Byrne final project morris arboretum

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill LARCH 414: Re-Inhabiting the Wissahickon Researched and Compiled by Grace Byrne

Named for the Chestnut Trees that once dominated the landscape, it seems only fitting that the neighborhood of Chestnut Hill be home to one of the world’s premier arboreta. The Morris Arboretum, once home to an influential pair of Quaker siblings, acts a cultural crosssection of Chestnut Hill. Unlike the Chestnut Tree, it has continued to flourish, enriching its surrounding environment.

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Abstract (1) Introduction (2) Garden Evolution_A Civic Fabric (3-4) The American Paradigm Shift (5-8) A Family History_A Quaker Lifestyle (9-10) Progressions in Industry_I.P. Morris & Co. (11-14) Chestnut Hill_Suburb of the City (15-16) Breaking Ground_The Compton Estate (17-20) The English Park (21-24) Japanese Influences (25-28) The Fernery (29-32) John Morris_Champion of Parks (33-36) Lydia Morris_Colonial Dame (37-40) Transition_Estate to Regional Treasure (41-42) Life After the Morris Siblings (43-46) Agents of Stewardship (47-50) Growing Connections_Philadelphia Area (51-52) Special Thanks and Sources (53-54) The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Abstract The Morris Arboretum’s roots nestle deep within the history of Chestnut Hill, Philadelphia. Beginning as a seed planted with care by the Morris siblings, the estate formerly known as Compton not only matured, but in fact, thrived to become an entity far more encompassing than its original role as a summer residence. John and Lydia, whose very presence spread seeds of prosperity and stewardship into the surrounding landscape, were highly invested in the growth and development of Chestnut Hill, drawing out a sense of identity and character to be preserved for decades to come. In addition, their worldly travels to explore the foreign realms of nature are reminiscent of their ancestors, a line of Quakers who were among the most influential religious societies of the Northeastern United States. I believe that it is through this lineage that we are able to trace the very foundations of Chestnut Hill long before its inception in the early 1700s. This confluence of two narratives works in a complementary manner that not only reveals the history of one of the most unique suburbs of Philadelphia, but also proves the power and influence that historic estates provide consistently to their immediate and often times extended surroundings.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Introduction Each landscape, despite its size, demeanor, or bedrock, holds an unfathomable number of chapters. While some of these layers of past vitality encapsulate stories that have since been preserved with utmost care for the sake of posterity, there are others whose voices have been hollowed out, dissolved, or otherwise forgotten.

In many cases these stories are distorted and glossed over.

Sometimes this is for the sake of keeping memories “simple” while others simply lend themselves to the inherent imperfection of the human memory. If not for the committed story-tellers of passing generations, the series of events that literally define the nature of our present times might be lost entirely to the imaginations or quandaries of future inhabitants.

During my time as a student of landscape architecture, I have been fascinated. A sponge receptive of a vast spectrum of interests ranging from soil conservation to the future that lies in “sustainability”, I have come to find that my fixation in educational passion dwell primarily in the past. Try as I may to join my fellow colleagues in the race that advocates the advent of the future design technologies, I can no longer eclipse my passion for public horticulture and the fantastical threads that have woven its historic estates into the landscape. From this conclusion I have chosen to become a storyteller, a voice for those estates that are mosaics of culture, philosophy, industry, stewardship, and above all, time. The story shared in the pages to follow depicts how and why the presence of the Morris family lineage is so critical to the emergence and identity of Chestnut Hill as we know it today.

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

John and Lydia Morris, a famously wealthy pair of siblings whose ancestors hailed from England, have a string of stories wrapped around their lineage. While it is fortunate that the Morris Arboretum,which is the fulfillment of the siblings’ life-long dream, is already excelling in its commitment to preserving the mission of these siblings, I believe that the roots of their story run deeper, creating a more profound connection to several realms of time that extend far further back than the name of Morris in Chestnut Hill.

To more fully understand the very nature of this narrative, a base of knowledge will be presented regarding the aspect of the Morris’ life for which they are most re-known, the realm of horticulture, by tracing its origins, evolutions, and philosophies. Next, I will explore the bloodline of the famous family, denoting their range of influences in their respective generations. Upon reaching the lives of John and Lydia, I will reveal the dream of the Morris Arboretum whose roots nestle deep within the history of Chestnut Hill, Philadelphia.

Wandering past the borders of their beloved property, the roles of John and Lydia as civic leaders emerge to solidify their levels of commitment to their community. Finally, following the thread that extends beyond the lives of the Morris siblings, the Morris Arboretum, official arboretum of the University of Pennsylvania, resonates the passions of the past, aiming to sow and cultivate these seeds for the future.

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Garden Evolution_A Civic Fabric The history of the garden is a rich and complex subject, closely associated with that of architecture, the other arts, and history in general. It is a cross section, a minor but significant piece of the history of mankind, and of mankind’s relations with nature.

- Filippo Pizzoni

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Figure 1. Photograph taken during Morris sibling’s trip to Versailles.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Before diving into the conversation of the Morris family’s direct and indirect effects on the Chestnut Hill area, it is first critical to understand the nature of garden and arboreta design as well as its continuously changing relevance in the landscape throughout time. By understanding the social relationship of landscape to man throughout history, we are more readily able to comprehend the weight of the impact made by John and Lydia, the basis of this case study. And so this narrative begins with a selective history of garden design and its contributions to the fabric of various societies.

Over the course of several millennia, personal gardens and arboreta have served a purpose higher than their initial roles of simple aesthetics and produce. Providing a cultural reflection of time, taste, and status, the significance of horticultural design can be regarded as one of the few elements of civilization consistent enough to be used as a comparative foundation throughout the centuries. And so, we delve into the progression of the garden and what roles it has played in respective contemporary measures.

The most primal of gardens began as sources of sustenance as well as production that aimed to provide anchorage for a stable economic income..

However, like all arts and trades, what was known as gardening began to evolve, earning new reputations through the influence of ever-changing philosophies. In fact, even the term “garden” began to take on an implied meaning that catered less to the occupation of farming for crops and more to a multi-functional social and political space. “The earliest archaeological traces of gardens date back to three thousand years B.C.E, in the city of Susa, in ancient Mesopotamia” (Pickford 2003). These civilized gardens served as vehicles for two primary functions: a space for social exchange as well as the crystallization of a city’s wealth (Pickford 2003).

However, as early as the reign of the Roman Empire, garden design eventually evolved to bear a far more impressive stature: the essence of personal, and in many cases political power and control. Rather than a space for social interaction, Romans enjoyed private gardens in their villas, open only to themselves and carefully selected guests. An important shift, this privatization of the garden provided an exclusivity that altered the perception of horticultural design for centuries to come.

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Perhaps the epitome of placing one’s wealth on a pedestal came through garden design styles exhibited in the Middle Ages. Known today as “formal gardening”, this style is identifiable through its criteria of upholding “the idea of architecture as extended from outdoor spaces around the house or palace,” “the sense of stiffness or artificiality, represented by trelliswork and topiary,” and finally “the idea of man’s dominance over nature” (Laird 1992, 6). Perhaps the most tangible of these three criteria is the need for dominance over nature. Through intricate and dazzling displays, horticultural design conveyed a simple message to the classes below them: I have conquered nature, therefore, there is no one I cannot conquer. For instance, exotic species imported from foreign lands exemplified the desire for a perceived limitless reach beyond a ruler’s own borders. Gushing fountains of calculated pressures boasted the control of a nation’s water supply. Rigid, symmetrical designs exuded perfection, inviting the comparison if godliness and unyielding strength (See Figure 1).

Often times these estates, whether the homes of royalty or simply the upper class, were bequeathed to the subsequent generations. While more traditional non-living treasures such as jewels or gold were also passed down, these celebrated gardens of power represented something even more valuable: perceived status. Indeed the continued dominance over nature insured the endurance of the value of the family name. This tradition has continued endured for centuries, manifesting power in any number of horticultural styles and cultures.

Like fashion or architecture, garden design adapts to the latest in trends exhibited in contemporary times. The evolution of the garden is one of complexity and endurance, surviving in literature, art, and, in the most ideal of circumstances, its original, physical form. Tracing the evolution of gardening from a source of mere sustenance, to a public space with an accessible, inviting atmosphere, to an intangible symbol of wealth and power, the gardens of the Eastern world give a glimpse of social, political, and cultural paradigms of history. However, as eastern life began to look towards the new world of the west, an influx of visionaries began to formulate a new paradigm that would not only incite a new style of gardening, but also define what it meant to be American.

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The American Paradigm Shift Gardens can be seen as the crystallization of the scientific thought of the day: details such as the layout of the walks and the choice of landscape reflect contemporary trends in geometry, physics, and philosophy.

