HomeMy WebLinkAboutEM37 Cemetery East MarionBUILDING-STRUCTURE INVENTORY FORM
DIVISION FOR HISTORIC PRESERVA TlON
. NEW YORK STATE PARKS AND RECREATION
ALBANY, NEW YORK (5) R) 474-0479
FOR O.FFICE USE ONLY EM-J7
UNIQUE SITE NO. --=-~~___
QUAD ________~~________
SERIES _~=.-:;.;;:====__
NEG . NO.
YOUR NAME: Town of Southold/SPLIA DATE : September 1987
YOUR ADDRESS : Town Hall, Main Rd. TELEPHONE: 516 765 1892
Southold, LI, NY 11971 .
ORGANIZATI.ON (if any): Southold Town Community Development Office
• • • • • • • • • • • • • • • • • • • • • • • • • • • • •
IDENTlFJCATlON
I. BUILDING NAME(S}: East Marton Cemetery
2. COUNTY: Suffolk TOWN/CITY: Southold VILLAGE: East Marl.on
3. STREET LOCATION:~_e_n~d__o_f_'_C_e_m__e_t_e_r~y__R_d__.~,_a__t __L_a_k_e__M_a_r__l._o_n__~____· __
4. OWNERSHIP : a. public 0 h private 0
5 . PRESENT OWNER : E. M. Comm. Church ADDRESS: ivIain Rd.! East
6. USE : Original : __c_e_m_e__t_e_r~y_________ Present: ceme"'eery .
7. ACCESSIBILITY TO PUBLIC : . Exterior visible from public road : Yes ~ No 0
Interior accessible: Explain ~y=--e_s___----.,.____---=-,---=-
DESCRIPTION
8. BUILDING
MATERIAL :
9. STRUCTURAL
SYSTEM:
(if kmwn)
10. CONDITION :
II. INTEGRITY:
a. clapboard 0
e. cobblestone 0
b: stone [l9
f . shingles 0
c. brick 0 . d. board and batten 0
g. stucco 0 other :__--:-_-:-=,.--~
a. wood frame with interlocking joints 0
b. wood frame with light members 0
c. ma sonry load bearing walls ~ mausoleum.
d. metal (explain) -:-::-.:L:-:--:~-----------':'-------~:"":-'---
e. other gravestones
a. excellent U b. good 0 c. fair 0 d. deteriorated 0
a. original site 29 b. moved 0 if so,when?
c. list major alterations and dates (if known): -------------':.:=-:~~
12. PHOTO : neg: KK 11-15, fm S 13. MAP : NYS DOT composite
Greenport and Orient quads.. ~~-'--"~-
.. .
'-:. ...... ..
~
" .... ~:,I ...
~. ...
It
10
14. THREATS TO BUILDING: a. none known KJ b.'zoning 0 c. roads 0
d. developers D " e. deterioration 0
f. other: ___.___~_-,-_-,-_________
15. RELATED OUTBUILDINGS AND PROPERTY : . .
a. barn D . b. carriage house 0 c. garage 0
d. privy D . e. shed 0 ,f. greenhouse 0
g. shop 0 ' h. gardens 0 ' .' ' .
f. landscape fe atures: borders Lake Mar10n
j . other : hand pump, f1eld cannon.
16 . SURROUNDINGS OF THE BUILDING (check more than one if necessary):
a. open land ~ b. woodland ~
c. scat tered buildings 0 . .'
d.den -sely bUilt -up 0 . e . commercial 0
f. industr.ial 0 . g. residential ~
h. other: large ' lake
17 . ' INTERRELATIONSHIP OF BUILDING AND SURROUNDINGS: '
(Indicate if building or structure is in an historic district) .
Located south of Main Rd .. on a narrow lane that ends at
Lake Marion, the small cemetery is surrounded by scat
tered buildings of varying historic date, and is directly
south of the 1886 East Marion Chapel. (EM-38) .
18. OTHER NOTABLE FEATURES OF BUILDING AND SI~E. (including interior features -ifkno.vn):
Gravestones are predominantly 19th and early 20th centuries.
