Their Lives Well Lived

“Live a good life. If there are gods and they are just, then they will not care how devout you have been, but will welcome you based on the virtues you have lived by. If there are gods, but unjust, then you should not want to worship them. If there are no gods, then you will be gone, but will have lived a noble life that will live on in the memories of your loved ones.”―Marcus Aurelius

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An elderly woman in her final sleep, 1/9th-plate postmortem ambrotype, circa 1860. Ann Longmore-Etheridge Collection.

We see the still, worn body of old lady, prepared for burial by her family and laid out, most likely, upon her own bed.

This photograph may have been both this woman’s first and her last. She was likely a child in the 1790s and a young wife and mother when Jane Austen wrote her literary oeuvre. The story of her life unfolded during the waning of one century and the child years of another. For many, by the time this post-mortem ambrotype was taken, familiar patterns of life had been radically altered by the industrial revolution. The War of 1812 and the Napoleonic Wars had rolled by like awful storms. The British Queen would shortly lose her dearest love and plunge herself into perpetual mourning. America was spilling out across a vast continent and tensions were escalating to the point of eruption between its North and South. War was a dark cloud on the horizon, threatening the young men of her family, but mercifully, she never saw it blot out the sun.

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Grandmother Whitney, postmortem cased melainotype, circa 1856-1860.

A note tucked inside the case of this 1/6th-plate reads, “Grandmother Whitney—mother of Samuel. Born between 1775 & 1780.” The plate is stamped “Melainotype for Neff’s Pat 19 Feb 56.”

In John Towler’s 1864 opus on what was then state-of-the-art photographic technology, The Silver Sunbeam, he writes, “The melainotype takes its name from the black background upon which it is taken…. Very thin plates of sheet-iron are covered with a protective varnish or Japan, of which one is of a rich black or brown-black color, highly polished, and without flaw, for the reception of the collodion and the collodion picture. Glass in this sort of picture is entirely dispensed with, and so is also the black Japan, the black velvet, and paper. This type is by far the easiest and the quickest to take, and in general the most satisfactory when taken. Melainotype plates of all the variable photographic sizes, and of variable qualities, can be obtained from the photographic warehouses.” Ω

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Postmortem tintype of a very old woman, circa 1863. Courtesy Jack and Beverly Wilgus Collection.
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An elderly nun in her coffin, 1/6-plate daguerreotype, circa 1858. Courtesy Jack and Beverly Wilgus Collection.

Witness to Disaster

William Parry Rees was a man who died too young, but lived long enough to view an American tragedy.

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Funeral arrangement for William P. Rees, photographed by Edwards Brothers, 162 and 164 Main Street, Johnstown, Pennsylvania. Ann Longmore-Etheridge Collection.

This wonderful funeral cabinet card includes a photograph of the deceased William P. Rees, as well as date of his death (4 March, 1891) and his age (“23 years and 4 months”). It also features the interesting inscription “A.O. of K.M.C and K. of G.E.” The first denotes the deceased’s membership in the fraternal society Ancient Order of Knights of the Mystic Chain. The second refers to his membership in the Knights of the Golden Eagle, a fraternal organization founded in Baltimore, Maryland, in 1872. The orders’ original objectives were to help its members find employment and aid them while unemployed. Membership was open to white males over 18, without physical or mental handicaps, who were able to write and to support themselves, were law-abiding of sound moral character, and of the Christian faith. There was a female auxiliary called the Ladies of the Golden Eagle.

A splinter group of the Knights of Pythias, the AO of KMC was founded in Reading, Pennsylvania, in 1870. According to a website about the order, “Though it seems to have been quite popular in PA, it doesn’t seem to have made much headway outside of that state—it is not listed among the top forty fraternal orders in the world almanac of 1896 and probably had no more than 10,000-15,000 members at its peak. Like most small orders, it did not survive the Great Depression of the 1930s.”

Another site about the AO of KMC states that “This group was founded in 1871 in the traditions of King Arthur and the Knights of the Round Table. Amongst the founders were freemasons and Knights of Pythias. Some of the characteristics of this order can be traced to these two groups. The Knights of the Mystic Chain has three degrees: Knighthood, Mystery and Chivalry…. There was also a separate paramilitary uniform-rank and a degree for women: Naomi or the Daughters of Ruth. In 1889, the order started to work in insurance, however it never grew larger. At its top it had around 40,000 members. It disappeared in the first half of the 20th century.”

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William Parry Rees

William Parry Rees, the deceased young man who belonged to both of these groups and from whom these flowers—and possibly funeral expenses—presumably came, was born in Cefn Bychan, Denbighshire, Wales, in about 1866. He was the son of Baptist minister Llewellyn Rees (b. October 1835, Glyntawe, Breconshire, Wales) and his wife Elizabeth Edwards (b. 7 June 1839, Ystradgunlais, Breconshire, Wales, daughter of Edward Edwards and Elizabeth Parry), who wed in 1861. His elder brother Henry E. had been born in August 1863 in Carmarthenshire; his younger sister, Kate W., was born in Cefn Bychan in 1869.