- Susan Pickford

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Figure 2. Illustration by Andrew Jackson Downing concerning proper landscape and architectural design.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

After more than half a century as an independent nation, the United States of America found itself in the midst of an inevitable quest: to mold an identity. In the early half of the nineteenth century, a voice spoke out to the people, urging them to partake in a new philosophy that hoped to enrich the entire country, beginning with their own backyards. This voice belonged to Andrew Jackson Downing (See Figure 3), the other father of landscape architecture. While many know Frederick Law Olmstead to bear this title, others claim that Downing, “more than any other individual, shaped middle-class taste in the United States during the two decades before the Civil War” (Schuyler 1996). Editor of The Horticulturalist, “a monthly journal devoted to ‘rural art and rural taste’,” Downing challenged each and every American citizen to be an “Apostle of Taste” despite one’s economic or social status (Schuyler 1996). This meant to encourage the people to take pride in their own homes as an investment for their surrounding communities. “Downing insisted that an appreciation of the beautiful in nature and the improvement of domestic architecture in the United States were the keys to the nation’s cultural development and accurate measures of the ‘progress of civilization’” (Schuyler 1996). In many ways, Downing’s philosophy proved to be nearly prophetic as today’s property values are highly dependent upon the status and appearance of its contextual surroundings.

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

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Although Downing’s word was well-respected by many Americans, the majority of the masses was unable to execute his philosophy simply because many did not know how to design. Thus, began what is perhaps Downing’s most accomplished work, The Treatise on the Theory and Practice of Landscape Gardening, Adapted to North America. Those who have studied this work in depth claim that through various phases of this book, one is able to see a change in the development of Downing as both a scientific horticulturalist and a landscape designer (Schuyler 1996). These values and roles were similarly adorned by contemporaries of his time, the Quakers, who believed that studying nature in all its forms was to respect it by revealing deeper meaning (Contesta and Franklin 2010). In Downing’s mind, this book solidified his mission as “the responsibility to teach men the beauty and value of rural life, to encourage all individuals, no matter what their occupation or income, to cherish gardens and orchards as well as homes ‘created by their own industry’ – embellished by their own taste – endeared to them by simple pleasures shared with their own families” (Schuyler 1996). With this framework in mind, Downing released the book, equipped with voluminous writings and visions through imagery.

Although public education was available in the United States as early as the mid 1600s, Downing’s inclusion of images to supplement his writings proved to be invaluable, as his message was still clearly conveyed to those who had yet to master literacy of the written word (See Figure 2).

Downing appointed the terms “picturesque” and “beautiful” as the cornerstones through which modern, and in sharp contrast to the past, natural, landscaping could be proliferated (Schuyler 1996). Though these terms had been used in many European design discussions in the past, they proved their relevance in this new conversation, reincarnated through Downing’s perspective. To be picturesque was to be “characterized by irregular and broker lines expressive of violence, abrupt action, and partial disobedience, a struggling of the idea with the substance or the condition of its being” (Schuyler 1996). Quite inversely, beauty was characterized by “nature or art obeying the universal laws of perfect existence (i.e. beauty), easily, freely, harmoniously, and without the display of power” (Schuyler 1996). This new philosophy of which Downing preached indeed sparked a cultural revolution that not only evaded the philosophies held sacred for centuries, but also defined a wholly new path of design that was quickly adopted as the American way.

After the release of The Treatise, Downing wrote three more books on the subject of the American home and landscape in addition to his continued position as the editor of The Horticulturalist. His voice resonated in homes throughout the country as citizens responded eagerly to claim this new philosophy in a rather patriotic way (Schuyler 1996). One family estate in particular took exceptionally well to this call to become public benefactors for their community, their descendants recalling “the grounds on this property were developed in the best Downing Style” (Rivinus and Morris 1976). The estate known was known as Compton, the summer home of the siblings, John­and Lydia Morris.

Figure 3. Portrait of Andrew Jackson Downing

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

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A Family History_A Quaker Lifestyle The more we search and accurately examine his works in nature, the more wisdom we discover, whether we observe the mineral, vegetable, or animal kingdom.

- John Bartram

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Figure 4. Official crest of the Morris family

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

The legacy of the Morris siblings (See Figure 4), John and Lydia, stems from a line of relatives, who in many ways contributed greatly to their respective communities setting an impressive precedent long before these siblings were born. The story of the Morris family begins with a religion that when adopted requires the transformation of the believer into a way of life so deeply entrenched with day to day mentalities that it inadvertently renders a cultural shift as well. In the mid-1600s, several new and sometimes considered “radical”, religious sects came to light. As the Church of England, this time in particularly considered to be the “Stuart Period”, had been the dominating force of religious policy for centuries, these drifts from tradition were perceived as highly controversial. One particular Protestant sect, the Quakers, adopted the philosophy and belief that “nature was sacred and good --- the visible reflection of a benign God” (Contosta and Franklin 2010). Founded firmly in this religious belief, the Morris siblings’ great ancestor Jonah Thompson (1702-1780) lived in Compton, England as a Quaker minister (Danifo 2006). In 1770, Jonah’s son, John, joined the many hopeful Europeans looking to make a new life in America, where they dreamt of the benefits of religious freedom and practice.

(Danifo 2006).

Upon arrival, he began helping a fellow Quaker, Anthony Benezet, run his Quaker school for a number of years. The school sought to teach not only basic education, but more importantly the core teachings of the Quaker belief system. In fact, within this belief system laid a clear hierarchy of knowledge, regarding typical studies of music and theater as superfluous and wasteful, whereas botanizing and gardening were of highest importance (Contosta and Franklin 2010). This rationale supported “the exploration of nature as a godly pursuit that would deepen one’s spiritual life” (Contosta and Franklin 2010).

Spreading the word of the Quaker way of life was of critical importance as Quakers were considered to be a minority in the new world (Contosta and Franklin 2010). The irony that lies in this truth stems from William Penn’s (See Figure 5) policy of religious freedom and tolerance within his colony, a ruling made based on his beliefs as a Quaker (Contosta and Franklin 2010).

However, what the Quakers lacked in population-related quantity they made up for in improvements to the cultural quality of the new world. For instance, John The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Bartam and his son William spent their lives exploring the eastern American coast. Through their efforts in botany, propagation, and business, the name Bartram (See Figure 6) is largely responsible for the wealth of knowledge and physical specimens that were spread to Europe, which in the eyes of the Quakers was synonymous with spreading the inherent goodness of God (Contosta and Franklin 2010).

In the early eighteenth century, John Thompson married a young woman named Rebecca Chalkly James, whose father claimed the business title of “merchant” (Danifo 2006). In conjunction with his father-in-law’s business, John too joined the merchant trade, a trend continued by his sons, James, Jonah, and George (Danifo 2006). This point offers a first glimpse into the future of the Morris family fortune, as these three brothers joined forces to open and operate Phoenix Nail Works in 1821 (Danifo 2006). James married and fathered two children, Rebecca and John James (Danifo 2006). Rebecca married Isaac P. Morris, a union that yielded a number of key impacts in

Figure 5. Portrait of William Penn

Figure 6. Portrait of William Bartram

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Progressions in Industry_I.P. Morris & Co.

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Iron boats having ample and secure wharf room in conenction with a marine railway are well prepared for the repairs of boats, stationary steam engines from 8 to 16 inches cylinders constantly on hand!

- I.P. Morris & Company Advertisement

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Figure 7. Advertisement for I.P. Morris & Company

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Isaac Pascall Morris was born in 1803 to parents Isaac Wistar and Sarah (Pascall) Morris (Jordan 1911). Throughout his youth, Isaac studied the science of pharmaceuticals, which he eventually pursued as a career.

Interestingly enough, in 1890, contemporary visionary Pierre Dupont, known today as the founder of historic estate Longwood Gardens fabulously successful DuPont Company, also pursued an degree along these same lines, though more rooted in chemistry. I believe this speaks to the trend of popular education as well as the markets available during this century. In 1826, Isaac, with the help of business partner, Charles Ellis, purchased an existing drug establishment within Philadelphia (Jordan 1911). With family rooted in business practices, Isaac and Charles managed their firm, Ellis and Morris, so well that it quickly climbed to the top of the drug establishments within the city (Jordan 1911). However, this chemical life greatly disagreed with the tastes of Morris, who ultimately made the decision to part ways with his successful business feat in pursuit of a new business that not only suited Mr. Morris, but also the needs of the region (Jordan 1911).

In 1827, Isaac attached himself to the steadily growing business of machinery manufacturing (Jordan 1911). Responding in direct correlation to the rise of the railroad in the States, Isaac’s intuition to become involved in this industry highlights his business-savy mind. As the Morris family had been well settled in the Philadelphia area for decades, Isaac had no issues making business connections. In fact, only one year later, in 1828, Isaac and his brother, “Joseph Pascall Morris, entered into a partnership with their cousin, Levi Morris, who a year previous had started the iron works at what is now Sixteenth and Market streets” (Jordan 1911). The launch of their new firm, Levi Morris & Company, yielded incredible success, which continued to fuel the recent technological evolutions of industry, farming, and transportation.

The rural lands enveloping the city of Philadelphia evolved to primarily serve agricultural and industrial purposes particularly for urban markets. Upon the arrival of early settlers along the Wissahickon Creek, farmers claimed the northern tracts of the valley so as to take advantage of the fertile soils while a number of industrial mills populated the southern parts of the valley which were more prone to steep cliffs along the stream banks conducive to water The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

mill technologies. While the geographical location for these occupations originally stemmed from the lay of the land, advances in technology caused a paradigm shift in the way each of these livelihoods was operated. For instance, while farmers used to be reliant on hand and animal-pulled plows, stationary engines expedited nearly every aspect of production mode, yielding more than ten times the former amount. Likewise, grist and paper mills originally operated through the use of water wheels and pulley systems connected to the adjacent creek, could expand and relocate in areas further from the stream with the help of steam engine operation systems. It was for these and many more reasons that Levi Morris & Company chose to manufacture engines and boilers in the iron business. Their firm appealed to the progressive nature and interests of the Greater Philadelphia Area, and in turn yielded a fortune in profits.

