ProfileBy Patti Martin Bartsche

B oasting the final resting places of more celebrated artists and thinkers than any otherlocation in the world, the cemetery has, in the last century, become a pilgrimage site forvisitors from all over the world to pay their respects. It is also a magnificent open-air

museum of sculpture and architecture, representing the first revolutionary design in memorialparks and the fourth most popular destination for the 65 million tourists who visit Paris each year(behind the Eiffel Tower, Notre Dame and the Arc de Triomphe).

In “City of Immortals: Père-Lachaise Cemetery, Paris,” Carolyn Campbell presents a first-personaccount of her more than 30 years visiting, studying and documenting Père Lachaise. Campbell’simages, complemented by those of renowned U.K.-based landscape photographer Joe Cornish,celebrate the novelty and eccentricity of the cemetery.

Released by Goff Books, the book focuses on the gravesites of 84 architects, artists, writers,musicians, dancers, filmmakers and actors. Campbell also includes several intimate “conversa-tions” with some of the cemetery’s high-profile residents.

We recently had a chance to chat with Campbell about her love affair with Père Lachaise, thecemetery’s “immortals” and the important role cemeteries play in society.

A City of

ImmortalsArguably the most famous and most visited cemetery inthe world, Paris’ Père Lachaise is a 107-acre labyrinthhousing an eternal “salon” of luminaries from the worldsof art, design, literature, the performing arts and more.

American Cemetery & Cremation • November 2019 21

When was the first time youremember setting foot in acemetery?

When I was 11, my mother toldme that we were going to attend mygrandfather’s military funeral atArlington National Cemetery.

What stuck in your mind aboutthat experience?

The pageantry: the horse-drawncaisson carrying my grandfather’scasket; the elaborate uniforms of thesoldiers with gold braid and shinyswords; the soldiers’ precision in foldingthe flag and the bugler playing taps.

Your first steps in the world ofdeath care began when youstarted a meditation practice ondeath and impermanence. Howdid that come about?

I studied with a Buddhist teacherwhose practice focused on being inthe present. He asked that I sit withthe question, “I am going to die; howdo I feel about that? Be open to whatI feel. …. Understanding penetratesdeeper and I would become moreaware and present in my life.”

My teacher wrote about thecertainty of death: “Death casts adifferent light on life. The morefully you relate to death, the morefully you relate to life. You areclearer about what is and isn’timportant, what can and cannot bedone, what is and isn’t meaningful… the more you accept death, themore you embrace life.”

I believe that in visiting PèreLachaise over several decades, I havenever felt more in the moment. PèreLachaise resident Honoré de Balzacsaid it best: “I seldom go out, butwhen I feel myself flagging I go outand cheer myself up in Père Lachaise… while seeking out the dead I seenothing but the living.”

Tell us how your first trip toParis came about.

Robert Wiles was the conservatorat the Corcoran Gallery of Art inWashington, D.C., where I worked.He moonlighted as a travel agentand came to me one day saying acancellation on a charter flight toParis had left him with a round tripticket, and did I want to go? Hewould only charge me the tax.Needless to say, I booked it.

How did you come to visit PèreLachaise?

An artist friend at a museumexhibition opening overheard that Iwas going to Paris for the first time. Heknew about my love of Oscar Wildeand told me about his ancestor, thesculptor Jacob Epstein, who createdthe monolithic tomb of Wilde in thecemetery. I had my first destination.

What were your initialimpressions?

I had no expectations, so I wasdelightfully awestruck by the sightsand sounds; the yellow and orangeleaves sharply contrasting with solemn

Opposite page: A romantic section ofPère Lachaise Cemetery. (Photo credit:Joe Cornish) Right: Carolyn Campbell,author of “City of Immortals.” (Photo credit: Marcel Wepper)

gray tombs and iron railings; thelight filtering through latticed treesabove with sunbeams spotlightingheadstones and sculptures; thecawing of crows swooping overhead,and the sweet trill of songbirds. Itwas an unforgettable, visceralexperience.

When was the next time youvisited the cemetery?

I returned the following fall in1982 when I commissioned Britishphotographer Joe Cornish to joinme.

How did the idea of the bookcome about?

It became a reality starting inSeptember 2018. Over tea oneafternoon with esteemed archi-tecture writer Michael Webb, whowas interviewing me about thegenesis of my illustrated map ofPère Lachaise for Form: PioneeringDesign magazine, I shared with himthe mock-up of my GPS tour appthat was in development. Hecasually asked, “You have so muchmaterial and so many great images,

why don’t you do a book?” Ha!What writer/photographer doesn’tdream of having their work publishedand shared with the world?

