent Societies, at the Young Men's Association and was seen, with his beaming countenance and affectionate manner, wherever aid could be extended to the unfortunate, wherever aid could be extended to the unfortunate or relief administered to the suffering.”

Another notice, from the Albany Express, reported, “On Sunday evening, at the close of a pure and noble life, there passed away from among us one of the choicest spirits of our city – Daniel Campbell. From an easy, natural sleep, he seemed to glide away into the deeper sleep of the good and true who rest from their labors....He was not widely known, but how well and earnestly esteemed, can be learned best among the poor, who he has served for years with a ceaseless and unwearying devotion. Occupying no public office and living so quietly among us that we seemed scarcely so much conscious of his presence as of the works he performed, all unambitious, he was in fact a public benefactor.”

Among the many institutions and charities mentioned in these various printed tributes were the Orphan Asylum, the St. Andrew's Society, the Mission Home, and the Young Men's Association.
Census records and city directories provide a few practical details of his life.

He was the son of Archibald and Mary Campbell. The 1850 census identifies him as a merchant, aged 40, and a member of his father's household (which included three siblings and two servants). The family home was at 60 Chapel Street (near the corner with Pine Street). The 1851 city directory lists him as a coal merchant, a partner in the firm of Belknap, McKercher & Campbell. The business was located at the corner of Broadway and Spencer Street.

There is, however, no hint of just who “the betrothed one” alluded to by Phelps might have been. Her identity remains a mystery.

Tuesday, October 15, 2013

Lawson Annesley

 
The Annesley family plot on the Middle Ridge is marked with a tall, simple granite shaft marked with an elegant letter "A."

The most notable grave in this lot is that of Lawson Annesley (1795-1865), a well-known dealer in mirrors, picture frames, and art.  He was a friend of sculptor Erastus Dow Palmer and his shop and gallery became a gathering place for Palmer and other prominent local artists of the era.


The facade of Annesley's Ten Broeck Street home still stands.

Saturday, December 1, 2012

Charles Calverley


Anyone who has strolled or driven through Washington Park has seen the handsome Robert Burns monument with its bronze statue of the Scottish poet and four plaques depicting scenes from his works.   The Burns memorial, one of the Park's landmarks, was created by Albany sculptor Charles Calverley.

Calverley was born in Albany in 1833 and, at the age of thirteen, he apprenticed to local stonecutter John Dixon.  Dixon's workshop produced a number of monuments for the Albany Rural Cemetery, including that of the Strain family and local publisher Jesse Buel, as well as architectural elements and marble mantels.

In 1853, Calverley's work in Dixon's shop caught the attention of Erastus Dow Palmer.  After seeing a rose carved by the twenty-year old, the sculptor bought out the remainder of Caverley's apprenticeship and brought him to work in his own studio.

In 1868, Calverley opened his own studio in Manhattan at Fourth Avenue and 25th Street.  Working in both marble and bronze, he created numerous busts, bas-reliefs, and medallions, with the occasional full-length statue or cameo.  He did several commissions for monuments in Brooklyn's Green-Wood Cemetery, including busts Horace Greeley and Elias Howe.  Another well-known Calverley piece in Green-Wood is Precious Georgie, a touching marble portrait of a four-year old boy who died of scarlet fever.

In Albany Rural Cemetery, he also created Meditation, the exquisite bronze statue on the monument of Doctor Jephta Bouleware (see photo below) and a beautiful portrait medallion of Ann Elizabeth Brown Wiles.


Calverley died in 1914.  His family plot on the South Ridge contains four examples of his work.  The main monument is topped by a bronze bust of the sculptor (a self-portrait) and the bas-relief on the front is a likeness of his wife, Susan Hand.  Behind the main monument, a second granite monument contains medallions of the sculptor's mother and his brother, John, who died of illness while serving in the Civil War.


Below:  Detail of the Boulware monument:


Tuesday, May 1, 2012

The Lucia Olcott Monument


This white marble monument on the Middle Ridge is an early work of Erastus Dow Palmer who is said to have designed the monument itself, as well as creating two pieces of sculpture for it.

It marks the grave of Lucia Marvin Olcott, first wife of Thomas Olcott.  Lucia died at the young age of twenty-five in 1850, two infant children having predeceased her. Thomas Olcott, one of Albany's prominent banker, was a founding member of the Albany Cemetery Association which established the Rural Cemetery and, in return for his work, was given his choice of a lot here at no charge.  Olcott himself is buried just across the path and his monument was also the work of Erastus Palmer.


The figure atop the monument is leaning over a book (which rests atop a draped urn) and presumably is inscribing the names of the deceased in this "Book of Memory."

The front of the monument features a relief which depicts a young woman, barefoot and with wings, ascending to meet to little cherubs who offer her a crown.  The soft marble has weathered and many of the details have eroded, particularly one of the winged infants and the crown.  This allegorical relief represents Lucia being welcomed to Heaven by her two children.

Friday, December 23, 2011

Palmer's Angel

In his novel, "The Flaming Corsage," noted Albany author William Kennedy has two of his characters rendezvous in the Rural Cemetery. They arrange to meet by Erastus Dow Palmer's Angel At The Sepulchre, calling the heroic white marble statue "the one landmark of whose location everyone was certain" and “the best-known resident of the cemetery, eclipsing magnates and governors, even heroes of the Revolution.”

The larger-than-life Angel was commissioned to mark the grave of Emma Rathbone Turner in 1868 and is the sole monument in a large circular plot on the South Ridge. It is one of several works by Palmer found in the Cemetery and certainly the most striking.

Admired by many and criticized by some, the Angel inspired at least one imitation; I've recently come across photos of a marble statue in a California cemetery that is clearly a copy of the Angel, though the features are much softer and it lacks both the imposing grace and meticulous detail of Palmer's funerary masterpiece.

People often questioned Palmer as to whom he used as a model the Angel's features, but Palmer is said to have denied using a model for the face at all. I have a few ideas as to who inspired the statue's face, but I've save that story for now.

The Angel is one of the reasons I fell in love with the Albany Rural Cemetery. I was quite young when the movie Ironweed was filmed in various locations in and around Albany, including the Rural Cemetery. Area televisions stations did some stories on the filming locations. During one such news piece, I caught a glimpse of Palmer's Angel and just had to see it in person. I've enjoyed exploring the Cemetery ever since.

To see what Palmer's Angel looked like before the elements and lichen eroded its features, visit the Albany Institute of History and Art. Palmer's original plaster cast of the Angel At The Sepulchre forms the centerpiece of a wonderful gallery highlighting his works.

More about The Angel of The Sepulchre
More about Erastus Dow Palmer