In the early half of the nineteenth century, a number of critical changes befell the widely successful iron manufacturing firm. First, Isaac’s brother Joseph entered retirement in 1834 (Jordan 1911). In his stead came aboard Lewis Taws (Jordan 1911). Shortly after, Levi Morris decided to embark upon retirement in 1841. (Jordan 1911). With new management and board members, it was during this pivotal time that the company evolved to be known as I.P. Morris & Company (See Figures 7-11). Within this same year, 1841, Isaac married Rebecca Thompson, whose brother John J. Thompson joined the firm in 1847 (Jordan 1911). After six years of success as I.P. Morris and Company, Isaac decided to move his family and his business to Port Richmond, yielding the name of his new firm as Port Richmond Iron Works (Jordan 1911). Keeping in close association with the details of his business until the very end, Isaac Pascall Morris died in 1869.

According to those closest to him “He was an esteemed citizen, of great public spirit, taking a deep interest in all that pertained to the interest and prosperity of his native city.” (Jordan 1911). These traits were not only a testament to the great achievements of Isaac’s life, but also a precursor to the deeds to come through his heirs, John and Lydia, both of whom inherited their family’s fortune after the passing of their mother, Rebecca, in 1881 (Jordan 1911).

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Figure 8. Advertisement for I.P. Morris & Company

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Figure 9. Advertisement for I.P. Morris & Company

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Figure 10. Advertisement for I.P. Morris & Company

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Figure 11. Advertisement for I.P. Morris & Company

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Chestnut Hill_Suburb of the City Because Chestnut Hill lay at one of the highest points in Philadelphia County (and then in the consolidated city) it had also attracted summer people for several decades, prosperous men and women who wanted to escape the sultry heat of Philadelphia streets.

- David Contosta

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Figure 12. The affluent of Philadelphia move to Chestnut Hill as a summer retreat from city conditions.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

In keeping with his policies of religious and ethnic tolerance, William Penn granted a considerable amount of land to 13 Protestant families in 1683, which came to be known as German Township. Though originally settled as early as the late seventeenth century, it was not until 1704 that the small bustling town within the then borders of German Township received its name, Chestnut Hill (Chestnut Hill 1974) (Keels and Jarvis 2002). The etymology of the name derived from the dominance of the Chestnut trees, which heavily populated “about half of the area’s wooded countryside where European settlers first came to Pennsylvania” (Jarvis 2004). Though there is scarcely a Chestnut tree to be found today due to the blight of early 1900s, the town itself continues to “serve as an inspiration to all who seek to preserve our architectural heritage” (Chestnut Hill 1974).

Situated northwest of the ever-growing city of Philadelphia, this small town adopted the role as a primary gateway between the rural agricultural lands of the north and the urban development to its southern borders (Keels and Jarvis 2002). Farmers traveling from the north often sought refuge in the many inns within Chestnut Hill as they made their trek into the city in hopes of selling their goods (Keels and Jarvis 2002). This identity as a “gateway” between two worlds drove the population of the area to hold a number of the most in-demand jobs of the time. For instance, the many inns and hotels in which farmers stayed the night, such as Cress’s, Donats, or The Mermaid (Keels and Jarvis 2002). Other townsmen took up the milling profession, working in the paper and grist mills that lined the banks of the Wissahickon Creek. Highly dependent upon the yield from local farms, the manufacturing processes developed a close, inter-dependent relationship. The rural, bucolic nature of this small town, though highly pristine and appealing, remained somewhat hidden for over a century, a treasure of the Wissahickon Watershed and those fortunate enough to dwell there.

However, in 1854 two critical events would redefine the very essence of Chestnut Hill forever. With the support of industries such as I.P. Morris & Company, steam engines played a critical role in the advancing of transportation technology, namely railroads. First, the Chestnut Hill Branch of the railroad was built which connected Chestnut Hill with Germantown, The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Norristown and central Philadelphia (Chestnut 1974). This physical connection between city and countryside greatly altered the quaint character of Chestnut Hill as the formerly rural town became infinitely more accessible to city-dwellers. Prior to the implementation of the rail line, it took over half a day’s travel by carriage to reach Chestnut Hill from the city (Jarvis 2004).

Though only ten miles in distance, that small tract of land acted as a buffer zone, ensuring the preservation of Chestnut Hill as a separate, rural entity (Jarvis 2004). With the speed of the train easily facilitating travel, Chestnut Hill quickly became populated with the affluent of the city (See Figure 12), who, attracted by the its higher elevation and thus cooler temperatures in the summer, began to build summer retreat homes in the town (Chestnut Hill 1974). With the success of this first rail line came a second in 1884, implemented on the opposite, west side of Chestnut Hill (Keels and Jarvis 2004).

The second major event that changed the cultural landscape, which incidentally occurred within the same year of the new rail line, connected Chestnut Hill to Philadelphia politically through the Act of Consolidation of 1854 “when the state legislature annexed some 129 square miles to the old city of Philadelphia ”(CHCA 2013) (Keels and Jarvis 2004). Now incorporated into the political boundary of Philadelphia County, connections between the city and countryside were strengthened indefinitely (Chestnut Hill 1974).

With the heavy influx of new residents, whether permanent or seasonal, the population of Chestnut Hill began to inflate which required the further development of the downtown area. Summit Street, christened a main artery in the body of the town, became such a desirable street for residency that by 1876, the street was nearly unrecognizable as it had reached its capacity of development (Chestnut Hill 1974). Of those who were able to make the move to the suburbs, most were wealthy, of high status, and of English descent. Thus, the new residents who came to dominate the town brought with them a relatively homogenous culture. The contrast in culture also became synonymous with contrast in class as a mixture of Irish,German-, African-, and Italian-Americans comprised the working class of the town (Keels and Jarvis 2004).

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Breaking Ground_The Compton Estate In addition to its priceless beauty, the collection is a priceless cultural, educational, and scientific resource. It is planted as a place where trees can be studied, preserved and appreciated.

- E. Florens Rivinus and Frederick W. Morris

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Figure 13. John and Lydia as children growing up in Philadelphia

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Growing up in the Frankfort section of the city of Philadelphia, John and Lydia Morris (See Figure 13) were born into a privileged life made possible by the fortune of their father, Isaac. More importantly, however, the Morris siblings were raised in a Quaker household that valued the beliefs of stewardship and preservation despite their urban home and nature of their father’s manufacturing business (Pape 2010). In the pursuit of knowledge to contribute to his both his father’s firm and society, John attended Haverford College, earning a degree in engineering (Pape 2010). After the completion of his education he joined in his father’s firm for the remainder of its operation, which discontinued in 1881. Between the sale of the family firm to Cramps Shipworks and the inheritance left by their parents, John and his sister, Lydia, were able to comfortably retire at the ages of 34 and 32 respectively (Pape 2010).

As neither sibling ever married, John and Lydia continued to live together in Philadelphia (Pape 2010). With only two of them to use the finances, the Morris siblings were at great liberty to travel the world, an interest that would greatly shape their visions for the future. However, as Philadelphia’s green spaces became increasingly consumed by the Industrial Revolution, the siblings began to entertain the idea of purchasing natural, open land in the Chestnut Hill suburbs as a summer retreat (Pape 2010). Though this was a common trend among the more economically capable residents of Philadelphia, the Morris siblings opposed the spread of sprawl beyond urban borders (Pape 2010). In fact, from the inception of their pursuit of new property, John and Lydia visualized the potential of their purchase as more than a summer home (Pape 2010). Highly influenced by their worldly travels, the Morris siblings began to dream that their new property would serve as an eclectic culmination of landscape cultures which would eventually become an institution of public horticulture (Pape 2010). In this glimpse of the Morris siblings’ intentions, one is able to identify the proliferation of both A.J. Downing’s philosophies of investing in one’s community by investing in one’s estate as well as their Quaker heritage to promote investigations of nature to deepen one’s spiritual beliefs. Even before realizing their dream in Chestnut Hill, “John and Lydia were active members of their community, with John earning the nickname ‘champion of parks and playgrounds’ for this extensive involvement on city committees, The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

in co-founding the Fairmount Park expansion along the Wissahickon, and with numerous urban renewal projects” (Pape 2010).

Finally, John and Lydia came to a decision and purchased lands in Chestnut Hill from a friend, John Lowber Welsh, in 1887 (Pape 2010). Beginning with 26 acres of farmland, the siblings were quick to hire re-known architect Theopholis Parsons Chandler, Jr. to give life to John’s architectural visions for a house (Pape 2010). With the completion of the structure in 1888, they named the estate “Compton” in honor of the European town their great ancestor, Jonah Thompson hailed from before sending his legacy across the seas (Pape 2010).

Situated on a grand hillside (See Fgire 14), equipped with a spectacular view of the Wissahickon Valley, the John and Lydia finally broke ground upon their dream to design the landscape in the fashion of a worldly garden.

Figure 14. The Morris Estate, Compton, standing on high ground, overlooking the property.

