Discover the solemn beauty of Quaker Settlement Cemetery through my lens, where intricate slate headstones whisper tales of early settlers, intertwining family lore with the artistry of marble willows
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A view of the Quaker Settlement Cemetery, taken from Jacksonville Road, NYS Route 143, on an early November afternoon.
Located in the town of Ulysses, New York there is a Quaker Settlement church a few feet further west on Perry City Road. I have Quaker ancestors, so took the opportunity to peruse the family names. The stones were unusually beautiful and touching, mostly local slate, some with intricate carvings.
Here is a headstone for two young people of the same family name. The white marble carved in the form of a willow, from the flowing lines and, knowing how our willows green up springtime, it calls to mind the same youthful greening as appropriate for two young people who lived 22 and 15 years.
Analysis of the dates, given in the following capture, tells the story of an young woman, a baby born 5 months after her death and who followed his aunt 15 years later.
Catherine A. Mattison Born 1792/1793, Death March 13, 1815. Lived 22 years. John Mattison, Death December 2, 1831, Born August 15, 1815 (5 months after Catherine’s Death), Lived 15 years, 3 months and 18 days.
I have a great aunt who also died young with a headstone naming her mother and father. Here is the granite headstone of Mary R. Daughter of George & Margarett Wills Died Oct. 3, 1886 Aged 20 years. Saint Mary of Assumption Cemetery, Sweetwater, New Jersey. My grandfather James Edward Wills was 9 years old at his sister Mary’s passing. He must have attended her church service and internment, standing at this spot.
Copyright 2024 All Rights Reserved Michael Stephen Wills
Here is the fifth in a series of photographs centered on the early history of space flight on Cape Canaveral mostly taken during a tour organized by the Cape Canaveral Lighthouse Foundation. “Google” the foundation for details of future tours. Here we explore the sites of the first launches on the Cape, Launch Complexes 1, 2, 3, 4. (LC 1 – 4).
From Vengeance To Space
Our bus proceeded east on Lighthouse Road past Launch Complexes 21 and 22 in less than half a mile we were within the first sites of the United States Space age, sites with the lowest numbers, LC 1 – 4.
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If, instead of distance, the bus traveled back in time 68 years to July, 1950 we would be witness to the first United States space launch of the two-stage “Bumper 8”, a former “V2” missile topped by a WAC Corporal that reached 248 miles above the earth, about where the International Space Station circles now.
The Nazi “vengeance weapon 2”, the V2, a device so horrifying British authorities claimed the first V2 attacks to be “gas explosions” rather than admit a Nazi weapon descended without warning. Beginning September, 1944, over 3,000 V2’s landed on London, Antwerp and Liège resulting in an estimated 9,000 deaths, mostly civilians. 12,000 forced labor and concentration camp slaves died in the construction of the production facilities captured by the Soviet Union during the collapse of the Nazis. These victims, arms linked, will form a circle 15.9 miles in circumference around the Bumper 2 launch.
The 21,000 V2 victims, linked arm in arm, make a circle 15.9 miles in circumference.
von Braun and key V2 personnel surrendered to the Americans and, along with enough parts to construct 80 V2s, were taken to the United States. His direction of US missile development lead eventually to the enormous Saturn rocket that lifted three men to the moon, so good came from our bet on vonBraun and the V2.
Observation Bunker
In January, 2018, firmly in the present, our bus approached these now “deactivated” sites driving down Lighthouse Road. Confined to the bus, I used my Canon EOS 1Ds Mark III and the EF 70-300mm f/4-5.6 IS USM lens to capture these scenes.
Looking across Launch Complexes 1 and 2 to Lighthouse Road and the tower. An observation bunker Observation Bunker from Launch Complex 3, looking across Launch Complex 1.
I can almost see someone behind the glass, enjoying a blast of air-conditioned air, dry and cool.
Litter on and around Launch Complex 4
Missile Housing without Engine Radar Parabola FragmentCement Blacked by Rocket Launch Blasts
Aerostat
From 1950 into the 1960’s LC 1-4 saw launches of cruise missiles, some of which were able to maneuver and land on the “skid strip” you can pick out on the “21,000 V2 Victims” image, above. A positive discovery from my research on wikipedia the weapon systems tested here were not fired in anger. Continued development in other places lead to production of generations of cruise missiles launched by Presidents Clinton and Bush against Afghanistan, Iraq and (??) other targets. What victim ghosts, arms linked in ever growing circles, are lurking in our future?
A building on LC 4 has the designation “Aerostat”, one of the last projects supported. I saw an aerostat in action in the early 2000’s over Fort Huachuca, Arizona near the border with Mexico. An aerostat is a flying craft that does not rely on moving air to achieve lift, balloons for example.
The Goodyear blimp is a memory from my childhood on Long Island, the Fort Huachuca aerostat was a smaller version, outfitted with advanced technology for monitoring the surrounding environment. “Google” aerostat mexican border to learn more about the current deployment.
Another view of the abandoned aerostat building on LC 4
With the development of Intercontinental Ballistic Missiles (ICBMs) the facilities of LC 1 – 4 became obsolete. ICBMs are a theme of the next installment of this series.
Sources of information for this post: I used information from the Wikipedia site for the key words V-2, Launch Complex 1, Launch Complex 2, Launch Complex 3, Launch Complex 4. The Bumper 8 launch photograph caption includes a source citation.
Copyright 2024 Michael Stephen Wills All Rights Reserved.
This post shares photographs and stories from the early history of spaceflight at Cape Canaveral including the tragic Apollo 1 mission and astronaut John Glenn’s first orbital flight.
