8o Spring Grove: 150 Years

VictorianCommemoration inStone

Spring Grove, like other"rural" cemeteries, meant toserve as a museum without walls,a place for teaching of taste andmorals for the weathy and middleclasses. People flocked to SpringGrove not only to enjoy the park-like landscape but to view worksof art. Strauch told Cincinnatiansthat funeral monuments werecentral to the "history of art andcivilization/' and quoted aphilosopher, "From these durablememorials of the past, uponwhich are impressed the senti-ments, the passions, and theadmiration of the age and the peo-ple that produced them, an acuteeye may at once discover theextent and progress of man's intel-lectual and moral condition."

Spring Grove's founders,many of them arts patrons, want-ed to surpass the famous easterncemeteries in their display of fineart and architecture. An art histo-rian noted that "the selection,design, and placing of one's tomb-stone was a major event. In thepicturesque rural cemeteries . . .marble angels mourned, marble

Under Strauch's guidanceSpring Grove accumulated agreat collection of works ofsculpture and eclectic architec-ture. He wanted to give sculp-tors a chance to produce some-thing besides the commonmarble shaft and to promoteartistic patronage. The richarray of Spring Grove's monu-ments and mausoleums islargely due to Strauch's influ-ence but is also evidence of amore elaborate urban culture,Cincinnatians' taste for a moreflamboyant expression closelyin tune with Victoriancustoms. BL

The Roman Goddess

One of the first statues placedat Spring Grove and not over aburial was of Egeria, a Romangoddess, water spirit, lymphaor nymph associated withchildbirth. Myth held that thewife and adviser of KingNuma Pompilius created theGrove of the Camenae outsidethe Porta Capena of Rome.Egeria graces the shore alongGeyser Lake. The sculptorNathan Foster Baker (1820-1891), son of a major localbusinessman, moved toFlorence to work from 1841 to1850. He drew inspiration forEgeria from Lord Byron'sChilde Harold's Pilgrimagedescribing the goddess as "abeautiful Thought" imparting

"the purity of Heaven to earth-ly joys." Although his fatherresponded to a sketch of thestatue that the female figureneeded more drapery to suitAmerican taste, Baker ignoredthe criticism and exhibited the

work in 1847 at the NationalAcademy and the BostonAthenaeum. Walter Gregorypurchased the sculpture andpresented it as a gift to Strauchand the Cemetery. BL

Victorian Commemoration in Stone 81

Strauch promoted only onelarge monument, throughwhich he defined family andpatriarchal primacy. He func-tioned as a curator encouragingindividuals to contribute to thefine art and counseling themon the correct taste in styles ofmonuments and mausoleums.CHS

Columns replaced obelisks inpopularity. Free standingcolumns signify a ceremoniallinkage of earth and heaven aswell as the strength of theindividual, a "pillar of thecommunity." CHS

willows wept, marble dovesdescended, and obelisks pointedtheir monitory fingers to heaven."Under Strauch's guidance SpringGrove accumulated a great collec-tion of works of sculpture andeclectic architecture not justsmall stones decorated with con-ventional motifs.

Strauch ruled that individualindex stones not exceed two feet inheight; and a standardized low,horizontal stone with top slightlyrounded to prevent accumulationof rain became common, groupedaround large family monumentson lots. The regulation was aes-thetic rather than functional, sincethe small stones still rose highenough above the turf to impedescythe and lawn mower use.

Two years after Strauchstarted his work, Spring Grovehad a profusion of small grave-stones and 425 large monuments,three-quarters of which werewhite marble shafts among twen-ty-seven of Grecian design, seven-teen Gothic, eleven Scipio sar-cophagi, seven urns, six sarcopha-gi, six marble statues, and fourcolumns. In 1858 alone, propri-etors erected ninety monuments.In 1867, the value of monumentstotaled one million dollars,- by1873, not counting individualstones, Spring Grove had 1,654family monuments valued at over$1,500,000, eighty-two percent ofwhich were of marble, twelve per-cent of "imperishable" granite,and five percent of native sand-stone. But within a decade or so,much of the marble had begun todisintegrate: "The veins are soon

pierced by the weather, in timepieces become detached, and themonument is eventually ruined."