A seperate section at the west side ,of the property is
devoted to those who served -in WWI .and WWII with a com
memorative field cannon as a memorial. Notable granite
mausoleum with elabOrate bronze doors . ,' (neg: KK I1-16)
. SIGNIFICANCE
19. DATE OF INITIAL CONSTRUCTION :__-,p,,-r_1_'o_r_t_o_l_8.!.-7.:;..3...,:.,_1_8_1.j:"""5c-*_· -'-'_.,...,.,-.,--_:!
HISTORICAL AND ARCHITECTURAL IMPORTANCE :
"Whil'e this cemetery is , not visible from Main Road, it never
the':"less contributes to the historic -'ambience of the area.
(Mark Rothko, the prominent art'ist, ~~s buried here in 1976.) It .
, .. ~7 ~ '. . •
SOURCES: Permanent New Yorkers. Culbertson e.riSf ' Randall -1987 • .
R.M. Bayles, Historical-and Descri tive Sketches of .
Suffolk County, 1 7 , p. 3 5. Beers, Comstock, Atlas of L1,
. , / 1873. .. .,t _
fHEME...*Interview, Mrs . ,Preston , East Marion, -12/87
Form prepared by Kurt Kahofer, research assistant .
... ' . 't
East Marion Cemetery
Cemetery Av e ., East Marion EM-37
Miller-Mosback
Mausoleum, f m.
NW, ne g : KK 11
16.
Grave marker,
fm SE, neg : KK
111-5.
C HAP T E R 20
East Marion
and St. James
And what of the dead? They lie without shoes
in their stone boats. They are more like stone
than the sea would be if it stopped. They refuse
to be blessed, throat, eye and knucklebone.
-ANNE SEXTON
EAST MARION CEMETERY
Mark Rothko seems out of place in East Marion Cem
etery. It is not just the quiet sense of small-town life which
pervades much of the northeastern fork, but also the anti
quity of many of the stones here. Perhaps the scorn would
be mutual. What would the abstract artist, whose later
works were all black, think of a marble ribbon with "Our
Little Willie" carved on it? And how would the Victorians
respond to a plain boulder with just Rothko's name?
Rothko's monument is not difficult to find. Take a right
off Route 25 onto Cemetery Road and follow it around .
Proceed onto the left side of the cemetery . Soon you will
see the marker of this talented but tormented spirit:
MARK ROTHKO (Marcus Rothkowitz) b. September 25,
1903, Dvinsk, Russia; d. February 25, 1970, New York
City. Mark Rothko's strongest memory of his Russian
childhood in the Jewish Pale was that of a Cossack on
horseback sweeping down on him, sword in hand, ef
fecting another pogrom . Yet most of his oldest friends
would discount the Story -not to suggest that such hap
penings did not occur with all-too-great regularity in
czarist Russia, but rather that his family history and that
Opposite: Stanford White
Permanent New Yorkers
Culbertson and Randall, 1987 267
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o f D vinsk did not tx-Jr o U( the memory. Yet th is memory,
born of horror StorieS o f pogroms past and present, as
well as o f the anxiet), of sWift .nd sudden dea th, stu ck
With the young ho)' as though it had h appe n ed.
I ndeed there we r e few fond mem o ries. If the pogroms
were not unnerving en o ugh, yo ung f>larcus had t o fa ce
a hostile worl d without his fa ther. The cIder Rothkowitz
emigrated to POrt land , Oregon, in 1909 so he m igh t
prl.'p:lre f or hi.s (;jIllil), to j oin him. To avoid COnscription,
the two o ldest bol's jOin "d their father two years lat er.
Marcus md h is m o t her f Ol lowed in 19 13, Sudden death
was n o t kft b eh ind. Marcus' fJther died se ven months
after the bor's arri val in Po rtl and. Now th e w h o le family
Iud to pitch in tosurvil'e, and Marcus hawked newSfYJpcrs
after school. He w o uld bIer compbin that he had had
n o Chi ldhood. \X 'ith a yO ut h marked by dea th , fea r , and
sc'pa r ati o n , it is lil!k wonder t hat h e felt this way.