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Figure 15. The Springfield Mill was acquired by the Morris siblings when they purchased Bloomfield Farms

Acting upon the cultural philosophies of the day, John and Lydia began to plan the land of their new summer estate according to the writings of A.J. Downing. After completing one of their first projects on site, the Rose Garden, additional lands were acquired in 1892 and 1910 with the intent to annex a number of gardens across the property (Pape 2010). After purchasing Bloomfield Farms, along which came a working grist mill, the total acreage of their lands increased over six fold, yielding a new total of 166 acres (Pape 2010).

Upon the acquisition of Bloomfield Farms, which was adjacent to the Compton Estate, also came the Springfield Mill (See Figure 15). Reminiscent of the industry that once dominated the landscape along the Wissahickon Creek,

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this mill is one of the only physical remnants available for study today. Once primarily responsible for the majority of the wheat production in Pennsylvania and in turn a chief exporter to Europe, both the farmers and the city-dwellers depended heavily on these mills. While the farmers transported their raw crops to the mills to be processed, the urban dwellers depended on the combination of these past times for consumption and economic purposes.

Though in its infancy Chestnut Hill was considered to be a semi-rural region, one of its main roles as a small town en route to the city was to “host” those passing through as they carried on to market, the mills, or the city.

Passing through the hands of several families, the land initially fell into the hands of Quaker, William Penn, through a deal made with King Charles II. This particular parcel of land was hand-selected by Penn with his wife, Gulielma Maria Springett Penn, in mind. Eventually, the land fell to Nathan Shepard, who then sold the land to the Streeper family.

Originally built as a combination grist and saw mill, the Mill flourished under the direction of the Streeper family, who incidentally was one of the most prominent families in the establishment of Germantown. When the time came, the Piper family purchased the Mill and, in fact, rebuilt it. It was from this point that the Mill’s stone date , still in existence today, proclaimed its rebirth in 1854, although it was originally built in 1761. Afterwards, the Mill changed hands several times, between the Rittner, Thomas, and Miller names before finally selling the Mill to John and Lydia. Although the Mill’s original function no longer worked at optimal speeds any longer, John, who graduated as an engineer, discovered a way to continue to pump water from the Mill in order to maintain his new acquisition, Bloomfield Farms.

Morris Arboretum’s current Interpretive Master Plan called for a total revitalization of the Mill. In 2006, S. Harris Ltd. was asked to consult on the project. Their findings recommended a renewal of the roof and timber posts in order to ensure that visitors would be safe and out of harms way. Today, the recommendations from S. Harris Ltd. Are paying off as the structure is considered to be stable, safety, and walkable.

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

This particular structural acquisition pays tribute to the industry of the past. I feel this is particularly critical to the story of the Morris’ impact on Chestnut Hill as these small shards of time would potentially be lost without the acquisition and stabilization of the Mill. In addition, the mere presence of this Mill on the Morris Arboretum’s site property is a true testament to the will of the Morris siblings as it promotes education and comprehension of the past, the practices used, and how the society has grown all together.

Otherwise, the time that John and Lydia spent in their early years at Compton proved to be limited as they filled their agenda with various trips to countries across the world (See Figure 16), all the while gleaning inspiration for potential garden designs (Pape 2010). Over the course of a decade, John and Lydia enjoyed trips from Europe to Asia, all the while studying the plants and garden design native to England, France, Italy, Asia, Spain, Russia, and Norway (Pape 2010).

Much like fellow Quaker, John Bartram, John Morris nurtured an affinity for trading plants, which often afforded him the opportunity to feature plants “among the first introductions of newly-discovered species in North America” in the gardens of his very own backyard (Pape 2010). From local plant enthusiasts such as Henry Harper, owner of Andorra Nurseries to Charles S. Sargent of Arnold Arboretum, John accrued relationships with many esteemed contemporaries along the eastern coast (Pape 2010).

Upon returning from their global expeditions, the Morris siblings overflowed with inspiration. With so many visions for their property, they looked to the local community to hire gardeners (Pape 2010). This was a trend followed by many wealthy families who were new to the area, looking to invest in their personal landscapes, and had little to no experience gardening (Keels and Jarvis 2004). In fact, an interview held with current Archive specialist at Morris Arboretum, Leslie Morris-Smith, Lydia Morris took a drive through the gardens nearly every day, leaving walking, weeding, and care-taking of the gardens to the groundskeepers.

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Figure 16. John and Lydia on their worldly travels, gleaning plants and garden philosophies.

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The English Park

“

A truly picturesque image would have to be more faithful to nature, more colourful, preferring life-like, jagged terrain to gentle slopes, and reflecting a wilder, more chaotic view of nature.

- Filippo Pizzoni

�

Figure 17. The English Park, wildly popular in Europe, was one of the first gardens in Compton.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

While John and Lydia frequently returned from their global travels with souvenirs, their collection began to diversify when they brought back more than just plant specimens and art pieces. Various garden design theories visible in the built European and Asian landscapes clung to the fascinated and curious minds of the Quaker siblings. Drawing upon the numerous precedents available for review, John and Lydia began to create an eclectic chapter book of cultural garden design.

For instance, in the early eighteenth century, industrialization in its infancy began to spread across the major metropolitan areas throughout the globe (Filippo 1997). This caused a major shift in residency and as the volume of employment opportunities began to grow, the populations of cities began to increase dramatically (Filippo 1997). Unprepared for this influx of people, local governments faced new problems such as over-population and hazardous sanitation conditions, not unlike those of Philadelphia during John and Lydia’s residency. In response to these issues, urban planners turned to park and garden design, hoping to alleviate these concerns with open space and fresh air (Filippo 1997). The pursuit of a solution for this investigation resulted in the wildly popular landscape design known as the English Park.

Characterized today as “wide, open lawn and long vistas of the surrounding landscape” (Pape 2010), the concept of the English Park stemmed from the discussion of what it meant to have a “picturesque” landscape. It was eventually accepted that “a truly picturesque image would have to be more faithful to nature, more colourful, preferring life-like, jagged terrain to gentle slopes, and reflecting a wilder, more chaotic view of nature” (Filippo 1997).

From this definition alone, it would seem that the very solution to Europe’s urban problem lay in its antithesis: naturalized green space. Indeed, the English Park (See Figures 17-20) proved to be a fitting solution for the metropolitan issues of the time, charging these parks with the responsibility of hosting many “innovative civic projects” (Filippo 1997).

By the end of the eighteenth century, the English Park became overwhelmingly popular in England. As the fashion reached surrounding European countries, a fusion between local and global styles began to emerge (Filippo 1997). Countries such as France, Russia, Italy, and Germany The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

adopted the English Park, but not without alterations to incorporate their own inherent styles (Filippo 1997). For instance, in France the jardin anglais design was employed in conjunction with a landscape formula developed

by Gabriel Thouin in the 1870s (Filippo 1997). This model “consisted of a relatively simple arrangement of winding avenues linked by a wider circular allee, enclosing ample lawns dotted with groups of trees or densely planted bosquets” (Filippo 1997). On the other hand, Prince Franz von Anhalt-Dessau of Germany aimed to redesign his entire kingdom as one large scale English Park (Filippo 1997). Even further east, Catherine the Great, Empress of All the Russias, incorporated far more architectural elements than was generally custom of the traditional English style (Filippo 1997). Mosques, grottos, and temples dotted her landscapes, which served as the model upon which many Russians based their exotic English Gardens (Filippo 1997).

These deviations added variation to the more original, conservative nature of the Park design. Nonetheless, it became a standard to be adopted by cities across the world and thanks to people like John Morris, the design made its way to the western parts of the world.

Indeed, nearly two centuries after the inception of the English Park, John purchased land with the intent of creating his own in 1909 (Pape 2010) with implementation phases beginning in 1912 (The Morris Arboretum 2013) (Pape 2010). Like the eastern cultures which employment the design with a touch of personal taste, John’s English Park proved to be especially unique as a number of the plants that it housed were none other than the specimens he collected in China (Pape 2010). Examples of these plants include “collections of maples, witchhazels, dogwoods, cherries, and stewartias” (Pape 2010). A far cry from the traditional English guidelines concerning the plant palette of this style, the fundamental elements design became unmistakeably present at the Compton Estate. This design chapter in the landscape at Compton ranks among the earliest, setting the stage for future designs as challenges for harmonious implementation.

22

Figure 18. The English Park, wildly popular in Europe, was one of the first gardens in Compton.

23

Figure 19. The English Park, wildly popular in Europe, was one of the first gardens in Compton.

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Figure 20. The English Park, wildly popular in Europe, was one of the first gardens in Compton.

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

24

“

Japanese Influences In order to communicate with these invisible forces, to pay tribute and promote fruitful co-existence, sacred spaces were created in which large boulders called iwakura were placed.

- Stephen Mansfield

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Figure 21. Asian influences are evident throughout the estate, offering chapters of design throughout time.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Though influenced by all of their worldly travels, John and Lydia acquired a particular taste for Asian culture (See Figures 21-26) in general and Japanese garden design in particular, which permeated through their landscape, appearing in several of their gardens. Their trip in the 1890s inspired them deeply to return not only with specimens, but also with design philosophies, many of which came to light on the grounds of the Compton Estate, even if only for a brief time (Pape 2010).

