Mr. Grumpy’s seething was replaced with grudging tolerance. He was still watching me, but if I played it cool, he would, too.
This Halloween, I will be the guest speaker of the Myersville-Wolfsville Area Historical Society, presenting on local ghosts and paranormal phenomenon. Whilst this part of Maryland is rich in folkloric creatures such as a flying monster called the Snallygaster, or the Veiled Lady—a sort of banshee who plagued the environs of South Mountain—neither these nor other similar tales are particularly believable or verifiable.
I will stretch as far afield as Antietam and Gettysburg for parts of my lecture, but one paranormal story, at least, will be from Myersville, and it is my own. I share it now knowing it could be as figmental as the ghostly forms that once circled above Frederick’s Rose Hill Manor, or the Christmas Eve Phantom Flutist of Emmitsburg, who purportedly plays, as he did in life, over his dead father’s grave.
The setting for this tale is the cemetery of St. Paul’s Lutheran Church, directly across Main Street from my home.
In a cornfield by the old Pry House in Keedysville, Maryland, the walls between September 1862 and today can sometimes grow thin.
On Tuesday, 16 September, 1862, farmer Phillip Pry, Jr., and his wife Elizabeth, née Cost, found that the Civil War was standing on their doorstep. Since the summer of 1844, the couple had dwelt happily in their imposing home, high on a hill, which Phillip and his brother Samuel had built on their father’s land. The road between Boonsboro and Sharpsburg ran along the foot of the hill, and as Philip and Elizabeth could see from their front porch, it had become an artery for the Confederate war machine. Soldiers in grey, wagons, armaments, ambulances, horses—for a day and night they moved past the Prys’ house in a kaleidoscope of pending misadventure.
The next day, the road was crammed with soldiers in blue trundling along with the Union Army’s horses, vehicles, and ordnance. They were headed to attack the Confederacy at Sharpsburg—a bloodbath now known as the Battle of Antietam. Shortly, the Prys’ home would be commandeered as a headquarters and a field hospital by no less than the flamboyant George Armstrong Custer. From that moment, the Prys’ bucolic life on the hill was over.
In the second half of the 19th Century, at the height of the Victorian Age, the union of photography and the supernatural spawned strange and enthralling results.
By Beverly Wilgus and Ann Longmore-Etheridge
Early in the practice of the photography, ghostlike images appeared on daguerreotypes, ambrotypes, and tintypes. The explanation for them was not supernatural: Because of the need for long exposures, in some cases of more than a minute, anything that moved whilst the camera lens was open went either unrecorded or appeared transparent in the final product. In 1856, Sir David Brewster (1781-1868), an important figure in photography’s evolution, described in his book The Stereoscope: Its History, Theory, and Construction the method by which amusing extras could be created in photographs. Brewster advised that sitters should be posed and after the majority of the plate exposure was finished, a new person should move into the scene and stay for the final seconds. This would result in a “spirit” presence.
Whilst Brewster clearly promoted this method for what it was—a trick—others with an interest in the expanding religion of Spiritualism saw ghost images as proof of life after death. It should be noted that the Victorians were not the only folk taken in by the callow exploitation of technology they did not fully understand.