Well, my dream came true whenMichael introduced me to GordonGoff of ORO Editions who, afterreading my proposal, offered me apublishing deal through his GoffBooks imprint. And here we are.

Many books have been writtenabout Père Lachaise. How didyou set about creatingsomething different?

I have had a lifelong interest inhistory, artist biographies, cultureand design. The cemetery tappedinto all these passions, so I focusedon these topics as I started writing.

It was a privi lege and anadvantage interviewing manyindividuals who had a personalconnection to Père Lachaisewhether having worked there withknowledge of the fascinatingbackstory of the cemetery; orscholars who studied funeraryhistory, and friends or family whoknew an artist buried there. Their

input helped create a lively andintimate look at the cemetery that Ihave not found in other books. Iwanted to write a book that wasall-inclusive of history, design andphotography that was written froma first-person perspective, and thatfocused on the artists at PèreLachaise – elements that I had notfound in many other books aboutthe cemetery.

How long did it take to write thebook?

The book is a labor of love, threedecades in the making. I suspectfrom the first day I visited some 30-plus years ago, it was a twinkle inmy eye. But, more recently, I hadbeen working on chapter andoverall content development in awriting workshop led by LosAngeles author and poet TerryWolverton. Once Goff got involved,it took about three furious monthsto assemble my life’s work, if youcan believe it.

What came first ... the copy orthe photographs?

They were simultaneous. I beganinterviewing people in Paris from dayone and transcribing those conversa-tions, as well as jotting down myobservations and making drawingsfor the future map. The images JoeCornish and I took stood in as mymuse when I was not in Paris.

Do you have a favorite section inthe cemetery?

Yes. Several, really, but I alwayscome back to Division 11 (in TourOne) along Avenue de Lille, whichstretches along a hilly, tree-linedpath toward Chopin’s tomb. Itoverlooks the heart of theRomantic Section, the originalacreage of the cemetery designed in1804.

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Left: The City of Immortals map atPère Lachaise in Paris. Opposite page:The Grand Rond in Père Lachaise.(Photo credit: Carolyn Campbell)

Père Lachaise attracts morethan 3.5 million visitorsannually. Why do you think somany people are drawn to thecemetery?

No question it is because of itshistorical and cultural significance.No other cemetery in the world has asmany high-profile residents or thecollection of 19th-century architectureand sculptures. It’s literally anoutdoor museum of art and design.

What surprised you during yourresearch?

I was unaware that for centuriesburials had traditionally occurredeither within a church or in anadjacent graveyard. AlexandreBrongniart’s design of Père Lachaiserepresented a radical departure fromthat tradition, and it became arevolutionary model for futuregarden-style memorial parks.

It was also fascinating to discoverthat Étienne Louis Boullée, one of themost admired architects of the periodand Brongniart’s mentor, consideredthe commission to design a cemeterycrypt one to covet. He developed a

design philosophy for the funeraryworld that included “architecture ofshadows” – recesses cut into stonethat cast dark shadows in themoonlight. Boullée was also aproponent of the pre-Romanticcelebration of nature. This panthe-istic view led to the changes in theimage of a cemetery. It became a siteof divinity and no longer a frightfulplace filled with dead bodies.

You have said, “If the word‘necropolis’ means ‘city of thedead,’ then Père-Lachaise isindeed the City of Immortals.The deceased found within itswalls do not rest, but insteadlive forever.” Can you explain?

My book focuses primarily on theartists, writers and performers whohave left behind a legacy of greatworks of art. This is their immortality.

In the book, you have conversations with several of thecemetery’s “immortals.” How didyou decide who to feature?

For many years, I set a strictreading list for myself to only those

biographies of people buried in thecemetery. I was never at a loss forriveting stories. I also used ascriteria those individuals whom Iadmired for their creative processand their ability to surmount life’sstruggles or not.

Was Oscar Wilde an easy personto include?

Absolutely. I have always admiredhis wit and cultural significance as aplaywright, but, more importantly,his having the courage to take astand, at great risk, for his beliefs.

The book also includes threecustom tours ... why was thisimportant and how did youdecide which stops to includeon each tour?