Rothkow it z adapted quickly to his ne w co untry, co m
pleting high Schoo l i n three years and el1lering Yale in
192 I. Influenced in high school by the writings and ac
ti ons of Emma Go ldman, he became a pa.<;.S iOflate defender
o f unio nism, a cause which he ca rried to Yale. Such in
te re sts did l i l!k to endear him to his predominantly
w e.lth)', WASPish c las smates and on l y f urt h ered t he
OStraCism experienced by most o f the Jews o n ca mp us.
Upon gradua ting in 1925 , Rothkowitz quickly headed
for Ne w York. There he first took up theater (Cbrk Gable
was once his understudy). U!l.Jble to land a SUccessful role,
and enchal1led by a female model i n a life drawing cla ss,
he turned his al!entio n to art . EnrOlling at the An Stu
dent's League, he studied briefly und er Max Weber. Th is
was the beginning and end o f his fOrm al training. Although
he liked to th ink o f himself as an autodidaCt, h e was
st r ongly influenced by Milton Avery, w h o, th ough 15
years h is senior , took yo ung Rothkowitz in as part o f his
ho usehold and {fe-,iled him as an equal, even allOwing and
giving snious consideration to the yo unger ma n 's crit
icisms . Fr om Avery, RO thkowilz learned mUch about
color ; he also borr owed from Ave r y's distorted figures.
Weber COntinue d to be an influence during th is period,
while other Ro thkowitz paintings took o n a strong
resemblance to th e work o f Cezanne.
R'(4:tkoWitz' search f o r a personal Style was marked by
a rig O({;:"5 int ellec tUal search as well. A voluble, ebullient
personality, he lo ved to mee t With f eUow artists and
discuss and dissect the l ates t the o ries and trends. His own
read ing Centered mOst prominen tl y on Nietzsche, Aeschy
lus, and Shakespeare. It was in mUSic, however, th at m os t
East Marion and 51 . Jam es
elusive o f an forms, th at Ro thk owitz f o und his greatest
inspiration an d comfort. He re veled in the musi c o f
Moart, particularly in the trage dy and sublime be:luty o f
DOli Giovanlli. It was a combination he would try to
emubte on canvas .
In 19 38 Rothkowitz o btained his citizenship. Several
years lat er he short ened his name to Rothko. Aro und th is
tim e h e al so obtain ed a d ivorce from his first wife, Edith,
thus ending an unhapp y m ix o f personalities. In 1944 he
met Mary Ali ce "Mell" Beistle, an aUractive 23-year-old
illustrator. Married the fo ll owi ng March, they had two
Chi ldren : Kate, born in 1950, and Christopher, born in
I %4. It was Kate who was bter to pby such an instrumen .
tal role in su ccess full y suing for the proper d isposi ti o n
, o f her father's estate.
Du ring the thirties and forties, Rothk o 's artistic in
flu ences Shift ed from European expressionism to Sur
re alism, and th en to abstract expression is m. He attracted
increasing n ot ice through group shows and then one-man
shows. Ily the l ate forties he was entrenched in his abstrac
tion ist St yle, and by 1952 he was one o f 15 Americans
w ho exhibited at the Museum of Modern Art , each given
a room o f his or her own. Such success proved tOO much
fo r the sta r ved artist i c egos, and soon pelly disputes arose
tearing o ld fr iendshi ps apart forever. As arc histOrian Sam
H unter put it, " T houghts of enshrinement had entered
th ei r heads. It was a question of who would be bishop,
who wo ul d be pope."
Throughout th e fifties and sixties Ro thk o's prestige con
tinu ed to grow, lead ing to commissions for murals from
Seagram and H arva rd , which he executed brilliantl y. Con
comitant with this f am e was a gen era l rapid rise in the
p rices f etched by work s of an. Staning in the fifties, an
becam e incre:lsi ngly recognized as an excellent invest
ment. The wea lthy and would -be wea lthy o utbid eac h
otht'r and drove up prices enormously. Rothko gained
from th iS, o f cou r se , but n o t as m uch as he should have.