The premise of their designs first took shape in the form of a Japanese tea house and garden in 1898. So smitten with the seemingly “pure” design that stemmed from the peoples’ culture, the Morris siblings paid to have the tea house built in Japan (Pape 2010). Upon its completion, the tea house in its entirety was transported to from Japan to Philadelphia to be implemented on the grounds (Pape 2010). Unfortunately, neither the tea house nor the garden exist today.

Fortunately, the influence of Japanese garden design manifested itself in more ways than one in the Morris’ gardens. As it happened, John’s influence in the development of Fairmount Park provided him connections with those who cooperated in its design. The nearby park featured a Japanese Garden designed by Mr. Y. Muto, whom John hired to design what is known today as the Japanese Hill and Water Garden (Pape 2010). Once equipped with an original pagoda, it, like the tea house, was lost. Years after the passing of John and Lydia, a new pagoda was built in assimilation, bearing the memory of the original. Designing heavily with bold shapes such as mounds through contours as well as rocks, valleys provided balance to the scheme (Pape 2010). Finally, specimens collected by John himself, such as “bamboo, conifers, Japanese maples and peonies,” completed the design, many of which continue to thrive today (Pape 2010).

The Overlook Garden employed an element of Japanese garden design that called more deeply upon traditional beliefs of the ancient culture: stones. (Pape 2010). Of supreme importance in the earliest times of Japanese ancestors, stones, especially large boulders, were thought to be the homes of the higher life forms on earth, namely gods. “In order to communicate with these invisible forces, to pay tribute and promote fruitful co-existence, sacred The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

spaces were created in which large boulders called iwakura were placed” (Mansfield 2009). In the Overlook Garden itself, the stones are called fudo, meaning “immovable stone” (Pape 2010). Perhaps not by intention, these designations of space are speculated by some to be the culture’s first true garden plots (Mansfield 2009). Either way, these “seats of the gods,” which acted as temporary mediation points between god and man, were responsible for the petitions brought forth with hopes of intercession (Mansfield 2009).

Dressed with Japanese vegetation such as Asian conifers, Japanese maples, and other ericaceous, acid-loving plants, many of the plant specimens, along with the original design, still thrive today (Morris Arboretum of the University of Pennsylvania 2013).

Interestingly enough, however, the Overlook Garden, like the English Park at Compton, integrated more than one culture to create a unique experience, a marriage between ideals and materials. While the Japanese tea house physically and architecturally originated from Japan and the Japanese Hill and Water Garden was of solely Mr. Muto’s design, the Overlook Garden had three major influences in its design: John Morris, in conjunction with Frank Gould, who trained at Kew Gardens in England, and Mr. Muto (Morris Arboretum of the University of Pennsylvania 2013).

“The mountain-like trail with zigzag paths, metal railing, and numerous flowering plants are Victorian elements in the garden” (Morris Arboretum of the University of Pennsylvania 2013). Weaving together American, British, and Japanese elements of design, the Overlook Garden can be likened to the design of the grounds as a whole: an eclectic composite of garden design with influences gleaned from the far corners of the world. Given the fact that ancient Japanese beliefs promote stones as conducive forces for co-existence, one could speculate that this garden in particular provides an element of integration between garden cultures and philosophies. As Quakers, who do not condone war, but rather promote peace, John and Lydia shared in this balanced and peaceful aspiration especially as it was in harmony with nature, a benign sign of God.

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Figures 22-24. Asian influences are evident throughout the estate, offering chapters of design throughout time.

27

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Figures 25-26. Asian influences are evident throughout the estate, offering chapters of design throughout time.

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

28

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The Fernery After reviewing the plans, Lord and Burnham told John Morris bluntly that his freestanding design would never work. Undaunted by the rejection of his idea, he hired Lord and Burnham’s competitor, Hitchings and Company, who built the Fernery according to his original plans.

- Christine Pape

”

Figure 27. The Fernery, a design belonging in total to John Morris

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

The son of a successful business man, a student of engineering from Haverford College, and a world traveler fascinated with a multitude of cultures across the globe, John Morris earned and maintained the reputation of being a highly ambitious individual throughout his quite accomplished life. Though his influences in taste and interest continue to be highly apparent throughout the Morris estate, no such project defined John so well as the one born of his own intellect and design: the Fernery (See Figures 27-32).

While most of the gardens at the Compton estate exhibited influences of John Morris, the designs as a whole were primarily conceived and drawn up by a contracted professional. Drawing upon his education as an engineer, John chose to pursue his dream of designing a greenhouse to be built at Compton that above all else featured ferns collected from across the globe (Pape 2010).

The main features to be exhibited, namely the ferns, came to his possession easily enough, as by that time John, well-versed in the negotiations of plant trades had solidified several connections. However, the structure of the greenhouse itself proved to be a project that would try the laws of accepted contemporary architecture pushing gravity to its limit. His design proposed a small, self-contained space that held two primary rooms. The first room, designed to receive visitors, led into the second, the true exhibit and main attraction. Modest in size, his design proposal to encase the structure suggested that the stone foundation support curved glass panes (Pape 2010).

Confident in his work, John sent his sketch of a dream to an architectural firm in England named Lord and Burnham (Pape 2010). As ferneries had become wildly popular in England, particularly during the Victorian era, John’s trips to Europe heavily influenced this dream, reaffirming his faith in the authentic British firm to embark upon its construction (Morris Arboretum of the University of Pennsylvania 2013). Much to John’s dismay, the firm quickly disregarded his ideas as unfeasible due to intense lack of structural support.

However, as a man of seemingly endless resources and confidence, John simply chose not to accept this response and proceeded to seek out Lord and Burham’s rival, Hitchings and Company. This time highlighting the “roof braces which bore the weight of the glass and metal framing without interior support poles,” he found his design well-received, winning the approval of the firm.

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

With Hitchings and Company’s consent to build, John’s prolific design was granted the opportunity to be put to the test of accepted architectural standards (Pape 2010).

Completed in 1899, the structure that seemed to theoretically lack the ability to support itself proved to be a success (Pape 2010). A marvel of engineering, the original Fernery stood proudly for over fifty years, long enough for its architect to admire his own work through the end of his life in 1915. In fact, it was not until decades later that restoration work had to be done once in the 1950s and again in the early 1990s (Pape 2010). Like John and Lydia who so highly regarded the importance of renovation, the employees of the arboretum soon found themselves making the Fernery a top priority.

However, a loyalty to the estate’s history was not enough to push this project to completion. During the life of John Morris, the fortune of his father’s company funded these expenditures; however, this time, a grant from the National Endowment of the Humanities sparked the financing of this project.

Matching this grant was a generous monetary gift from board member, Mrs. Dorrance Hamilton which allowed for not only the success of this renovation project, but also the endurance of its future (Pape 2010). Among the newly equipped features were a cutting edge climate control system, an electric heating and cooling system, and blue flagstone paves outside of the Fernery to welcome guests (Morris Arboretum of the University of Pennsylvania 2013).

In return, the newly revitalized Fernery was rededicated as the Dorrance H. Hamilton Fernery, which is how it is recognized to this day (Pape 2010).

The structure itself, like the very founding of John and Lydia’s dream for their estate, proved to be quite an undertaking whose stages of existence and change have extended over a number of years. However, despite the farfetched dream and the initial rejection for construction, the Fernery at the Morris Arboretum “is the only remaining freestanding Victorian estate fernery in North America, housing more than 200 varieties of ferns” (Pape 2010).

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Figure 28-30. The Fernery, a design belonging in total to John Morris

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Figure 31-32. The Fernery, a design belonging in total to John Morris

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

32

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John Morris_Champion of Parks John earned the nickname ‘champion of parks and playgrounds’ for his extensive involvement on city committees, in co-founding the Fairmount Park expansion along the Wissahickon, and with numerous renewal projects.

- Christine Pape

”

Figure 33. John Morris, chemist, engineer, plant enthusiast.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Even before John and Lydia purchased their dream property in Chestnut Hill, John (See Figures 33-36) had been considered to be the “champion of the parks and playgrounds” within the Philadelphia area (Pape 2010). This title had been bestowed upon John for a number of reasons; however, his involvement in the “co-founding the Fairmount Park expansion along the Wissahickon” ranks among one of his most noted accomplishments (Pape 2010). Though his Quaker ancestors before him dealt less with the politics that tended to attach themselves to projects such as this, John’s firm belief in stewardship and land preservation, accompanied by his affinity for plant trade and taxonomy, continued the light of the Quakers into the nineteenth and twentieth centuries. The founding of Fairmount Park, like the English Park style in England, proved to be a direct result of the rapid industrialization of the region, particularly in the Wissahickon Watershed. Originally a pristine valley ripe with natural resources, the early signs of industry expressed as mills detrimentally affected the quality of the land. Drawn back to the heart of the Philadelphia with the hope of work in advance of the Industrial Revolution, the lands of the Wissahickon became home to a new population: the wealthy of Philadelphia. With the following influx of the affluent into the once rural lands of Chestnut Hill, the inception of suburbia began to take shape, once again threatening the state of the natural land to a sentence of environmental loss and development. It was for the sake of land preservation and conservation that the founding of Fairmount Park became not only relevant, but also critical to the value of the Wissahickon.