Cemetery MonumentsUnder Strauch's regime,

columns replaced obelisks in pop-ularity. Free-standing columnssignify a ceremonial linkage ofearth and heaven as well as thestrength or stability of the indi-vidual, a "pillar" of the communi-ty, or leader. Freemasons attachedadditional symbolic significanceto columns, depending on theorder of the capital — Doric,Ionic, or Corinthian.

While the Superintendentdiscouraged a profusion of indi-vidual, small stones on SpringGrove's lots, he advised propri-etors to erect a single family mon-ument, preferably a work of art, orto choose a specimen tree in lieu

8 2 Spring Grove: 150 Years

Conrad Windisch commis-sioned a unique stone in theform of a Gothic ruin with ivy,a severed oak truck, and otherelaborate symbols carved instone. Conrad Windisch,along with Gottlieb and HenryMuhlauser, founded theWindisch-Muhlauser Breweryin 1866, reorganized in 1882 asthe Lion Brewery, Cincinnati'ssecond largest in the 1880s. In1882, it was the first to use icemachines to chill the brew butclosed in 1922 due toProhibition. Two survivingbrothers erected the complexmonument with carved hourglass, its sands gone because ofa hole, an inverted torch, ananchor, intertwined shepherds'staffs, a ship, a harp, linkedrings, a bow with two arrows,and Father Time with hisscythe. BL

of a monument to make SpringGrove a valuable arboretum. Agiant elm (sec. 24) bears aplaque commemorating RobertBuchanan, Cemetery presidentfrom 1845 to 1879. Strauch plant-ed a group of fine scarlet oaksdonated by the HorticulturalSociety on Buchanan's familylot, when the once-prosperousBuchanan died impoverished. Inthe 1880s, Buchanan's more suc-cessful friends purchased andplaced a monument on the lot.

Strauch functioned as a cura-tor encouraging individuals tocontribute to the fine art in theCemetery. He counseled propri-etors on the "correct taste" instyles of monuments and mau-soleums, trying to temper eccen-tricities and to give the Cemeteryan extraordinary display of por-

trait busts, full-length female alle-gorical figures, and imposingexamples of funerary architecture.Many proprietors chose sculptureof the eclectic styles and symbolicforms. Following trends in othermajor cemeteries, Strauch urgedthe Board to ban the silver-frostedcast zinc or so-called white bronzemonuments mass-produced andoffered through catalogues.

Shortly after Spring Grove'sfounding, its directors wrote toHiram Powers the famous sculp-tor and asked him to produce astatuary group, "representationsof man's mysterious existence andpassage through this world," forplacement near the Cemeteryentrance. The project languishedbecause of an inability to reachagreement on a design and financ-ing. Although Powers sent much

The Sarcophagus The sarcophagus, like theobelisk a common monumentform in "rural" cemeteries,was originally inspired byancient examples. An earlysarcophagus at Spring Grovecommemorates John Walker(1799-1853), born in Scotland.Walker's widow Marion erect-ed a perfect Italian marblecopy of the Scipio Africanussarcophagus by Robert E.Launitz of New York, on herfamily lot in 1855. It set a fash-ion among Cincinnati's elitefor choosing the sarcophagusas an ideal neoclassical monu-ment, (sec. 51) The family ofLewis Whiteman, once partnerof Reuben R. Springer, Esquire,and that of John Groesbeckemulated it. (secs. 30 and 36)

At Spring Grove, JohnBaker's white marble sarcopha-gus (c. 1857) with its delicatecarvings was copied by his son,the sculptor Nathan FosterBaker, from the tomb ofRoman General Agrippa with arounded bottom supported bylion's claws, (sec. 35) It wasplaced over an undergroundchamber tomb with twelvecatacombs. The younger Baker,known for his statue of Egeriaon Geyser Lake, was entombedhere on his death in 1891. CHS

Victorian Commemoration in Stone

of his sculpture to Cincinnatipatrons, only a few of his worksare at Spring Grove.

