Sally Cary has lived in the Barre area for 35 years, coming
originally from Connecticut. She has a degree in English from
Russell Sage College in New York. She's done research for aldrich
Public library on cemeteries and has developed a special interest
in cemetery history.
When I was very much younger, I thought cemeteries were places
to be avoided, places where there were ghosts who haunted and
things that went bump in the night. One shut one's eyes and held
one's breath until the cemetery had been passed. Now that I am
older, I find cemeteries are fascinating places ­ fascinating
because of the beauty of memorial art, the various styles and
designs, the skills and craftsmanship that go into the cutting
and sculpting a material as hard as granite. Many memorials are
truly works of art. Hope and Elmwood cemeteries are often termed
"the show places of the Barre Granite Industry."
Elmwood cemetery is the older of the two. It is located at the
intersection of Washington and Hill streets in Barre. In 1808
the Congregational Church building was completed just east of
the present site of Lincoln School in what was then called Gospel
Village. At that time Ezekial Wood, a deacon of the church, donated
four acres of his farm for a church-yard burial ground in the
manner of the English burial grounds. In 1854, the plot was expanded
in size and appropriately named Elmwood cemetery because of its
many stately trees. Again in 1920 there was a need for further
expansion to the present size of approximately twenty-seven acres.
At Elmwood one can see a variety of styles in monumental design
from the very early colonial tablets through the more elaborate
and romantic designs of the Victorian era to the contemporary
art of the twentieth century. The earliest monuments are found
in the "old part" nearest Lincoln School and date from
the early 1800s. Most are made of slate or marble; however, local
granite predominates in Elmwood. Scattered here and there are
a number of zinc metal monuments which were popular after the
Civil War. One of particular note is the D. A. Camp memorial.
Another zinc monument is on the back side of the cemetery. Legend
has it that during prohibition a panel could be removed and bootleg
liquor could be stored inside.
Elmwood holds much historical interest. Early residents are buried
here ­ Dr. Robert Paddock and his son Dr. Lyman Paddock, first
doctors in Barre; John and Rebeckah Goldsbury , first settlers;
Rev. Aaron Palmer, the first Congregational minister; Robert Parker,
first quarrier; Chapin Keith, judge and tavern-keeper; Joshua
Twing, owner of the first foundry and mill; Ira Day who entertained
General Lafayette at his tavern in South Barre; Pliney Wheaton
who furnished the granite for the state capitol building in Montpelier.
And interred here are many more men and women who have contributed
to the early life and growth of Barre.
Over on the back line are granite fence posts marking the boundary.
Further along is the monument for Levi Bolster and his wife Calista.
Take note of the beautifully carved cherubs at the four corners
of the family name stone. Mr. Bolster was a business man and banker
and founded what is now the First Vermont Bank in Barre. Further
along is the monument to William Barclay, Sr. It is a unique,
handcarved spiral column rising some thirty feet and topped with
a polished urn. Not far from there is the "Jackson Angel"
memorializing Dr. J. Henry Jackson and his son Dr. Joe Jackson.
It is an unusual piece sculpted from one block of granite. The
background cross is "shell rock pitch," all done by
hand and now an almost forgotten art.
There is the monument of Jacob and Mary Spaulding ­ a marble
statue on a granite pedestal erected by grateful students in remembrance
of "his enduring work of faith and labor of love." (Spaulding
High School was named after him.) One of my favorites is "Little
Max," a charming statue in memory of a curly headed, three-and-a-half
year-old boy, dressed as little boys were in the 1890s with his
high button shoes and a dress.
Dr. D. C. Jarvis is interred in Elmwood ­ many of many interests
­ a physician, a musician, a nutritionist and author. There
is R. A. Nichols, a railroad engineer, whose memorial features
a handsome 19th century engine and cab carved on polished granite.
Beyond is the Carrie Wheelock monument. She was an active social
and civic leader and founder of the Barre Historical Society.
Nearby is a life-size bust of William LaPointe, former Barre mayor,
playwright and friend of labor. Further along is the W. G. Cumming
mausoleum with a beautiful bronze door embellished with pine cones,
laurel and lilies. Mr. Cumming was a machinist and manufacturer
of granite cutting tools. On the lawn facing Hill Street is located
a granite watering trough moved from the City Park in 1960. There
are four bronze lion heads on each side of the base. Since horses
no longer refresh themselves there, the Granite City Garden Club
fills the trough each year with flowers which bloom until frost.
The John G. McLeod memorial is beautiful in its simplicity, a
sarcophagus with a lovely mourning figure.
Some works of memorial art executed by hand a century or more
ago would be difficult to duplicate today. One is filled with
awe and respect for the artistry, the skill and craftsmanship
of the designers, the cutters and the polishers. Each craft has
made a contribution to the beauty of Elmwood. Truly a walk through
Elmwood is a walk through history.
Where Elmwood is Barre's link from the past to the present, Hope
is Barre's link from the present to the future. Hope is a uniquely
beautiful cemetery that boasts of some of the finest examples
of memorial art ever created in this country.
The entrance to Hope cemetery from Upper merchant Street is one
of simple, dignified beauty. The figures represent Peace and Salvation.