Though there are prominent politi-cians, scientists and others resting inthe cemetery, I focus exclusively onthe creative spirits. And there are somany more. I added a dozen in thelast year to the map, GPS tour app,as well as the draft of the book.

I broke the tour into three sectionsthat I felt would give visitors an

American Cemetery & Cremation • November 2019 23

experience of the topography, clusters offamous tombs, and one’s hiking ability.Some tours are more strenuous thanothers. It was formerly called Mont Louisafter the Sun King and it rises to anelevation of 1,000 feet in some divisions.

Many of the photographs featured inthe book were taken by you. Canyou talk a little bit about how youwent about capturing the essenceof the cemetery?

Subjects and I seem to always have anexchange of some sort. A conversation ifyou will. It happens in my portrait workas well as with locations and objects. PèreLachaise always seemed to be telling astory. All I had to do was listen andobserve.

Even though I became familiar with theideal time to shoot: early morning or atdusk, and in the late fall and wintermonths, sometimes the most remarkableimages presented themselves as I washurrying down a path to the exit beforethe warning bell rang alerting me that thegates were closing. I’m surprised thatafter all this time I have never beenlocked in overnight due to my wanting toshoot “just one more picture.”

You have visited Père Lachaise anumber of times over the years.Have you learned something new,found something new, each timeyou’ve stepped into the cemetery?

Every single visit has provided a newexperience. I discover yet another of myfavorite, whimsical bat carvings on atomb; or an amazing chapel doorway; afallen headstone engulfed by a tree trunkthat seems merged in an eternal embrace.Nature creates ever-changing theater inthis land of the dead. Then there are thesurprising fellow taphophiles I meet. Inspringtime last year, I strolled with thedean of the American Cathedral in Paris,as well as a film location licenser whohad flown to Paris from Arizona for anindustry conference. Both made time tocommune with the afterlife and sharewith me their insights of the place.

At the end of the book, you pose aninteresting question: “Can eternitylast forever?” Have you been able toanswer that question to yoursatisfaction?

24 American Cemetery & Cremation • November 2019

Above: The tomb for Irish poet and playwright Oscar Wilde is located in Division89 in Père Lachaise Cemetery. (Photo credit: Carolyn Campbell)

I am sometimes torn seeing the decadent beauty of amonument covered in moss and streaked black by acidrain, or a toppled tomb sinking fast into centuries ofmulch and dried-up bouquets. Fortunately, the decision torestore a tomb is in the hands of the cemetery conser-vators. Many significant gravesites are protected througha historic designation in Père Lachaise, including those ofcomposer André Grétry, and artists Théodore Géricault,Auguste Clésinger, Camille Corot and Pierre PaulPrud’hon.

Pauline Duclaud-Lacoste, the great- great-grand-daughter of legendary French filmmaker Georges Méliès,spearheaded a successful crowdfunding campaign in early2019 to restore his tomb in Père Lachaise. Méliès was oneof the pioneering figures of film, who is often credited asthe man who single-handedly invented special effects inmovies. I contributed to that campaign and spread theword among my movie industry friends. So, I feelsatisfied that any of us can do our part assisting with“eternity lasting forever.”

What role do cemeteries, whether they are PèreLachaise or a small rural cemetery in New Jersey,play in society?

I find them positive and peaceful. A wonderful place forcontemplation – whether it be for a loved one who haspassed, or simply a quiet place to clear one’s head.

Having a location to remember a family member ishealing in the grieving process. I lost a dear friend severalyears ago, and after attending a funeral service for afriend’s son at the same cemetery where many of us werethere for support, I walked across the park and visited theoutdoor niche where my friend’s urn is placed. It wassweet and therapeutic as it brought me joyful memories ata time of sadness.

Cemeteries provide an important role not only for theindividual but for also bringing the community together asa whole.

There are people who consider cemeteries morbidplaces. What do you say?

It has never been my experience. It seems an old tropebased on too many horror movie scenes and society’s fearof death and dying.

What do you want people to get out of reading thisbook?

It gives me great pleasure to share the beauty andmystery of this place with others. The legacy of thecultural icons, rebels, intellectuals, innovators and rule-breakers buried there reminds me of the importance oftaking risks and giving voice to whatever creative contri-bution you leave behind.

Friends who have acted as my scouts when trying out draftsof the map and text describing the funerary symbols andarchitecture told me how their visits were vastly enriched byknowing what they were seeing. One said it was like having aprivate tour of a museum. That made my heart swell.