Victorian SymbolismSpring Grove's mid-nine-

teenth-century monuments dis-play a rich Victorian symbolicconsciousness. The Cemetery

boasts of a large collection of elab-orate "treestones/' monumentscarved to resemble the severedtrunks of shattered oak trees, nolonger sturdy and viable. Usually,the stone signifies the end of thefamily tree, the deaths of the lastof a line, but also indicates resig-nation to death as part of nature's

A faithful watchdog in stonelies near the grave of his youngmaster, William Coon Redmanwho died in 1834 at age sevenyears, six months, and twenty-one days. BL

The many stones for childrenreflect the high mortalityamong the young in the nine-teenth century and symbolismof the Victorian era: sleepingbabies, cherubs, brokenbranches, severed buds. SG

processes. Germans, with theirtraditional lore associated withthe sacred oak, particularlyfavored the form.

The many stones for chil-dren reflect the high mortalityamong the young in the nine-teenth century, especially becauseof epidemic diseases,- and theyreflect the rich symbolism of theVictorian era—sleeping babies,cherubs, small lambs, brokenbranches, and severed buds.

Relatively few monumentshave traditional Christian imagesor even the sign of the cross.At Spr ing Grove , wheremany wealthy proprietors wereEpiscopalian, the scarcity ofChristian motifs is curious.

Occasionally, a proprietor'staste was so bad or idiosyncraticthat Strauch persuaded directors

Treestones

The Cemetery boasts a largecollection of "treestones,"monuments carved to resem-ble the severed trunk of shat-tered oak trees. The stone usu-ally signifies the end of thefamily tree.

In 1866, friends ofAndrew H. Ernst (1796-1860)commissioned LeopoldFettweis to sculpt a treestone,a shattered, severed oak stumpresting on the rubble of rockadorned by ferns, Virginiacreeper, lilies of the valley, andsprays of ivy.fsec. 23) It is fit-ting not only because Ernst'swife and children predeceasedhim but because Ernst was anationally known horticultur-ist and Cemetery founder whocame from Germany with hisfather, a poor man, at age ten.He established a fortune andlived on an estate, "SpringGarden." Ernst personallyfavored plant symbolism. The

German inscription on thestone scroll translates,"Through Death to Life." TheErnsts moved family grave-stones to Spring Grove from anurban graveyard and now liehorizontally in the grassaround the monument.

Another elaborate treestone insection 35 was erected by thePatterson, Hering, and Zoellerfamilies. Here as elsewhere,twining ivy leaves and brokenbranches are inscribed withthe names of children andgrandchildren who died. Thisexample even depicts a chip-munk peering from a hollowbranch.

Perhaps the most idiosyncratictreestone at Spring Grove,laden with symbolism andtopped by an allegorical figureof Germanica, was erected bythe Fritz family in 1873. BL

84 Spring Grove: 150 Years

The Celtic Cross came intofavor at the turn of the centuryand marks several graves inthe Cemetery. CHS

to veto a monument as in i860when Alexander B. Latta, inven-tor of a steam fire engine, wantedto erect a small replica suspendedunder an iron canopy atop fourCorinthian columns. Latta calledit a "testimonial structure"; butStrauch argued to ban the mon-strosity as advertising, not com-memoration. He warned that ifthis monument were allowed,local manufacturers would dis-play casts of their products andmerchants, examples of theirwares over graves—marble or ironpigs, beerbottles, loaves of bread,and soap cakes. Latta sent protestletters to all proprietors and triedto promote election of new boardmembers to fire the "despotic"Strauch; he failed. Instead, Lattasettled for a simple, stockyobelisk on his lot.

This controversy andStrauch's other unpopular rules ledto accusations of "Anti-Americaneccentricities" and imposition of"heathen principles" which violat-ed proprietors' individualistic"rights." Some proprietors couldnot tolerate Strauch's insinuationsthat their practices were tastelessif not blatantly heathenish.Although usually a welcoming,amiable person who had won therespect, friendship, and adulationof many, Strauch could not toler-ate fools resisting arguments sowell-documented and seeminglycorrect to him.