Like many o f his fell o w anists, he was an innocent i n the
world o f fin~nce and preferred to stay that way. They
fdl prey to th e seductive murmurings and flallery of ac
countant Bernard i{eis and Marlborough Gallery owner,
Frank Ll oyd Despite thei r ass uran ces o f international ex
poSure, substa nti:ll guaranteed in comes, and l ong-term
security fo r the artists' f ami li es, these men were OUt
primarily to line the i r already bulging pockeLS and pamper
their already weU-stroked egos. It was only through Kate's
p er sis tent co urt actions after her father 'S death that the
269
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I.
LOllg Island
true depths of their sGndalous nuchinations we:re n:
vealed, and the family W:15 restored its appropriate share
of the eState:.
Wilh lime: ROlhko's brooding SiJ,-ic predilections
det'[>cned and bt'came: more apparent. Ill' Ihe sixtic:s he
was seriously abusing alcohol as well as various tran
quiltzers and mood t'inalOrs , It W3S not only his nature
and Iht" dt"m:mds of his work that blackened his oUllook,
it W;<$ a delerioralion in the falllily its<.:lf. His marri:lge was
in trouhk , and .\kll was abo drinking ht"avily Further,
RUlhko ft'il unable: 10 fulfill h is part"ntal responsibilties .
OUl side Ihe famil)', his dealings with Lloyd and Reis in
cn:as<:d ROlhko 's inmle suspici u usne:ss .
In 1968 ROlhko suffert"d an aneurism. His recovery was
slow and ma rkt"d by an increasing reliance on medica
ti o n . T o add 10 his misery. he co ntinued to be pbgued
by go ut. Rdusing Iht"rapy and taking r<.:fuge: in drugs,
al co h o l , and st'if-pil)', ROlhko's muod swirlc:d in an ever
quic'kening dt"s ct:nt . Somctim<.: in the early hours uf
Febru:uy 25. J 970 , 31 0nc in his studio, Rothku slit his arms
al the elbuws and hkd to dt'"Jth, He \\':15 buried three days
iJle:r in Ihe family pl o t of the artist Th<.:udoros Stamos in
EaSI Marion.
While sOllle see his ahstractions as repetitive intellec
tual or de:coralive siudies in color, ROthko never felt that
he was aband o ning the realm of the spirit. He: wrote
.. Rather be prodigallhan niggardly . I would sooner con
fer anthropomorphic attributes upon a stone, than
dehumanize the Slightest pOSSibility of.consciousne:ss."
His sense and display o f colOr is extraordinary. The can
vasses glow with an aura, wilh a spirit. Horizontal bars
o f color nOat in reiation 10 olher eolors and create ten
sions which, according to Robert Goldwater, are "close
l y akin to violent 5<.:1f-control." ROthko's crowning
achievemenl is his chap<.:l in Houston. There his large
somber paintings creale a feeling of peace, awe, and deep
emotion . Some people cry, olhers sit in reve rence. There
Rothko achieved Ihe combinalion of sublime beauty and
trage:dy Ihal he so admired in Mozar t.
While you arc al East Marion, you may want 10 take
a loo k at some of the midninetecnth -cen tury markers .
These are localed down the ro ad fr o m ROlhko and on
th e 'G(1(:r side .
Thd;" i; a nice bas-relie:f of a lamb resting between IWO
trees o n a monument erecled to a child who appears to
have died in 1859 at age 2. Unforlunately the sugaring
of the marble is so bad that il is difficult to make out any
270
identifying information.
In the Sherrill plot is another common symbol for this
time , disembodied clasped hands. They are on the
graves lOne of Darius Sherrill. who died in 1858 at 28.
His bro ther Charles M_ Sherrill died in 1863 at 26, "Lost
in the Sinacle Delaware on Cape Cod." The monument
shows an anchor and the words, which were meant to
be comforting, "Early heaven with Early death_"
The plot of the Mulls gives a touching family saga. The
monuments get progressively larger , from the infant
daughter who died in 1868, up to 3-year-old "Our Darl
ing May" in 1879. Her nower-decorated scroll implores,
" Papa -Mama Come." Mama, Harriet Mull, came twO
years later in 1881 at 42, "Gone to see her darlings ." The
last member of the family, Papa, Benjamin E. MuU, joined
the others in 1891 at 54.