How has visiting Père Lachaise and writing thisbook changed you?

In my experience, the success of any creative endeavoror, life in general, is to stay open to what arises. Whatbegan over 30 years ago as a curious adventure to seekout the tomb of Oscar Wilde has resulted in my deeperappreciation for the works of classical musicians such asChopin, Bizet and Rossini, as well as the diversity ofwriters I encountered such as the Persian poet, SadeghHedayat, African American novelist Richard Wright andthe heroine of French letters, Colette. Lastly, to my greatsurprise I discovered the final resting place of RosaBonheur, the leading woman painter of her era. I firstencountered her magnificent work, “The Horse Fair” nowin the Metropolitan Museum of Art in New York as anillustration in my grade school poetry book. To this day, Iexpect the unexpected thanks to Père Lachaise. It makesfor a much more satisfying existence.

How can funerary art andarchitecture tell the story of a person?

The eternal staying power and drama of funerarymonuments appealed to the architects, designers andartists who contributed to the mesmerizing environmentof Père Lachaise.

Images of animals and objects lend uniquesymbolism: dogs signify fidelity, loyalty, vigilance andwatchfulness. For example, see the reclining hound at

American Cemetery & Cremation • November 2019 25

the feet of the famed lovers Héloïseand Abélard in Division 7 (TourOne). Lions and eagles mean courage(usually found on men’s tombs);white doves represent beauty; owlssymbolize watchfulness, wisdom orcontemplative solitude; turtles meanlongevity, patience or sloth. Animage of an hourglass with orwithout wings represents the rapidpassing of time. Wings attached tothe hourglass suggest the fleetingnessof life.

Graves of accident victims orothers whose lives were cut shortare marked by a broken column,tree trunk, or urn. An open book isthe human heart; a closed book is acompleted life. A curtain or veil is asymbol of passage from one type ofexistence to another; a lamp is asymbol of wisdom, faithfulness,and holiness; a harp is a source ofdivine music; a lyre is more playfulbut often has a broken string infunerary use. The angelic muse onChopin’s tomb in Division 11(Tour One) is playing a stringedinstrument.

I filled an entire chapter withimages and text about symbols. Ithink my next endeavor may be tocreate a treasure hunt for childrento use when visiting a cemeterywith their parents.

Earlier this year, you launchedthe City of Immortals GPS TourApp. Where did the idea comefrom?

It was the natural, online expansionof my foldout map. I learned a greatdeal when designing the app both onsite in the cemetery and at home onmy computer. Just ask me about thechallenges of logging accurate satellitecoordinates in a hilly, tree-canopied,mausoleum-filled site! I could nothave done it without the wonderfulsupport team at My Tours, based inNew Zealand.

Of course, there are other maps ofPère Lachaise out there, but theyweren’t very detailed, or available inEnglish, or they were difficult tonavigate. I wanted to make somethingmore user friendly.

Most of all, I made sure to incor-porate crucial elements in the app: an

image of the tomb one is looking for;precise written directions; and a brightorange pathway drawn in the onlinemap leading visitors to their destination.One doesn’t realize when they arrive inthis 107-acre labyrinth how difficult it isto locate a specific tomb in areas wheresometimes there can be 30 or moreheadstones crowded together. My goalwas to make the experience pleasurableand less confusing. However, in myown experience, sometimes getting lostis half the fun.

Do we have an obligation to helppreserve cemeteries?

Yes, we are all guardians, in myopinion. Cemeteries represent ourcommunal history. Many areendangered by pollution, vandalismand mismanagement.

Thankfully, there are those who care– and have the resources to help. Ittook the cooperative efforts of theFrench and Irish governments to repairOscar Wilde’s monument in PèreLachaise, which was being defacedwith lip prints from misguided fanswhose cosmetic kisses were harmingthe porous limestone sculpture.

In your visits to Père Lachaiseare there spots you return totime and again?

It’s always Aux Morts at the end ofthe main entrance Avenue Principale,then Colette, Chopin and Wilde.

What would people be surprisedto learn about Père Lachaise?

One can still be buried there.However, to qualify you musteither have a place in an existingfamily crypt, been born in Paris, orhave died there. •

26 American Cemetery & Cremation • November 2019

A variety of architectural stylings can befound in Division 28 at Père LachaiseCemetery. (Photo credit: Joe Cornish)

Digital Bonus:Explore more of Pére Lachaise in our

digital photo gallery:

www.acm-digital.com