The 1871 Wales Census places Elizabeth Rees alone at the address 1 Cefn Bychan, with her young children. The enumerator names her as head of household, but also notes in a scribble that the missing Reverent Rees “is abroad.” Cefn Bychan (“Little Ridge” in Welsh) is part of the larger community of Cefn within the County Borough of Wrexham. The area was heavy with iron, coal, and sandstone—therefore quite industrialized, with mining, blast furnaces, forges, and stone cutting aplenty.

The Rees family had crossed the Atlantic to the United States by the early 1870s. This is made clear by the 1880 census of Millville, Cambria County, Pennsylvania, which recorded the birth another son, Llewellyn, Jr., in Texas about seven years before. Further evidence in the 1900 census narrows the emigration year to 1871, probably just after the Welsh census indicated the Reverend Rees was abroad. Chances are that he was already in America and that his wife and children followed when the way had been prepared.

Sadly, the Rees’s daughter, Kate was not to long enjoy her new life in America. Eleven-year-old Kate and her seven-year-old brother Llewellyn both died 11 November, 1880, certainly from infectious disease, and were buried in Johnstown’s Grandview Cemetery on 13 November. It must have been a terrible blow to Elizabeth and Reverend Rees. Like many grieving parents, they tried to replace the beloveds they had lost. The following year, 42-year-old Elizabeth gave birth to a daughter they named Edith. Elizabeth fell pregnant again in 1882, but the child died at birth. Grandview cemetery recorded the burial of a “Son of Elizabeth Rees” in the same plot as other Rees family members. Mysteriously, that interment did not take place until 1890, although the death had occurred eight years earlier, suggesting the infant was first laid to rest in another location.

Both Reverend Rees, his eldest son Henry, and second son William (whose professions were listed as railroad engineers), appeared in an 1887 city directory for Johnstown, living in Elk Street, Morrellville, a borough just outside of the town. They and the rest of the Rees clan were shortly to witness one of the most horrific disasters in U.S. history—the apocalyptic flood that devastated Johnstown on 31 May, 1889. The catastrophe resulted from the failure of the South Fork Dam of the Little Conemaugh River, 14 miles upstream from the town, killing 2,209 people.

“The South Fork dam held back Lake Conemaugh, the pleasure lake of the South Fork Fishing and Hunting Club, a prestigious club which included such famed entrepreneurs as Andrew Carnegie and Henry Clay Frick on its membership rolls. Officials there feared the dam would fail…. The lake was a little over two miles long, a little over a mile wide at its widest spot, and 60 feet deep at the dam itself,” wrote Edwin Hutcheson in Floods of Johnstown.

The flood was described by Hutcheson as “a body of water which engineers at the time estimated moved into the valley with the force of Niagara Falls. [It] rolled into Johnstown with 14 miles of accumulated debris, which included houses, barns, animals and people, dead and alive.”

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Main Street, Johnstown, Pennsylvania, after the 1889 flood.

There are a number individuals surnamed Rees who died in the Johnstown flood, but none of these were definitively related to the Reverend Llewellyn Rees family. In fact, the 1889 Johnstown directory denoted men killed by crosses typeset beside their names. Reverend Rees is included in that directory—sans cross—as the pastor of the Baptist church in Morrellville. The same directory includes a lengthy news account of the flood and notes that “Morrellville…escaped with slight comparative loss, and the same is true of all towns farther down the river, but the people of these had the exciting and heart-rending experience of rescuing many that had floated down from Johnstown, and of seeing others go by without being able to assist them.” The reverend and his sons would almost certainly have been amongst the rescuers who tried to save people during the flood and who searched for survivors and victims in the aftermath.

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Men removing a body from the debris after the Johnstown Flood.

On 4 March, 1891, less than two years after his town was decimated, railroad engineer William Rees died of as yet undiscovered causes—as young has he was, infectious disease or accident are surely to blame. He was buried several days later in the Grandview Cemetery Rees family plot.

In 1893, the Johnstown directory listed Reverend Rees at 234 Fairfield Avenue. His eldest son Henry, also resided in the house. The reverend and Henry were listed at the same address in 1899. With them was Elizabeth Rees and Edith, still a student.

The 1900 census of Johnstown placed the Reverend Rees and his wife alone in their home. Eldest son Henry was in Johnstown, but had a new home with his wife Esther Cole, whom he had married in 1896. Esther had been born in Wales in December 1871 and had come to America in 1897. If the marriage date of 1896 is correct, it implies that Henry had returned to Wales and there found a bride. Also living with the couple was Esther’s niece, Mary Cole (b. January. 1888, Wales), who had emigrated in 1898 or 1899. In 1901, the couple had a son whom they named Ralph E. Rees. Esther Cole Rees died 27 February, 1908.

The Reverend Rees died 15 March, 1911, and is buried at Grandview. Daughter Edith Rees, became a school teacher at the Bheam School just down the street from the family home, remained with her mother, Elizabeth, until at least 1920, when both women are recorded together on the census. Elizabeth Rees died of a cerebral hemorrhage 3 September, 1922, and was buried at Grandview three days later.