The first land to be contributed to the culmination of Fairmount Park stemmed from Henry Pratt’s estate Lemon Hill, which was originally purchased from Robert Morris; incidentally, this is not of the same lineage as John and Lydia (Juday 2012). Recognized by the city in 1855, the Park gained parcels of land over the course of several years from various acquisitions. As late as 1929, Dr. and Mrs. Woodward, a prominent name in Chestnut Hill, purchased a 100 acre estate along the Wissahickon, a worth of $500,000.00 only to donate it to Fairmount Park (Contosta 1992).

In step with to the various and growing additions to the park’s physical limits, a discussion regarding the rights of automobile use in the park evolved The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

into a regional debate in the early 1900s. Associations against the presence of automobiles in the “upper Wissahickon Drive (the present Forbidden Drive that passes in front of the Valley Green Inn)” included the G&CH Improvement Association, the Pennsylvania Forestry Association, the Automobile Club of Philadelphia, the Pennsylvania Botanical Society, and the Civic Club (Contosta 1992) John and Lydia contributed in various ways to both the Pennsylvania Botanical Society as well as the Civic Club and thus were fully supportive of the fight against automobiles in the park.

When the issue was revisited in the 1920s, Chestnut Hill locals in opposition of vehicular traffic made their stance far more public than their previous vocal attempts by holding an equestrian demonstration (Contosta 1992). In late October of 1920, approximately two hundred riders made the trek back and forth between the historical start at Valley Green Inn and Lincoln Drive (Contosta 1992). This demonstration not only resolved the issue in 1920, but it also began a tradition that has been upheld since then, the Wissahickon Day Parade (Contosta 1992). Only increasing in the number of riders, the event is beloved in the community, drawing thousands of spectators (Contosta 1992). In efforts to reaffirm this conservative motion, a new group named the Friends of the Wissahickon, which is still highly active today, joined the ranks in 1934 (Contosta 1992).

While the debate of automobiles in the Wissahickon section of Fairmount Park was revisited in the early 1920s, this initial victory yielded an extraordinary component of Chestnut Hill’s story. Not only did the local triumph protect the rural nature of the area from an influx of automobiles, it also preserved the rural, suburban nature of Chestnut Hill. This strengthened the community, enabling it to grow in its identity, particularly through the establishment of new associations. For instance, the Chestnut Hill Historical Society, which was founded in 1898, gained new leadership through president John Morris. The club became embedded in the Wissahickon style of landscape gardening, and initiated an annual program that “awarded prizes each year for outstanding gardens, flowers, and plants” (Contosta 1992).

Additionally, literary components attached themselves to the campaign, providing lectures and papers such as “How to Beautify the Garden Cottage” (Contosta 1992). Though Downing passed away in the year of 1852, it is clear that his philosophies lived in through this society, which quickly became 34

Figure 34-35. John Morris, chemist, engineer, plant enthusiast.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Figure 36. John Morris, chemist, engineer, plant enthusiast was an activist for the founding of Fairmount Park. Later fights to protect this Park were won with public support.

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

36

“

Lydia Morris_Colonial Dame In 1908, John Morris designed and ordered the construction of a log cabin as Lydia’s private retreat.

”

- Christine Pape

Figure 37. Portrait of Lydia Morris, conservation activist.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

According to the philosophies of Andrew Jackson Downing, investing in the appearance of one’s property yielded an unquantifiable amount of positive influence upon one’s community. Judging from the amount of attention paid to the development and growth of their home, Compton, and arboretum, one could say that John and Lydia Morris were enriching their Chestnut Hill community astronomically. However, simply improving and maintaining the contents of their own property; for John and Lydia enlisted in a number of societies that worked for the benefit of Chestnut Hill.

By comparison, Lydia (See Figures 37-41) was inherently more private in nature than her brother. However, Lydia Morris certainly did not hide in shadow of her brother, John. In fact, historically the women of Chestnut Hill had a “lack of involvement with Progressivism in Chestnut Hill” (Contosta 1992).

Lydia, on the other hand, contrasted this commonality by not only belonging to a prominent group called the Society of Colonial Dames, but by also heading one of their committees (Contosta 1992). Founded in 1890, the membership of the Society of Colonial Dames primarily honored “the pre-Revolutionary ancestors of fellow members” (Contosta 1992). The committee that Lydia headed, however, spearheaded some of the only conservation-minded projects of the time (Contosta 1992).

The committee’s first notable architectural restoration dealt with the Valley Green Inn, which was granted to the care of the Dames in 1901 through the Fairmount Park Service (Contosta 1992). Rumored to have hosted a meal between George Washington and Marquiz de Lafeyette in their retreat to Valley Forge, the pre-Revolutionary ideals associated with the Dames drew them to the project. While this rumor was proven to be false, the outcome of the restoration still occurred, benefiting both the physical and cultural state of the Inn.

While the plan of action conjured by the Dames suggested that the Inn would be remodeled “along original lines,” the renovation proved to be less conservative, offering unauthentic yet charming features (Contosta 1992). Among these were “leaded glass windows on the upper story, stylized picket dates and buil-in porch benches with large scrolled shoulder rests” (Contosta 1992).

While the expressed intent of the Dames was to simply renovate the Inn, they incidentally provided an architectural example of early Colonial Revival style The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

which is still operating today (Contosta 1992).

This trend of restoration began to bloom throughout Chestnut Hill. Shortly after the completion of the Valley Green Inn, Glen Fern, the old house associated with Thomas Livezey’s grist mill called for restoration (Contosta 1992). At the conclusion of its restoration in 1908, Glen Fern, along with seventy-five surrounding acres was purchased by the Fairmount Park Commission (Contosta 1992). About one year later, the efforts of the Glen Fern restoration came full circle as its industrial past was replaced by a recreational future through the Valley Green Canoe Club which rented the facility for social gatherings (Contosta 1992). Even the pond used for the Livezey mill dam received new purpose: waters for canoeing (Contosta 1992). So sincere was their relationship to their new-found headquarters, that the Valley Green Canoe Club pursued renovation efforts further by annexing a second story, which supposedly had been a feature of the original structure (Contosta 1992). With the help of the Society of Colonial Dames, the structure as a whole was, in a sense, reborn physically as well as culturally.

While this project was well within the scope of the Dames’ interests as a pre-Revolutionary structure, this particular project presents an interesting sub-story. In the retrospective lens, one could speculate that this project could be seen as a key transition in the identity of Chestnut Hill, shifting from a former mask of industry to a natural function of recreation.

While the presence of these historical structures have acted as landmarks and tourist destinations within Chestnut Hill for decades, the leadership qualities exalted by the Society of Colonial Dames in general and exhibited by Lydia Morris in particular provided more than just renovations. It imparted the attitude of integrity, holding social responsibility, conservation, and land stewardship in the highest of regards. Though her physical contributions continue to pay homage to her memory, more importantly, her actions installed a social standard of community responsibility and in turn, pride. Interestingly enough, the Dames’ prided themselves as being of “patriotic lineage,” (Contosta 1992) on the grounds that they stemmed from a specific bloodline. Downing’s philosophies proved them patriotic simply by their investments in the fabric and quality of Chestnut Hill.

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Figure 38-39. Portrait of Lydia Morris, conservation activist.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Figure 40-41. Portrait of Lydia Morris, conservation activist.

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

40

“

Transition_Estate to Regional Treasure ...a place where young men and possibly women may be taught practical gardening and horticulture, with a special view on practical work.

�

- Excerpt from the will of John Morris

Figure 42. Portrait of Rodney H. True, first Director of the Morris Arboretum

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

While not much else is known of the everyday actions and intimate character belonging to Lydia Morris, an interview with Morris Arboretum Archives Curator, Leslie Morris-Smith, suggested that one of the only documents available to peer into Lydia’s life was in fact her last will and testament. Long before either of their passing, the siblings shared the dream that their life’s work be transformed into an institution of public horticulture as well as of education (Pape 2010). Their original plans revolved around the notion of leaving their estate in its entirety as an arboretum to be annexed by the Philadelphia Museum of Art (Fisher 2004). After John’s death in 1915, the Compton estate in all of its assets, including the decision regarding their future, became entrusted to Lydia (Pape 2010).

In 1924, Lydia made Compton her permanent home, living and caring for the cultivation of the estate and grounds year round (Pape 2010). However, in the event of a heated discussion with museum director, Fiske Kimball, plans for Compton to be absorbed by the Philadelphia Museum of Art evaporated. In turn, Lydia consulted with her neighbor, Thomas S. Gates (Pape 2010), who incidentally held the position of president at the University of Pennsylvania (Pape 2010). The consultation resulted in the agreement that upon Lydia’s death, Compton and all its value of $4,000,000.00 be bequeathed to the University for use an educational and botanical research facility” (Pape 2010).

This transaction was finally fulfilled with Lydia’s passing in 1932. Though a fortune at the time, the estate and grounds have since multiplied in worth not only economically, but also as a communal asset of social and educational worth (Pape 2010).

On June 4th, 1933, the former summer home and life’s work of John and Lydia Morris finally completed the transformation from private estate to public garden, culminating the lifelong dream of the Morris siblings (Pape 2010).

While the Compton estate had been very much so a place of private respite for the Morris siblings, its reputation as one of the world’s finest arboreta preceded it (Pape 2010). Thus, when the gates of the estate formerly known as Compton welcomed the public with open arms eighteen months after the passing of Lydia Morris, it was rumored to have hosted the enormous number of 10,000 guests on opening day. Received with incredible enthusiasm from the public, The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

the birth of the Morris Arboretum marked perhaps the most sustaining legacy of the Morris Arboretum, bearing a mission to “promote an understanding of the relationship between plants, people and place through programs that integrate science, art and the humanities” (Morris Arboretum of the University of Pennsylvania 2013).

