One
of the key publications in cemetery studies, “Highgate Cemetery; Victorian
Valhalla”, is sadly out of print, but good second hand copies can be picked up online
for less than a tenner. Originally published
in the UK in 1984 by John Murray in conjunction with the Friends of Highgate Cemetery, unusually for a book on a single London cemetery, an American edition
was published by Salem House the same year. The public image of Highgate was
essentially created by Gay and Barker’s book and thereafter assiduously
marketed by the Friends of the Cemetery. There have been further books on Highgate, John Swannell’s 2010 book of photographs published by Hurtwood Press and
the Friends for example, but the view presented of the cemetery always sits
comfortably within the template set by Gay and Barker.
John
Gay was born Hans Göhler in 1909 in Karlsruhe, Germany. He studied art in Paris but. taking an interest in photography, returned home to try and make a career
for himself as a photographer. He left
Germany for good at the age of 24 in 1933, when Hitler became Chancellor and the
Nazi’s snatched power, and emigrated to London where he had friends. No doubt
the increasing hostility to Germans in the run up to the Second World War were
ultimately behind the decision to give himself an English name, but the reason
for his choosing the 18th century poet who wrote The Beggar’s Opera as his namesake is not clear; perhaps he had
seen the 1931 film of Brecht’s Die
Dreigroschenoper and was making his political affiliations clear? Like his
fellow national Bill Brandt, Gay became a successful commercial photographer in
England, taking striking portraits of the famous and documenting the daily life
of the country for the magazine market.
As
the cover makes clear this is a book of John Gay’s photographs, Felix Barker’s
contribution is merely an introduction. Barker was a successful journalist who
had become the youngest drama critic on Fleet Street at the age of 19. He was
also interested in art and architecture and as a sideline published books on
London’s history including the innovative “London
As It Might Have Been”, which looked at all the grand architectural plans
for the capital that never got off the ground. He was an inspired choice for
the text of the book. In a little over 30 pages he retails all the key
narratives that have since become the
story of Highgate Cemetery; its creation by Stephen Geary, its architectural
marvels, its unparalleled success as the premier Victorian cemetery, and its
decline into semi wilderness and eventual rescue by the Friends. As for its
inhabitants he tells us about James Selby the coachmen, General Otway, George
Wombwell, Tom Sayers and Julius Beer amongst others. We also learn about the Druce and Rossetti scandals but there is no mention of vampires or Satanism. It is a lively trot through the history of the
cemetery and sets the scene effectively for Gay’s photographs.
Gay’s
cemetery photos, particularly those he took of Highgate, are iconic. His is an
essentially romantic vision; he was clearly fascinated by the cemeteries return
to nature, angels wreathed in ivy, sometimes only a face or an upturned hand managing
to escape the sprawling vegetation, tipsy monuments seemingly on the point of
being toppled by tree roots, stairs covered in dead leaves, memorials imprisoned
in a thicket of saplings, collapsed tree trunks held up by cast iron railings.
Everywhere in the photos the work of civilisation, the human drive to
memorialise the dead, is being engulfed and obliterated by the twin forces of
time and nature. Whether he set the fashion or merely captured the zeitgeist,
his photos are now the prototypical vision of what a London cemetery should be.
The Friends expend considerable effort maintaining the cemetery just as Gay saw
it. Nature is only allowed to run rampant up to a point, then it is carefully
trimmed back, uprooted or cut; monuments must not be allowed to fall or be
damaged. Nature must be carefully held in check, its attempt to overtake the
cemetery frozen in mid course. It is a very tight balancing act.
If
you pay to go on one of the Friend’s guided tours you will get to see the
majority of the monuments and sites within the cemetery photographed by Gay. Very
little has changed since 1984 when the book was published. Undergrowth has been trimmed back to better reveal
some of the memorials and despite the best efforts of the Friends some
monuments have succumbed to the ravages of time or vandals. There has also been
some new burials – the tour guide will inevitably point out Alexander Litvinenko’s
grave after you have paused at James
Selby’s and might draw your attention in passing to Beryl Bainbridge. George
Michael is off limits though, one more of Highgate’s secrets carefully guarded
by the Friends.
No comments:
Post a Comment