Wednesday, August 6, 2008

About

Alison Nastasi, originally from New York City, resides in Philadelphia and received her MFA from the Pennsylvania Academy of the Fine Arts. She has been practicing the art of gravestone rubbing and photography since she was a teenager. Fascinated by the sculpture, epitaphs and natural environment of a cemetery, Alison spends much of her time exploring the historical cemeteries of Philadelphia and finding hidden gems in her travels of the surrounding area.

The Living Lyre takes its name from a stanza in the famous poem by Thomas Gray, Elegy Written in a Country Churchyard, written in 1750. It is believed that Gray wrote the poem in the graveyard of a church in Stoke Poges, Buckinghamshire, England. This is the same site that Alison’s grandmother, Lillian, made her first gravestone rubbing over forty years ago.

Alison is currently documenting and leading the preservation of a one hundred fifty year old cemetery near Philadelphia.

Sunday, July 20, 2008

Dr. Thomas Dent Mütter


A few weeks ago I traveled to Middletown, Connecticut with Martha and Will to visit the grave site of Dr. Mütter. My purpose was to capture some gravestone rubbings, but I wasn't sure what kind of monument to expect. The information I found in my research on his interment indicated he was cremated and that his remains were housed in a mausoleum, but there were no pictures to be found in the files. I was excited to find his grave and the drive went fast even though we were on the road for about 4 hours on a very hot day.

Indian Hill Cemetery was founded in 1850 and is the burial site for many local politicians. It certainly lives up to its name because of the beautiful, rolling hills and the trees there are full of character. Dr. Mütter's tomb houses the remains of his parents, John and Lucinda, and his wife, Mary Wright Alsop Mütter. There are two matching monuments next to Mütter's for the families of Alsop and Chauncey. From my research it appears that a Lucy W. Alsop married Henry Chauncey which is how that connection is made.

There was no actual inscription for Mütter's tomb but I took many photographs of the monument. The door had a beautiful relief on it which I did try to do a rubbing of. While interesting I wouldn't necessarily call it successful but it allowed me to try out some new crayons which I purchased recently.

At the bottom of the hill is a beautiful, brownstone church which appeared to be abandoned but due to the age it was hard to tell. The gorgeous, wrought iron gate to the front entrance said "Indian Hill 1850". There was a funeral going on at the time but luckily it was at the bottom of the hill so we did not disturb anyone while we explored the grounds.

Using the photographs I took, I have created a limited edition postcard set that I will be selling at the Mütter Museum in the next week or so. One of the images from this set is pictured above. I will be creating a series of postcard sets as I photograph various cemeteries. All work will be available for sale on my future website The Living Lyre.

Monday, June 16, 2008

St. Michael's Cemetery




I spent a lot of time at St. Michael's Cemetery on the South side of Bethlehem during my late High School and early Undergrad years. It was my favorite place to be alone and meditate. I did several grave rubbings there, but usually you could find me with my camera photographing the amazing landscape, tombstones, and memorial sculptures.

There's something surreal about the skyline view from that hill. Blast furnaces tower over sinking row homes; the skeleton of a once blooming industry, now just a shadow of its former self. Standing among the graves of soldiers, mothers, children and friends - it's hard not to feel the impending collapse, the end of an era...then and now. The wooded area at the top of the hill hides the secrets of many.

Though the desperate addicts and restless vandals have made their mark here in more recent years, it is with hope that I discovered a community of people who are now caring for this beautiful cemetery. They need help, and the first Saturday of each month is an open invitation for those who wish to volunteer. I will be joining this group soon and hope to lend some of my skills in the care and cleaning of gravestones. I'm anxious to visit since the last time I was there was about 10 years ago.

St. Michael's is located at Fourth and State Streets on Bethlehem's South Side.

Sunday, June 15, 2008

Mütter Museum

I will be showing gravestone rubbings at the Mütter Museum in July. More details to come.

I've been harolding...

Har.old.ing
Function: verb
Etymology: Harold and Maude
Date: 20th century
: to "hang around" a cemetery
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Tapho.philia
Function: noun
Etymology: From the Greek words taphos, meaning "tomb" or "sepulcher" and philia, meaning "attraction or affinity to something" in particular "the love or obsession with something"
: 1. An excessive interest in graves and cemeteries. 2. A love or fondness for funerals, graves, and cemeteries. 3. In psychiatry, a morbid attraction to graves and cemeteries
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I question what is really morbid.

Morbid is opening the newspaper and reading about the rising murder rate in my city. Morbid is watching a video of a U.S. marine hurling a helpless puppy off a cliff in Iraq. Morbid is the life of a woman in Austria, confined by her father to a cellar for 24 years while he raped and impregnated her repeatedly.

At first glance, a taphophile would be considered morbid. For me there is something more. There are symbols and the discovery or chase of things missing and hiding. There is the acknowledgement that what is gone is really gone - enabling a yearning of these things to make them important. There is beauty in things delicate and impermanent.

Maude says to Harold, "the earth is my body; my head is in the stars." I couldn't agree more.



Elegy Written in a Country Churchyard

I wanted to dedicate my first post to the memory of Thomas Gray, an English poet who inspired the first gravestone rubbing my grandmother did when she visited an English graveyard made famous by the poet in Stoke Poges, Buckinghamshire over 40 years ago. This blog and my future website (www.thelivinglyre.com) takes its name from a line in the poem. I have been photographing and practicing the art of gravestone rubbing since I was a teenager, and I look forward to sharing my work with you.