Spring Grove boasts a far rich-er collection of portrait monu-ments than most other"rural" cemeteries. The RightReverend Charles PettitMcllvaine (1799-1873),Episcopal Bishop of Ohio forforty years, has a plain brown-stone Scipio tomb with aniche containing a marblebust erected by his "OhioFriends" on a lot near thechapel of his friend EdmundDexter, traded from anothersite in the year of his deathalthough it necessitated themoving of several of theMcllvaine family dead. CHS

The Commercial, supportingStrauch, reported in June 1867,that "there have been a few lot-owners fierce for the largest liber-ty to make their possessionshideous." Through the furor rancontrasting notions of civilization,a cultural battle between "proper"taste and freedom of expression.Local monument makers, stonecutters, and iron dealers quarreledwith and even threatened Strauch.Yet from 1855 until his death in1883, Strauch not only earnedrespect from proprietors for hisreforms, he made the Cemeteryinto a sculpture garden.

Ironically, in 1882, FireCommissioners engineered a sub-scription campaign to erect amonument for Fire Chief EnochMegrue. Designed by Bevis, theeleven-foot-tall monument resem-bled the controversial one pro-posed by A. B. Latta with a minia-ture, working iron model of a fireengine enclosed in a glass caseunder a canopy of Quincy granitesupported by columns. Strauch, inthe last year of his life, did notoppose it.

PortraitureSpring Grove contains a

great wealth of portrait sculpture,busts and full-length statues. Thistaste for self-commemorationleaves a rich material culture fargreater than can be found in east-ern cemeteries.

Allegorical FiguresAllegorical figures provided

another frequently chosen monu-ment type. Two of Spring Grove'sfinest allegorical sculptures are onthe adjoining Fox and Bates lots,flanked by enormous gingko trees.Thomas White and Son ofCincinnati, one of the first monu-ment dealers in the city, provided

The Angel of the Resurrectionready to sound a trumpet ofthe Last Judgment, erected onthe Ringgold lot in 1865, was acopy of a Randolph Rogerssculpture (1863-64) originallydesigned for a Connecticutcemetery. This one is ofChristello marble and placedon a base of dark Quincy gran-ite. Thomas Hughes, whofounded the city's first highschool in 1824, has a similarmonument, a statue of a con-templative maiden, erected byhis former students on a lotdonated by the Cemetery. SG

many of the sculptural monu-ments in the Cemetery. In 1890Superintendent William Salwaycommented "that the house ofWhite has done more to beautifySpring Grove than any monumenthouse/7 especially in introducingrose and gray granites particularlyfavored by the Prussian landscapegardener who wanted to avoid themonotony of "dead and sepulchralwhiteness and glare" characteris-tic of most earlier marble stones.

Monument DealersDemand for better tomb-

stones and monuments fosteredcraftsmanship and development oflocal and national dealerships.Thomas W. Fox, listed as a stoneor marble cutter in the 1870s CityDirectories, with Alfred Whitehad established his "MarbleWorks" manufacturing marbleand granite monuments andimporting others from Italy andScotland. He won the highestaward at the 1883 CincinnatiIndustrial Exposition, and by

1885, his expanded companybecame the Cincinnati SteamGranite and Marble MonumentalWorks, located in Cumminsvilleon Spring Grove Avenue near theCemetery. By 1897, it became theThomas W. Fox Granite Companyas Fox's son, a sculptor, joined theprospering firm, providing muchof Spring Grove's monumentationand sending work well beyondthe city, even memorials forGettysburg.

The firm of Doebel andStearns produced the Bruckmannmonument for $1,650. The com-pany later became the SpringGrove Marble and Granite Works.By the 1880s, Martin Donahuerelocated his expanding businessas designer and builder of monu-ments, sarcophagi, statuary, andmausoleums to a Spring GroveAvenue location as did the QueenCity Granite Company. C. L.Fettweis and Sons had their firmon McMicken Avenue in Clifton.