In the same area, baby Joseph Madison, who died in
1860 at age I, has a hand pointing up to a blossom atop
his stone and the melancholy observation:
So fades (he lovely blooming Oowe r,
Frail smiling solace of an ho ur.
So soon our Irwsienl comfo rts Oy ,
And pleasure only blooms 10 die .
Nearby is a more upbeat sentiment on the marker of
Daniel C. Brown (1842-1885) and Celia E_ Brown
(18 '19-1871). Their epitaph re~ds :
In lobar and in love allied.
In dealh they sleep here side by side .
We mourn our loss Ihough I'is (heir gain,
For ChriS! shall raise Ihem up again.
271
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Long Island
Circling around the cemttery as y o u I...-Jve, you will see
a number of artillery conts with a onno n . Veterans of
various wars are buried together in this pleasant corner,
the circumstances which brought them to this company
long forgotten .
ST. JA.~ES EPISCOPAL CEMETERY
Proceeding due west down Long Island on 2SA, you
will come to another quiet cemetery, this one in the com
munity of SI. James . It is behind the Episcopal Church
and is attractive bo!.h for its plantings -azale:l.S, forsythia,
COnifers, weeping willows -and its best-known inhabi
tant , Stanford White. The graves are placed throughout
at random, as if seeds had been broadcast by a very large
hand and stones sprung up where !.hey landed . The stones
are nearly all plain : Florence Thompson (1890-1960) has
an ink pot with a quill pen etched on hers, and that of
an infant in the Smith family shows an angel bearing away
a child. OtherWise, except for some celtiC crosses with
swirling designs, the ke)' is simplicity.
Stanford White 's famil y plOt is on the West half of the
horseshoe road , halfway back . It is sheltered in an alcove
of evergreens . The tali monument to his wife and himself
has a shell motif.
STANFORD WHITE b November 9, 1853, New York
City; d . June 25, 1906, New York City. Stanford White
was born at a time when the New York City skyline was
dominated by church steeples . By the time of his death,
buildings of finance and empire ruled the view. The sym.
bolism can be taken quite literally. In those SO years
churches had lost their hold as focal points of morality
and the organizers of SOcial life. In 1900 Broadway ruled
!.he entertainment world and Fifth Av enue the social whirl.
Those worlds overlapped in the private parties of the
richest and most famous men of the day, many of them
self-made milliOnaires . " Floradora" girls and other chorus.
line figures were their frequent guests and paramours. If
one was discrete, these liasons were acceptable . It was
a world and a time that gJillered with wealth and begged
for Style, and no man was beller equipped or more anx
ious to supply that style than Stanford White.
White was a stOcky man with square features and in
tense eyes . His moustache and close ·cropped red hair
bristled as an indication o f his extraordinary energy . The
firm of McKim, Mead, and White was the dominant ar
chitectural f o rce of its day, and White was its most vis.
East },,/arion and St. James
ible member. His interests were manifold; his presence
ubiquitOus He set the standards, both public and private,
of taste. Money was no object, even if his wealthy c1iems
demurred . He designed public buildings, churches,
cstates, summer homes, apartment buildings, arches,
pedestalS, picture frames, and gravestOnes. Among his
contributions are the WashingtOn Square Arch, the doors
and porticoes of St. llartholomew's, lhe background and
landscaping for SJint-G;lUdens' Adams Memorial, MadisOn
Square Presbyterian Church (long since gone, it was
possibly his greatest work), and the Tiffany Building. His
firm was responsible for rebuilding the White House,
redesigning campuses at West Point, Harvard, Columbia,
the University of Virginia , and New York University, and
designing, at the company's expense, the Mall in Wash
ingtOn, DC.