As a newly acquired asset of the University of Pennsylvania, the Arboretum itself continued to undergo further transformation. For instance, while the nature of the gardens originally bore the simple responsibility of aesthetics shared by most private gardens at the time, the University hoped to use the grounds for horticultural study as well as research (Pape 2010).

This required the cataloging of the existing specimens, a key organizational component in the growth of the new plant collections (Pape 2010).

As changes continued to permeate the landscape, a new system of management was assembled through the University as well. Dr. Rodney H. True (See Figure 42) had the privilege as serving as the Arboretum’s first official Director (Pape 2010). Specializing in plant disease pathology, ecological systems, and physiology, Dr. True spearheaded several initiatives to ensure the success of the Arboretum as a public garden. Alongside him, Dr. John M. Fogg served as the Arboretum’s official taxonomist, helping to fulfill requirements of a cataloged collection (Pape 2010). Finally, in 1948, a man by the name of Dr. Henry T. Skinner, achieved the position of Curator, a necessary role to bridge the gap between the Arboretum as an institution and an educational facility (Pape 2010).

Taking heed from the actions of their predecessors, Morris Arboretum acquired an additional 3.5 acres from an area directly adjacent to it. Equipped with a house, the structure was renovated and re-purposed to satisfy the increasing demand for administrative offices and as well as educational facilities (Pape 2010). In 1893, this acquired structure came to be known as Gates Hall, in honor of the president of the University who allowed the dream of the Morris siblings, John and Lydia to live on (Pape 2010).

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Life After the Morris Siblings Although this may seem like an indirect institutional benefit, directors of institutions offering adolescent programming ranked this benefit as the most important and it consistently arose in open-ended questions.

Building this interest early is very important to the future of public horticulture.

- Keelin Blaith Purcell

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Figure 43. Out on a Limb, a new attraction at the Arboretum caters to the youth of the community.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

The opening of the Morris Arboretum as a public garden, while enthusiastically received by the public, fulfilled only one aspect of John and Lydia’s last wishes. The other component of the Morris siblings’ lifelong dream that had yet to be realized lay in their vision of their estate becoming an educational institution. While this may appear to be the standard for most public horticulture institutions or museums today, this facet of community engagement took several years to achieve the pristine level of education that Morris is reknown for today.

The first classes to be offered by the arboretum came with appointment of a new director, Dr. Fogg in 1954 (Pape 2010). These classes, which dealt primarily with taxonomy and botany, were somewhat primitive as a “curriculum” and yet the arboretum seemed well on its way to developing educational programs (Pape 2010). Unfortunately, the grounds of the arboretum, which had begun to exhibit signs of age and disrepair, drew efforts away from its educational focus. In fact, when the Morris Arboretum joined the National Register of Historic Places, the need for rejuvenation in the grounds became all the more critical (Pape 2010).

With additional staff and management, the employees of the arboretum arrived at the decision to extend their reach outside the gates of the estate, seeking to employ a planning firm to guide the future of the Morris’ living legacy (Pape 2010). Finally, Andropogan Associates, a Philadelphia-based planning firm was selected to complete a ten-year master plan designed to breathe life into the somewhat deteriorating estate. The careful selection of this local firm was additionally enhanced by fact that one of the firm’s founding principals, Carol Franklin, lived in Chestnut Hill and had experience as a professor of Landscape Architecture and Regional Planning at the University of Pennsylvania and “in cultural landscapes in the Department of Historic Preservation” (Andropogon Associates 2010). The transformation ended up spanning the course of thirty years and to this day Andropogon Associates maintains a relationship with Morris Arboretum (Pape 2010).

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Within the following years, various stages of the master plan were implemented, all the time evolving the arboretum as a public institution working towards education. Finally, in the year 2008 the second component of the Morris siblings’ lifelong dream came to fruition: the Horticulture Center located at Bloomfield Farm, the crown jewel of the master plan, was complete (Pape 2010). The LEED certified, energy efficient building included cutting edge technology such as “geothermal wells, for efficient heating and cooling, photovoltaic panels, cisterns for recycling storm water run-off, green roofs and energy-efficient lighting” (Pape 2010). This new facility acted as a catalyst for educational programs, refining the arboretum’s image and connection to the community.

One of the most attractive features of the Arboretum is its wide range of programs to involve the whole community. While some institutions appeal to one specific age demographic, the Arboretum has designed its community outreach program to not only “include” all ages, but also to appeal to various interests. Out on a Limb, a newer attraction is one of the most popular exhibits (See Figure 42).Today, the Morris Arboretum offers over 120 classes in topics including but not limited to the following: Visitor Education and Volunteer Training, Culinary Adventures, Health and Wellness, Growing Minds (See Figure 44), Creative Expressions, Horticulture, Botany, Landscape Design Series, Special Seminars, Calling All Birders, Local and Regional Trips, the School of Arboriculture, and the Endowed Lecture Series. In fact, developing professionals can earned a Landscape Design Certificate as well as Continuing Education Credits from the Morris Arboretum (Pape 2010). Conferences, tours, and internships are offered on an annual basis today. These age-specific programs vary widely in and of themselves, broadening its marketability to the public at large.

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The youngest demographic that the Arboretum appeals to begins at age 2! Seedlings to Sprouts, Spring Adventures, is intended for ages 2-4, promoting the involvement of toddlers in the guided exploration of their nature worlds. Sprouts to Saplings, Spring Explorers which targets ages 5-7, is an outdoor after-school program that teaches about local wildlife. Offering the chance for youngsters to actively participate outdoors may initially seem to be a simple idea. In past generations this would appear to be so. However, with the rapid evolution and widespread evolution of seemingly endless technologies, children of newer generations are decreasingly exposed to nature, spending less time outside and more time entertained by electronics.

This issue, coined “Nature Deficit Disorder” by Richard Louv in his book author of Last Child in the Woods, can be attributed to a plethora of factors that have recently emerged within the family life. Some families have two working parents, resulting in the enrollment of children in indoor daycare facilities.

Often times, however, children are not only removed from nature, they are taught to fear it. While parents certainly hold valid concerns in terms of safety considerations for their children, shielding the youth from natural areas has proved to yield a number of repercussions including a lack of understanding of basic ecosystems, loss of unstructured imaginative play space, and lack of investment in the future of the natural environment. By participating in these programs at the Arboretum, the youth is taught to become more like John and Lydia: ambassadors for stewardship of the land.

The internship program, though founded as a seasonal position in 1979, evolved alongside the educational system of Morris Arboretum to become a year-long position in 1986 (Pape 2010). Claiming to be the arboretum’s best connection to their youth demographic, the internship program at Morris Arboretum, which “is open to recent college graduates and students as well as individuals who have recently changed careers”, has solved one of the most consistent issues regarding attendance and community

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involvement for non-profits such as arboreta and museums: connecting with youth, particularly teenagers (Purcell 2010). According to a recent study concerning adolescent involvement at public horticulture institutions, graduate student Keelin Blaith Purcell of the Longwood Graduate Program poses that “providing real-life and long-term horticultural experiences during these formative years could help ensure an active and engaged future

Figure 44. Growing Minds caters especially to the youth of the community, the future care-takers of our world.

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

generation of horticulturists and public garden and environmental advocates�

(Purcell 2010). Thus, Purcell’s thesis maintains that the best way to ensure the legacy of an institution is to include the youth over an extended period of time to better instill a sense of stewardship.

Although it is clear that these youth initiatives are geared towards a younger audience, these programs act as a double edge sword, appealing to parents, grandparents, and guardians. Youth participation in these programs not only promotes a sense of environmental learning but also allows parental figures to experience temporary relief from their regular responsibilities.

During this respite, one might be inclined to sign up for one of the several classes offered at the Arboretum. From Culinary Adventures to Health and Wellness, the range includes something to satisfy nearly every interest (Morris Arboretum of the University of Pennsylvania 2013).

These classes can be taken without the purchase of a membership; however, having a membership with the Arboretum affords its members discount incentives for admission as well as classes offered and special events. Membership can come in a number of degrees depending on the interest and level of investment of the individual. For instance, all memberships include baseline benefits such as free unlimited admission for one whole year, complimentary one-time use guest passes, discounts at the Arboretum’s shop and cafe as well as designated local garden centers, free admission to special events, one free bonus plant at the annual Plant Sale Day, reciprocal admission to over 200 local gardens, and a print/electronic newsletter (Morris Arboretum of the University of Pennsylvania 2013).

General memberships can be custom tailor to fit your needs as an individual, a pair, or even a family! Premier memberships, such as the Beech, Chestnut, and Holly memberships receive additional perks at an extraordinary value.

Purchasing a membership is not only a great way to support the Arboretum, it is also an excellent investment in the community, providing local resources

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

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Agents of Stewardship

“

Get out into the woods!