Allegorical sculptures

Two of Spring Grove's finestallegorical sculptures are onthe adjoining Fox and Bateslots, flanked by enormousginkgo trees. Richard HenryPark (1832-c. 1890) of NewYork designed Major IsaacBates's monument in the1890s while working inFlorence. Bates's father anduncle were among Cincinnati'sfirst settlers, clearing forests inwhat became the city. Thesculptor Joseph Graeff ofHoboken, New Jersey, execut-ed the marble statue for theextended family of George Fox,Edward Taylor, and Stambach,who placed it on a plainpedestal of white granite.Grouped around large familymonuments are individualmarkers, "index stones" which

Strauch ruled should notexceed two feet in height.These standardized low, hori-zontal stones had tops slightlyrounded to prevent the accu-mulation of rain. BL

86 Spring Grove: 150 Years

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dley.JohnFratz.Netter.Henry PeaeheyS.S.Davis.

Erns .Jos. Chambers.Baker.J. A. Scarlett.McCracken.(Jol. Taylor.Hon.Thos. JomH. D. HuntingtWm.Kirby.E CoxD'.R. Hickey.JohnH.BalancChas. H. Wolf.

Jeptha Gerrard

In 1890, SuperintendentWilliam Salway commented,"that the house of White hasdone more to beautify SpringGrove and any other monu-ment house." CHS

Jacob Burnet

Judge Jacob Burnet's vault onCedar Lake was built in 1865after the proprietors exchangedseveral inland lots for theremarkable new site. Burnet(1770-185 3) first had a burialvault in the Presbyterianchurchyard; but, knowing thaturban development threatenedthe graveyard, he joined inSpring Grove's founding.Burnet, had moved toCincinnati in 1796, was firstburied with a simple monu-ment on the lot he purchasedadjacent to the PioneerSociety. But after Strauch cre-ated his picturesque lake,Burnet found a better spot anddecided to erect a mausoleum,one of the Cemetery's first andfinest. Charles Rule ofCincinnati designed the

Increasingly, Strauch urgedproprietors to take their commis-sions to out-of-town monumentdealers who were more able toprovide the grander sculpturalcompositions than local firms.James G. Batterson and later hisNew England Granite Works ofHartford, Connecticut, providedmany fine monuments, such asthat for the McAlpin family.

Many factors explain theprofusion of large family monu-ments at Spring Grove. Strauch'sadvocacy of artistic patronagemelded with the prosperity of thelocal merchant, manufacturer, andsuccessful professionals to givethe Cemetery a rich, diverse col-lection. A Cincinnati newspaperin 1880, provided another expla-nation — guilt: "The anxious,earnest business man, who wastoo much hurried and engrossedwith business during the timespent in accumulating a fortune,realizes when too late that he hasduring the years of struggle giventoo little time to his family, and

Baroque, Corinthian, FrenchSecond Empire, or GeneralGrant Style facade of importedItalian marble. It has twosmall putti or cherubs leaningagainst an urn, its base drapedwith fabric; and two otherurns, topped with the flame of

life, flank the ends. Hisremains, along with those ofhis wife and son, are entombedhere. (sec. 22) CHS

Victorian Commemoration in Stone

Jacob Strader's Gothic brownConnecticut sandstone chapeland vault on Central Avenuenear the center of the originalCemetery was completed in1858 by the architect andbuilder James G. Batterson ofHartford. The structure, twen-ty-five feet wide and twenty-three feet deep, contains twen-ty-six catacombs. SG

The large Groesbeck mau-soleum is topped by the seatedsculpture of a mourningwoman flanked by two urns —major components of the styl-ized "mourning picture" sopopular in the early nineteenthcentury. William SlocumGroesbeck, Burnet's son-in-law, appeared for the defense inthe 1868 impeachment trial ofPresident Andrew Johnsonbefore the U. S. Senate, helpingto clear the President. BL

The Bodman mausoleum,designed by H. O. French ofNew York, shows the Frenchinfluence of Eugane-Emmanuel Viollet-le-Duc theSwiss-born Gothic Revivalarchitect whose architecturaleclecticism and improvisa-tions shaped trends in late-nineteenth-century America.It is an aedicule, a miniatureshelter of church shape. BL

John Robinson built a white-domed, Moorish-Romanesquemausoleum costing $35,000 in1874. The miniaturized cruci-form structure of blue lime-stone edged with marble isornamented with allegoricalstatuary of Faith, Hope, andCharity, topped by the AngelGabriel ready to blow his hornto herald the Resurrection. Forgenerations from 1824 to 1916,the family owned Robinson'sCircus until selling it to theAmerican Circus Corporation,which then merged withRingling Brothers. BL

88 Spring Grove: 150 Years

Strauch realized that manyprosperous proprietors wantedvaults rather than earthenburials. CHS

as they are one by one taken fromhim by the hand of death, thearrow of grief and self-accusationis driven deeper into his heart.Then are called into requisitionall the talent and artistic geniusand wealth of material whichmoney can gather, and nature andart vie in the expressions of loveand regret."