Sincerely,

Alison Nastasi


Elegy Written in a Country Churchyard


The curfew tolls the knell of parting day,
The lowing herd wind slowly o'er the lea
The plowman homeward plods his weary way,
And leaves the world to darkness and to me.

Now fades the glimm'ring landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds;

Save that from yonder ivy-mantled tow'r
The moping owl does to the moon complain
Of such, as wand'ring near her secret bow'r,
Molest her ancient solitary reign.

Beneath those rugged elms, that yew-tree's shade,
Where heaves the turf in many a mould'ring heap,
Each in his narrow cell for ever laid,
The rude forefathers of the hamlet sleep.

The breezy call of incense-breathing Morn,
The swallow twitt'ring from the straw-built shed,
The cock's shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.

For them no more the blazing hearth shall burn,
Or busy housewife ply her evening care:
No children run to lisp their sire's return,
Or climb his knees the envied kiss to share.

Oft did the harvest to their sickle yield,
Their furrow oft the stubborn glebe has broke;
How jocund did they drive their team afield!
How bow'd the woods beneath their sturdy stroke!

Let not Ambition mock their useful toil,
Their homely joys, and destiny obscure;
Nor Grandeur hear with a disdainful smile
The short and simple annals of the poor.

The boast of heraldry, the pomp of pow'r,
And all that beauty, all that wealth e'er gave,
Awaits alike th' inevitable hour.
The paths of glory lead but to the grave.

Nor you, ye proud, impute to these the fault,
If Mem'ry o'er their tomb no trophies raise,
Where thro' the long-drawn aisle and fretted vault
The pealing anthem swells the note of praise.

Can storied urn or animated bust
Back to its mansion call the fleeting breath?
Can Honour's voice provoke the silent dust,
Or Flatt'ry soothe the dull cold ear of Death?

Perhaps in this neglected spot is laid
Some heart once pregnant with celestial fire;
Hands, that the rod of empire might have sway'd,
Or wak'd to ecstasy the living lyre.

But Knowledge to their eyes her ample page
Rich with the spoils of time did ne'er unroll;
Chill Penury repress'd their noble rage,
And froze the genial current of the soul.

Full many a gem of purest ray serene,
The dark unfathom'd caves of ocean bear:
Full many a flow'r is born to blush unseen,
And waste its sweetness on the desert air.

Some village-Hampden, that with dauntless breast
The little tyrant of his fields withstood;
Some mute inglorious Milton here may rest,
Some Cromwell guiltless of his country's blood.

Th' applause of list'ning senates to command,
The threats of pain and ruin to despise,
To scatter plenty o'er a smiling land,
And read their hist'ry in a nation's eyes,

Their lot forbade: nor circumscrib'd alone
Their growing virtues, but their crimes confin'd;
Forbade to wade through slaughter to a throne,
And shut the gates of mercy on mankind,

The struggling pangs of conscious truth to hide,
To quench the blushes of ingenuous shame,
Or heap the shrine of Luxury and Pride
With incense kindled at the Muse's flame.

Far from the madding crowd's ignoble strife,
Their sober wishes never learn'd to stray;
Along the cool sequester'd vale of life
They kept the noiseless tenor of their way.

Yet ev'n these bones from insult to protect,
Some frail memorial still erected nigh,
With uncouth rhymes and shapeless sculpture deck'd,
Implores the passing tribute of a sigh.

Their name, their years, spelt by th' unletter'd muse,
The place of fame and elegy supply:
And many a holy text around she strews,
That teach the rustic moralist to die.

For who to dumb Forgetfulness a prey,
This pleasing anxious being e'er resign'd,
Left the warm precincts of the cheerful day,
Nor cast one longing, ling'ring look behind?

On some fond breast the parting soul relies,
Some pious drops the closing eye requires;
Ev'n from the tomb the voice of Nature cries,
Ev'n in our ashes live their wonted fires.

For thee, who mindful of th' unhonour'd Dead
Dost in these lines their artless tale relate;
If chance, by lonely contemplation led,
Some kindred spirit shall inquire thy fate,

Haply some hoary-headed swain may say,
"Oft have we seen him at the peep of dawn
Brushing with hasty steps the dews away
To meet the sun upon the upland lawn.

"There at the foot of yonder nodding beech
That wreathes its old fantastic roots so high,
His listless length at noontide would he stretch,
And pore upon the brook that babbles by.

"Hard by yon wood, now smiling as in scorn,
Mutt'ring his wayward fancies he would rove,
Now drooping, woeful wan, like one forlorn,
Or craz'd with care, or cross'd in hopeless love.

"One morn I miss'd him on the custom'd hill,
Along the heath and near his fav'rite tree;
Another came; nor yet beside the rill,
Nor up the lawn, nor at the wood was he;

"The next with dirges due in sad array
Slow thro' the church-way path we saw him borne.
Approach and read (for thou canst read) the lay,
Grav'd on the stone beneath yon aged thorn."

THE EPITAPH

Here rests his head upon the lap of Earth
A youth to Fortune and to Fame unknown.
Fair Science frown'd not on his humble birth,
And Melancholy mark'd him for her own.

Large was his bounty, and his soul sincere,
Heav'n did a recompense as largely send:
He gave to Mis'ry all he had, a tear,
He gain'd from Heav'n ('twas all he wish'd) a friend.

No farther seek his merits to disclose,
Or draw his frailties from their dread abode,
(There they alike in trembling hope repose)
The bosom of his Father and his God.

--Thomas Gray 1750