White 's daily routines would have exhausted any twO
or three average men. Hearty, ebullient, and decisive, he
cajoled and encouraged employees, supervised projects,
originated designs, attended numerous meetings, gave
subst;mtial time to public projects, traveled whirlwind
tOurs of Europe to purchase furnishings and objets d'art
for his wealthy clients, belonged to the best clubs, went
to the races , the theater, and the opera; he hosted the
most famous and envied dinners in the tower of the
original Madison Square Garden (designed, of course, by
White). His guests might include Saint-Gaudens, Mark
Twain, Ethel Barrymore, Vice President Morton -in
short, luminaries from all walks. And always, for spice
and beauty, there were the girls. If the party did not last
all night White would often return to his office to sketch
out new inspirations. Next morning, the first clerk in
might find him asleep, surrounded by a sea of crumpled,
discarded designs .
White's energy and erudition were firmly based within
the family li nes. Starting with John White, an early set
tler and friend of Thomas Hooker, the line eventually
moved through a clergyman and a merchant to Stanford's
father , R.ichard Grant White, one of the leading literary,
art, a.nd musiC critics and scholars of his day . Richard was
intimate with the most famous authors. A skilled and pas·
sionate amateur musician, he formed a string quartet bear
ing his name, collected fine cellos , and filled his house
with music. lde.s floated through the home JUSt as en
ticingly . Abolition and civil service reform were sup
ported. Politics and the arts were dissected; o pinions were
expressed and formulated . Richard Grant White; was "an
273
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EM 37
Page 2,8A1J/l.e Suffolk Times/October 22 , 1987
Orient News
Something new and difTerent is
coming up at the Orient Congrega
tional Church this year to celebrate
Halloween . The Community Youth
Group is inviting members. old and
young, to attend an All-Church party
on Sunday evening, Oct. 25, from 7
'til 9 p .m. Come andjoin the fun. Cos
tumes not required .
Jessie Pemberton called to say her
daughter Marie has recently re
turned from 10 days in London and
surrounding environs. Marie, who
has the greenest of thumbs as evi
denced by the roses she grows, was
entranced by the gardens
everywhere, especially the most fa
mous of them all, the gardens of Sis
singham Castle. She stayed in a
fabulous hotel on the Thames, the
Royal Horseguards, and is prepared
to return at a moment's notice .
With the fall weather in the offing,
hunting is on the minds of those who
like it. Jay Bredemeyer is the hunt
ing safety instructor of the Oyster
ponds Rod and Gun Club, an<f11C'd
--like everyone to know that they are
sponsoring a hunting safety educa
tion course on Oct. 25 and Wov. 1.
Preregistration is required. You may
register at the Country Store or by
calling Jay at 323-2708.
Substance Abuse Week
Our area is marking "Substance
Abuse Week" from this Sunday, Oct.
25 through 31. As part of this most
serious of problems, nationwide,
members of the Orient Congrega
tional Church have invited Christ
opher McLaughlin, assistant director
of the Suffolk County Division of
Drug Abuse Services, to speak to us
about the problem at a meeting on
Tuesday, Oct. 27, at 7:30 p.m . The
date and time were chosen to coin
cide with the "Goofy Games" for the
young in Southold that evening. Mr.
McLaughlin is well equipped to
speak on substance abuse and to an-
Oysl e rponds
Orient-East Marion
Shirley Carlsson/323-2S71
Lois Thorp I 477-2392
Photo by Tom Randall
A 'Permanent N ew Yorker'
;:£Qrmanent New Yorkers," a new book by Tom Randall and Judi Cui::'
. be ~Qn, e_x~IQr~jfie-ce-meferies otN~~_Yod<-City -and Long Island . ~
Shown is the East Marion grave of abstraCt expressionist"artist Mark
Rothko.
traveled
grandpa
Beebe, t
anniver:
given a l
of his ~
Paul M
married
East,
The fo
at the n
Craft Cl ·
presiden
presiden
Rabb, Sf'
surer. L
man WI
Dzenkov
man. H e
Jardine
ing. The
ing craf
Christm
Pamel
weekenc
Buena \
wife Lin
for a b
grandfat
day Oct.
dale vis
Martin,
the week
TheE
and the
soring a
trict's Cl
sixth gr
from 2-£
special t l
all his
games a
refreshrr
good tim
Peter
home in
ing the ~
I' II
on Soutl-
Recen
were J
daughte