Embark on a photographic journey with me, armed with a Canon EOS 5D Mark IV and a keen eye, as we navigate the challenges and beauty of Taughannock Falls. Experience the blending of history and art through my lens, capturing nature’s grandeur and the legacy of the land. Join me in this adventure.
Experience here the frozen beauty of Taughannock Falls in winter, the verdant revival of spring, the lush warmth of summer, and autumn’s fiery transformation. The falls symbolize the unending cycle of seasons.
In the Finger Lakes Region of Central New York State, a tapestry of flora unfurls across the landscape, marked by the vibrant yellows of woodland goldenrods. These wildflowers are not just a visual spectacle; they are integral to the ecosystem, contributing to its biodiversity and offering a feast for pollinators.
Woodland goldenrods (Solidago species) are part of a larger genus that encompasses over 100 species, many of which thrive in the varied habitats of the Finger Lakes. This region, with its rich soils, ample rainfall, and diverse topography, hosts an array of goldenrod species, each adapted to specific niches within the woodland understory.
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Solidago caesia, commonly known as blue-stemmed or wreath goldenrod, is one species that graces these woods. Unlike the typical roadside goldenrods, this species thrives in the dappled shade, its delicate arching stems culminating in small bursts of yellow flowers that appear like beaded necklaces draped over the greenery.
Another species, Solidago flexicaulis, or zigzag goldenrod, earns its name from the characteristic bending pattern of its stem, which zigzags between leaf nodes. Its flowers are more clustered, favoring the shade and moist conditions of the forest floor. Its presence is often a sign of a healthy, undisturbed woodland.
Solidago odora, or anise-scented goldenrod, brings a sensory delight to the mix with leaves that emit a licorice-like fragrance when crushed. This goldenrod favors the edges of woodlands and clearings, where sunlight can reach its clusters of tiny, bright yellow flowers.
The downy goldenrod, Solidago puberula, is yet another species that decorates the region’s woodlands. It prefers dry, sandy soils, often found on the slopes and ridges that contour the Finger Lakes. Its name comes from the fine hairs that cover its stems and leaves, a characteristic that distinguishes it from its kin.
Each of these goldenrods plays a role in the woodland ecosystem. Their flowers provide nectar and pollen for a variety of insects, from bees and butterflies to beetles and flies. The seeds are a food source for birds, and the plants themselves offer habitat to numerous woodland creatures.
The presence of woodland goldenrods also indicates the health of the region’s forests. These plants are often pioneers in disturbed areas, contributing to soil stabilization and the natural succession process. They are resilient and adaptable, capable of surviving in a range of conditions from full sun to dense shade, though each species has its preference.
In the Finger Lakes Region, the goldenrods bloom from late summer into the fall, their golden hues a prelude to the coming autumnal display. They stand as a testament to the beauty and complexity of these woodlands, their very existence a reminder of the delicate balance within these ecosystems.
In conclusion, the woodland goldenrods of the Finger Lakes are more than just a splash of color in the verdant forests. They are a vital part of the ecological tapestry, contributing to the biodiversity and resilience of the region. Each species, with its unique adaptations and preferences, adds to the rich natural heritage of Central New York State, reminding us of the intricate web of life that thrives in these woodlands.
The maple leaf is here portrayed as a symbol of life’s journey, intricacy, and impermanence, offering profound reflections on existence and human aspiration.
The maple leaf, a symbol cast from the arboreal giants that stand sentinel over the forests of the North, is an emblem woven into the very fabric of the natural world and the ethos of nations. In the hush of the woodland, where light dapples through the canopy, one might find the ground strewn with these deciduous gems, each a small testament to the grandeur of the cosmos and the cyclical poetry of life.
A maple leaf is an allegory for the human condition. The leaf, in its singular form, is a paragon of symmetry, its serrated edges a crown of nature’s meticulous artisanship. The veins that stretch across its surface, much like the lines upon an aged hand, speak of life’s intricate network, the invisible bonds that connect and sustain us. Each leaf, a verdant vessel, courses with the sap of existence, a lifeblood shared in the quiet brotherhood of the forest.
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Yet, as the seasons wheel from the halcyon days of summer to the mellowing glow of autumn, the maple leaf undergoes a transformation as profound as any in the human soul. It becomes a canvas upon which the twilight of the year is painted. Scarlet, amber, and gold – these are the hues of the leaf’s maturation, a visual sonnet to the passage of time. Mann may have mused on this metamorphosis, the leaf becoming an artifact of beauty at the very precipice of its own demise, a reflection on the bittersweet nature of all earthly endeavors.
Philosophically, the maple leaf’s journey from bud to decay is a microcosm of existence itself. In spring, it burgeons forth from the stark limbs of its parent tree, a symbol of rebirth and the perennial hope that accompanies new beginnings. In its zenith, it offers shelter and sustenance, an unheralded giver of life. But as it yields to the inevitable fall, swirling in the autumn winds to its rest upon the soft earth, it evokes a meditation on the impermanence of all things. The leaf, once the very emblem of vitality, now melds with the soil in quietus, a return to the elemental from which it sprung.
The maple leaf, then, is not merely an object of transient beauty, nor simply a token of the land it hails from. It is a narrative, a silent orator of the eternal truths that bind the soul of the artist to the canvas of the universe. It is a vessel for the musings of poets and philosophers, a simple yet profound cipher for the myriad complexities of existence.
I find maple leaves imbued with a weight of existential significance: its simple, pleasing shape a metaphor for the human aspiration towards beauty and the poignant inevitability of its corruption. For in the visage of the leaf, one might glimpse the duality of passion – the longing for the sublime, coupled inexorably with the sorrow of its fleeting grasp. Thus, the maple leaf, in its silent splendor, becomes a memento mori, a delicate reminder of the rapturous agony of life and the solemn peace of death.
Michael Stephen Wills Photography 
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