It was sculpted by Carlo Abate, cut by Gino Tosi and Enrico Mori,
three unusually gifted men. This entrance sets the mood of artistic
merit and serenity one finds with. Hope cemetery was established
in 1895 and consists of approximately seventy-five acres, beautifully
cared for and landscaped.
Perhaps
the one memorial that stands out is the one to Elia Corti. He
was a truly gifted young Italian who carved, among other things,
the four panels on the Robert Burns statue on the front lawn of
Spaulding Graded School. Please take a close look at those panels.
They are beautifully and meticulously carved with great attention
to detail.
On Elia Corti's grave site is an outstanding piece of memorial
art. It is extraordinary because it is cut from one block of granite.
It is life size and we are told that it is a remarkable likeness
of the man. Mr. Corti is seated in front of a shell rock pitched
stone. His hand rests on a shortened column. It is complete in
every detail showing the seams in his coat, the folds of his tie
and the creases in his trousers, the buttons and button holes
down to the last thread. The tools of his trade, calipers, chisel,
square and hammer are at the foot of the shortened column. The
palm leaf on the other side symbolizes Spiritual Victory. This
memorial was lovingly and carefully carved by his brother William
Corti and his brother-in-law John Comi.
The tragic story of Elia Corti at the age of thirty-four years
is a tale of human interest. According to the Barre Daily Times
of October 5,1 903: "He was shot in the stomach and mortally
wounded at a meeting in the Socialist building on Granite Street.
Corti died at midnight last night at Heaton Hospital in Montpelier
having lived about thirty hours after he received the bullet.
The shooting occurred at 7:15 PM on Saturday evening and was the
outcome of a general discussion between the socialists and anarchists
present. Andrew Garetto was arrested and charged with the shooting.
Garetto was sentenced to serve not less than ten nor more than
twelve years in state prison." On his release he returned
to Barre but left shortly after and it is believed that he went
back to Italy. Elia Corti and his monument are very much a part
of the story of memorial art.
If you check the death dates on the stones at the north end of
the cemetery, you will see that many died during the flu epidemic
in 1918 and 1919. If you look at the birth and death dates on
many of the other monuments, you will note that those interred
died at a relatively young age anywhere between thirty-five and
fifty years. Silicosis, tuberculosis and allied lung diseases
were the cause. It is said that you could stand at one end of
a granite shed and not see the other end, the stone dust was so
thick. Dust collectors and suction devices were made obligatory
in 1934.
It is difficult to pick out any one special monument. Each is
different, each reflects the wishes of the individual buried and
the creative talents of the designer. There is the Vanetti mausoleum
with the stainless steel doors that frame beautiful granite filigree
inserts. On the back is a stained glass window depicting the "Last
Supper." Nearby is the Palmisano monument featuring a faithful
reproduction of Michelangelo's "Pieta."
Look for the Dente Angel, the Bettini chair and the Ladrie cross.
Find the bird in the floral front of the Bilodeau stone. Look
at the four little angels at the top of the Comolli spire. "(It
is in back of Elia Corti.) And while you are there look closely
at the carving on the G. Colombo monument. Speaking of angels,
please see the Brusa "Sitting Angel." Then there is
the Calcagni colonade, the Russo ship, the contemporary design
of the Yaeger stone, the Bianchi Celtic cross ­ and many more
outstanding pieces of art sculpted in stone. Hope is as much an
art gallery as it is a cemetery.
Monument decoration is symbolic whether it is religious or secular.
It is easy to recognize and interpret the symbolism. Here are
a few: the Chi Rho, a contraction of the name Christ in Greek,
IHS is a Latinized contraction of Jesus, the Alpha and Omega or
the Beginning and the End. Some of the crosses used are the Maltese,
the Latin, the Celtic as well as the Christian cross.
Flowers are universally used and each has its meaning: morning
glory ­ resurrection; pine and cone ­ healing; rose ­
love; palm ­ spiritual victory; oak ­ honor; ivy ­
friendship; lily ­ purity; grape and vine ­ Christ and
His followers; thistle ­ Scotland, and the acanthus leaf usually
seen at the top of a column meaning heavenly gardens. A broken
tree trunk or shortened column means cut down in the prime of
life. A draped urn is sorrow, the anchor is hope, the lamb is
a favorite to commemorate a child and the flame means eternal
life. Some people have had their hobbies or their life style or
whatever else is meaningful to their lives sandblasted on a polished
surface.
Why did the Europeans and the Italians in particular come? America
was the land of golden opportunity. Italy at the end of the nineteenth
century was in turmoil, a loose group of city states and fiefdoms
all quarreling with one another. There was a great deal of economic,
social, religious, and political unrest. Those Italians who had
been trained in carving stone in the northern area of Italy felt
that they could better themselves and the lives of their families
in this country. They came to Quincy, Massachusetts; Westerly,
Rhode Island; Rutland and Barre, Vermont.
There was unrest over most of Europe. The Scots and the English
came as well as the Norwegians and the Spanish. Each nationality
made its contribution to the monumental stone industry. Lady Liberty
in New York harbor had beckoned. And so we have benefited, our
heritage enriched and it shows in our beautiful cemeteries, a
lasting tribute.