- Dr. Ann Rhoads

�

Figure 45. Dr. Ann Rhoads, a major contributor to the many discovers made in research at the Arboretum.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Though John and Lydia’s time at Compton was short-lived, their Quaker-based passion for botany has continued to thrive to this day. It would seem that in the stead of the Morris siblings came new power duos. Among those who have created an indelible mark on the field through Morris Arboretum are Dr. Edgar T. Wherry (See Figure 48) and Dr. John M. Fogg as well as Dr. Ann F. Rhoads (See Figures 45-47) and William M. Klein (See Figure 49) (Chestnut Hill Local 2013).

The first duo focused their efforts primarily on the collection, documentation, and mapping of both the native and naturalized plants commonly found in Pennsylvania. With the background of a well-respected author concerning ferns and wildflowers in combination with hi role as an assistant professor of ecology from the University of Pennsylvania, Dr. Wherry remained invested in this herbarium collection for nearly forty years from 1932 to 1970. In conjunction with Dr. Fogg, who was the Arboretum’s first taxonomist, the pair spearheaded this data-labeled herbarium using filing cards. This project adopted the title “Works Progress Administration” (WPA), which enlisted the help of the University’s graduate students on a seasonal basis. The culmination of their efforts resulted in the Atlas of the Flora of Pennsylvania, a publication in conjunction with Herbert A. Wahl.

Taking the project to the next level was the duo of Dr. Ann Rhoads and then current director William Klein. Together, the pair’s work to bring the database to the cutting edge of the technological front proved to be critical for the continued success of the collection not only for the sake of ease in organization but also the preservation of research to be capitalized upon in the future. In fact, today the database is home to “3,086 taxa derived from 400,000 herbarium specimens” (Pape 2000). The extent to which this database can be utilized ranges from taxonomy, geography, and by date of collection. The culmination of this research has been expressed in the publication The Vascular Flora of Pennsylvania: Annotated Checklist and Atlas in 1993 (Chestnut Hill Local 2013).

At this point, the Arboretum began to add botanical consulting to its already sterling reputation as a center for research. Dr. Ann Rhoads career continued to flourish while studying at the Arboretum. In 2007, she, along The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

with botany department staff member, Dr. Timothy Block, completed the Montgomery Country Natural Areas Inventory Update. With a special focus on native ecosystems, this inventory focused specifically on thirteen conservation landscapes, accounting for about a quarter of the county. This consulting practice even extended to several of Pennsylvania’s state parks, circulating the Morris name and bolstering the Arboretum’s credibility on a state-wide level.

Dr. Rhoads continued to publish her work including titles such as The Plants of Pennsylvania” An Illustrated Manuel which was complemented by Trees of Pennsylvania: a Complete Reference Guide, and finally in 2010 Plants of Pennsylvania: Lakes and Streams. With nearly 3,000 species of trees, shrubs, wildflowers, ferns, grasses, sedges, aquatic plants, and weeds cataloged between these books, these references boast some of the most in-depth research of Pennsylvania’s natural areas.

In addition to her many accomplishments in botany, Dr. Ann Rhoads was also a well-known and respected member of the Chestnut Hill Community. In fact, the Chestnut Hill Local, the electronic news publication posted by the Chestnut Hill Community Association, recently wrote an article regarding the recent retirement of Dr. Rhoads. Honoring her remarkable career, the Association fondly refers to Dr. Rhoads as the “Retiring Hill Botanist,” informally including her as an outstanding and exceptional member of the community. Despite her official retirement, Dr. Rhoads still remains in the directory of staff at Morris Arboretum as the Senior Botanist. Additionally, Dr. Rhoads continues to share her love of the natural world both with her grandchildren as well as the public through events such as the “Native Plants Walk with Dr. Ann Rhoads” in Beaver Run Hunting and Fishing Club located in the Pocono Mountains. An advocate for conservation in Pennsylvania in general and Chestnut Hill in particular, Dr. Rhoads truly channeled the spirit of land stewardship that proved to be so critical in the nature of the Morris siblings. Ever in the nature of endless exploration and curiosity, Dr. Rhoads left her fans with a simple yet effective pieces of advice: “Get out into the woods!”(Chestnut Hill Local 2013).

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Figure 46-47. Dr. Ann Rhoads, a major contributor to the many discovers made in research at the Arboretum.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Figure 48. Dr. Edgar Wherry

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Figure 49. Dr. William M. Klein

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“

Growing Connections_Philadelphia Area The Arboretum is an integral part of the open space in the NW Phila area (with Erdenheim Farm, The Wissahickon, etc). We need to be better connected with public transportation.

Our wetlands (mudflats) provide a fairly unique landtype in this area for birds and other wildlife. Our pathways and grounds provide an intergenerational family experience.

- Morris Arboretum Employee

�

Figure 50. Arboretum employees participate in the Annual Plant Sale, one of the many programs offered.

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Though the Morris Arboretum is now the official arboretum of the State of Pennsylvania, listed on the National Register of Historic Places, and a world-class arboretum hosting over 100,000 visitors each year, this re-known institution has not yet lost touch with its roots in Chestnut Hill. Continuously molded around the cultural and physical aspects of one another, the Morris Arboretum and Chestnut Hill are inextricably linked in history and will continue to share a future with one another for as long as they exist. Luckily, there have already been several measures taken throughout the years to ensure the preservation of these entities in relationship to one another. While the Morris Arboretum’s archives are extensive in nature, they pertain primarily to the lives and legacy of the Morris family; whereas, the Chestnut Hill Historical Society, founded in 1967, bears an exceptional testament to the evolution of the community through images, documents, and all other manners of historical records (Contosta 1992). It is through these records that a case was able to be made for such an intertwined relationship. Now more than ever, a conscious effort is currently being made to not only preserve the past but also to serve the needs of the present with regards to the future.

Among those who experience the connection with both Morris Arboretum and Chestnut Hill most directly are the employees (See Figure 50) of the arboretum. By issuing a voluntary online survey to these employees, candid feedback regarding the thoughts and feelings of this community relationship offered a brief but interesting glimpse into the lives of those who work to promote the Morris’ living legacy within a deeply historic community.

Ranging from 1 year to multiple decades, the employees of the arboretum drive anywhere from five to forty minutes to work, some living within Chestnut Hill.

When asked to what degree the participant felt Morris Arboretum and Chestnut Hill were connected, the majority selected either “always” or “most of the time”.

However, when asked to select which scale best fit the role of Morris Arboretum today, only some answered Chestnut Hill. The majority considered the scale to be more regional, affecting the Greater Philadelphia Area. When given the forum to express thoughts not addressed in the survey, one participant posed “The

The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

Arboretum is an integral part of the open space in the NW Philadelphia area (with Erdenheim Farm, The Wissahickon, etc). We need to be better connected with public transportation. Our wetlands (mudflats) provide a fairly unique landtype in this area for birds and other wildlife. Our pathways and grounds provide an inter-generational family experience.”

To this end, one can conclude that while the immediate connection with Chestnut Hill seemed to be imperatively relevant in the past, today Morris Arboretum is continuously connecting to a regional future.

A note of critical importance often overlooked is the number of those who are currently working to sustain the culturally-rich legacy of the Morris family which extends beyond the employees of the arboretum.

Rather, a strong support system of members and volunteers continuously work to bolster the stability and reputation that precedes the Morris Arboretum today. Providing a consistent backbone to the system, these auxiliary, but critical, roles are filled by residents in a number of communities. Not surprisingly, the zip code associated with Chestnut Hill, 19118, is the highest in terms of volunteers (over 400 people in total); in terms of membership, Chestnut hill comprises 9.53%, second only to Wyndmoor ranking 9.55%. Without this continued support, the Morris Arboretum would not have the same remarkable impact on its surroundings that it has been able to maintain for over a century.

While the symbiotic relationship between the Morris Arboretum and the Chestnut Hill community still remains today, it appears that the success of the arboretum has grown in direct proportion to the scale to which it is now most compatible, the Greater Philadelphia Area. Perhaps the progression in scale was inevitable, as many institutions of public horticulture, particularly those who have bloomed from a relatively private past, have come to market themselves on a metropolitan scale. Despite this growth, the two entities share a past that continue to preserve an essence, a style, and a story. Rich with culture, passion, and vitality, the legacy of the Morris family will forever be a stitch in the fabric of Chestnut Hill, the Wissahickon Valley, and the Greater Philadelphia Area.

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Special thanks is extended to the following:

Robert Gutkowski, Director of Public Programs at The Morris Arboretum Leslie Morris-Smith, Archive Coordinator at The Morris Arboretum Elizabeth Jarvis, Curator and Archivist at The Chestnut Hill Historical Society The Employees and Volunteers of the Morris Arboretum The Employees and Volunteers of The Chestnut Hill Historical Society Neil Korostoff, Associate Professor of Landscape Architecture at the Pennsylvania State University Timothy Murtha, Associate Professor of Anthropology at the Pennsylvania State University

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The Morris Arboretum: A Cultural Cross-Section of Chestnut Hill

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Chestnut Hill Historical Society. 1974. Summit Street in Chestnut Hill Philadelphia Pennsylvania. Chestnut Hill Historical Society.(CHCA 2013) Chestnut Hill Local. 2013. “Retiring Hill botanist: ‘Get out into the woods!’” Accessed April 17. http://chestnuthilllocal.com/blog/2013/02/14/retiring-hill-botanist-get-out-into-the-woods/ Contosta, David R. 1992. Suburb in the City:Chestnut Hill, Philadelphia, 1850-1990. Columbus: Ohio State University Press.

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