Grand Family MausoleumsAware that entombment has

been favored among the elitesince ancient times, Strauch real-ized that many properous propri-etors wanted vaults rather thanearthen burial. One of SpringGrove's first subscribers, JohnBaker, the wealthy merchantwhose son became a noted sculp-tor, built an underground tombcontaining a dozen catacombs,niches for coffins. Obscured underthe grassy slope (overlookingGeyser Lake), the casual visitorwould not know it was there. Foreach new burial, the sexton hadto remove turf and tombstone

twelve feet from the actual tombin order to uncover a flight ofsteps. Baker was laid there in1857. When the structure wasfull, five other family memberswere buried in ordinary graves onthe lot.

Although Strauch disap-proved of vaults, the first above-ground structures appeared duringhis early administration, perhapsacceptable because these fewwell-designed mausoleums ofeclectic architectural styles func-tioned to enhance the landscape,especially around his ramblinglakes. Strauch favored Gothicdesign, inspired by the form offorest trees, because like natureits details could be "multiplied ordiminished according to circum-stances."

Practically, Strauch's lakescreated scenic sites for deluxe bur-ial lots that were larger and moreirregular in shape than those inthe older burial sections. Thereand in other new lake-side sec-tions Strauch designed, wealthy

The Dexter Chapel From 1865 to 1869, local archi-tect James Keyes Wilson (1828-1894) designed the ornatesandstone Gothic funerarychapel for the Dexter brothers.Edmund Dexter had hostedCharles Dickens at his fineGothic Revival home at thecorner of Fourth and Broadwayin 1842. The Board agreed tolet Dexter purchase the familylot which Strauch originallyhad chosen for himself inexchange for the entire islandin the middle of the new lakeswhich they gave to Strauch.

The flamboyant Gothicstructure is so imposing thatmany visitors mistake it forthe cemetery's chapel. Aroundan arcaded terrace on the sec-ond level, it has the only sym-metrical flying buttresses inthe Cincinnati area. Indeed,the Dexters wanted a structurereminiscent of the SainteChapelle in Paris, althoughsome trace its inspiration to

Victorian Commemoration in Stone 89

Cincinnatians erected fine mau-soleums of grand architecturalstyles in a diminished scale thatcompliments and augmentsStrauch's landscape, making dis-tances seem greater and spaceslarger than they actually are.

England's ChichesterCathedral as well as Sainte-Chapelle in Paris. JosephFoster of Cincinnati built it acost of $100,000. MontgomerySchuyler, a noted turn-of-the-century architectural critic,judged it a "gem," exclaiming,"What specimen have we inAmerica of as highly devel-oped or as ornate Gothic inminiature which is more suc-cessful than this?"

The marble interior con-tains a vault with twelve cata-combs on the lower level and achapel above measuringtwelve feet by thirty feet witha thirty-four foot ceiling.Originally it was meant tohave an elevator. Strauchframed the Dexter mausoleumwith foliage to terminate avista across the water as oneentered. This structure, soar-ing forty-eight feet on its siteoverlooking Geyser Lake, wasintended to have ivy-covered

walls; and it did through muchof its history, contributing thestone decay that proved a prob-lem within a matter ofdecades. Many of the turrets,crockets, and pinnacles even-tually deteriorated and fell.Through the twentieth centu-ry, structural problems,restoration, and even suggesteddestruction preoccupied theBoard. CHS

Mrs. George Selves commis-sioned Thomas Dow Jones todesign this Gothic sepulchralchapel in 1868 for her son.Built of blue limestone deco-rated with gray freestone, with-in a year, it needed repair since"its roof and sides showedsigns of giving way." It bearsthe inscription, "Whom thegods love die young." CHS