Henry Rees appears on the 1910 census of Wilkensburg, Allegheny County, Pennsylvania, as a 47-year-old widower and a laborer at the Westinghouse Air Brake Company. His wife’s niece, Mary, also dwelt with Henry, probably caring for his son, and may have doing so since his birth. Ralph would eventually go west to Billings, Montana, appearing on censuses there after 1930. He married a woman named Beatrice and had at least one son and two daughters.

Daughter Edith also went west to Kirby, Big Horn County, Montana, where she married William H. Furman (24 Nov., 1874-22 May, 1955). Edith died 5 January, 1971. Ω

Freddie, My Love

“Oh, Mrs. Crane, he looked so pretty. He looked as if he was asleep and dreaming a very pleasant dream.”

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A partial letter from “Julie” to “Mrs. Crane,” single page with black borders, page one. Ann Longmore-Etheridge Collection.

I have in my collection this incomplete letter from the mid- to late 1800s written by an American woman named Julie who had endured the loss of her fiancé, Freddie. Julie’s letter was for another woman—her elder and probably close family friend, Mrs. Crane.

Julie and Freddie were young, possibly in their teens. Julie was quite literate, but her writing contains numerous errors, phonetic spellings, and a general disuse of commas, full stops, and quotations that is endemic to the era. I have corrected her mistakes and added modern punctuation in the quotes below.

“I sat and looked at him all night,” Julie wrote at the top of the single page, recalling the aftermath of the passing. “So many spoke of his smiling and happy beautiful countenance even in death. He looked too beautiful to bury.” She then hopped backward in time, writing, “He was sensible until two minutes before he died, but whether he realized he was really dying, I know not.”

Next she confides in Mrs. Crane, “About two hours before he died, I sat crying and he looked at me. I said, ‘Freddie darling, how can I give you up?’ He raised his hand and said ‘Oh, Julie, don’t.’”

Don’t? Don’t weep? Don’t imply that he was dying? Don’t tarnish his “good death” with female hysteria? Perhaps Freddie’s command was more prosaic: The dying man needed to move his bowels. “[H]e wanted to get on the chamber [pot] and I asked him if I should tell his mother. He said, ‘Mother is weak.’ I said, ‘Freddie, shall I help you?’ He said, ‘Yes, please,’ so I [assisted] him,” she next wrote. Of all the letter’s painful details, this strikes deepest—a heartbreaking intimacy, demanded by circumstance, between a couple who may never have seen each other unclothed.

This passage also raises the question of what killed Freddie at an early age. It could have been tuberculosis (“consumption”) and it is easy to ascribe it as the likeliest cause, but Freddie mentions that his mother is weak—potentially recovering from whatever disease her son then had. Possibilities include cholera, dysentery, typhoid, influenza, yellow fever, and malaria. However, many of these, including consumption, fail to leave a corpse too lovely to put in the ground.

Julie continued, “All that week he could not bear to have [me] out of his sight. I stayed by him all that week, night and day, until he was buried. The last night I [sat] up and kept cloths on his face.” Here, Julie may have meant she placed cold cloths on her fiancee’s visage to keep it from discoloring before the funeral.

In 1891’s Polite Society at Home and Abroad, author Annie Randall White noted, “When the funeral is held at the house, the family do not view the remains after the people have begun to assemble. Just before the clergyman begins the services the mourners are seated near the casket, the nearest one at the head, and the others following in order of kinship. If it is possible, they are placed in a room adjoining, where the words of the service can be heard. They are thus spared the pain of giving way to their grief before strangers. Those who are present should look at the dead before they take their seats for the service, although it is customary for the master of ceremonies (usually the undertaker) ere the coffin lid is closed, to invite all who so desire, to take a last look, ere parting forever.”

“Oh, Mrs. Crane,” Julie wrote, “he looked so pretty. He looked as if he was asleep and dreaming a very pleasant dream. I think some day I shall see him again where there [are] no more partings.”

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Although this real photo postcard may date from as much as 60 years after his death, it illustrates a home viewing in about 1905 that may have differed little from Freddie’s. White lilies drape the coffin and the table beside the young man, who is likely a son of the house, but possibly a young father. He rests in his casket, nestled in bright white crinkled satin beneath a canopy a black netting edged in white. Above him are twin hand-colored portraits painted over underlying photos. At left, the planter is of art nouveau/craftsmanesque style, perhaps a red base with trails of blue. Ann Longmore-Etheridge Collection.

After Freddie’s burial, Julie remained with his family. “I am here at his home yet. They seem to think the world of me. His father said I should stay with him as long as he lives but I don’t know. Sister Mary was married the 24th of last month to a Frenchman. My sister Emiline died in August. My cousin died in August—she had been married 8 months. My brother-in-law that lived near us died 1 year ago this month with….”

And there, maddeningly, it ends, leaving little more to note than the hope that Julie found love again, established a family, and lived a full life. Time’s window closes and we must move on, so very much against our wills. Ω

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Julie’s partial letter, second page.