Visiting with Huell Howser | Forest Lawn | Season 17
>> "VISITING WITH HUELL HOWSER" IS MADE POSSIBLE THROUGH A GENEROUS GRANT FROM THE RALPH M. PARSONS FOUNDATION.
[CAPTIONING MADE POSSIBLE BY KCET PUBLIC TELEVISION] Huell: WELL, HELLO, EVERYBODY.
I'M HUELL HOWSER.
GET READY FOR AN ADVENTURE, BECAUSE WE'RE GETTING READY TO SPEND THE AFTERNOON IN A PLACE I'VE ALWAYS WANTED TO VISIT.
I'VE BEEN HEARIN' ABOUT THIS PLACE FOR YEARS.
FOREST LAWN MEMORIAL PARK AND MORTUARY'S HERE IN GLENDALE, RIGHT ON THE SIDE OF GLENDALE AVENUE.
THIS PLACE IS VERY SPECIAL, AND HERE TO TELL US EXACTLY WHY THIS PLACE IS SO SPECIAL--YOUR NAME, SIR?
>> I'M BOB BOWKER.
Huell: OK, YOU'RE CONNECTED WITH FOREST LAWN.
>> YES.
I'VE BEEN HERE FOR 30 YEARS.
Huell: OK. NOW, YOU DON'T LIKE TO USE THE WORD "CEMETERY," DO YOU?
>> NO, WE DON'T.
WE REALLY PREFER THE WORD "MEMORIAL PARK," BECAUSE OUR FOUNDER DECIDED HE DIDN'T WANNA HAVE THE SYMBOLS OF DEATH AND GLOOM ANYMORE.
HE WANTED TO REPLACE THEM WITH OBJECTS OF ART AND BEAUTY, AND SO NOW WE CREATED A PLACE THAT LOOKS MORE LIKE A PARK THAN-- Huell: A MEMORIAL PARK... >> EXACTLY.
Huell: NOT A CEMETERY.
>> THAT'S EXACTLY RIGHT.
Huell: I'M GONNA SLIP, I'M SURE, DURING THE DAY AND USE THE WORD.
>> I'LL CORRECT YOU.
Huell: ALL RIGHT.
NOW, THIS PLACE REALLY DOES LOOK LIKE A PARK, AND WE ARE STANDING OUT AT THE MAIN GATES, AND THESE GATES THEMSELVES MAKE A STATEMENT.
>> ABSOLUTELY.
THESE ARE WORKS OF ART.
THEY'RE ACTUALLY 25 FEET HIGH, 80 FEET WIDE, TWICE AS WIDE AND 5 FEET TALLER THAN THE GATES AT BUCKINGHAM PALACE.
Huell: NOW, WHAT WAS THE DEAL IN PUTTIN' GATES LIKE THIS?
LET'S WALK OVER HERE.
WHAT-- WHAT WAS THE IDEA OF HAVING THESE MAGNIFICENT GATES TO GET INTO FOREST LAWN?
>> WELL, THESE ARE SYMBOLS OF THE SECURITY, PROTECTION, AND JUST THE ART AND BEAUTY THAT FOREST LAWN WANTS TO PROVIDE TO THE COMMUNITY.
Huell: WE DIDN'T TALK ABOUT THE GUY WHO STARTED ALL THIS.
HIS NAME WAS... >> DR. HUBERT EATON.
HE'S THE ONE WHO STARTED IT.
HE CAME FROM MISSOURI, GOT A JOB HERE AS A-- ACTUALLY THE ADVANCE PLANNING SALES MANAGER, WAS--SOON ROSE UP, BECAME THE PRESIDENT OF FOREST LAWN AND TOOK OVER IN ABOUT 1914.
Huell: AND WHEN HE TOOK OVER, IT WAS STILL A TRADITIONAL CEMETERY.
>> OH, ABSOLUTELY.
ABSOLUTELY.
THIS WAS ALL HIS IDEA TO CHANGE THE LOOK OF A CEMETERY INTO MORE LIKE A PARK SO PEOPLE WOULD BE REMINDED OF THE HOPE AND-- AND BEAUTY OF EVERLASTING LIFE.
Huell: AND WHAT WE'RE GETTING READY TO SEE ON THIS TOUR IS NOT ONLY--WAS AND IS NOT ONLY A FIRST IN CALIFORNIA.
IT WAS THE FIRST CEMETERY QUOTE-UNQUOTE OF ITS KIND IN THE WORLD.
>> IN THE WORLD TO REPLACE THE TOMBSTONES INSTEAD WITH THE TABLETS AND CREATE MORE OF A PARKLIKE ENVIRONMENT AND REPLACE THAT WITH WORKS OF ART.
Huell: WELL, WE'VE GOT A BEAUTIFUL AFTERNOON.
>> ABSOLUTELY.
Huell: IT'S A BEAUTIFUL ENTRANCEWAY RIGHT HERE, BUT THIS IS JUST THE TIP OF THE ICEBERG.
THERE IS MUCH, MUCH MORE TO SEE ON THIS TOUR OF FOREST LAWN.
RIGHT INSIDE THE GATES, AND THE FIRST THING YOU SEE--AND I GOTTA TELL YOU, BOB, I FEEL LIKE I'M IN THE ENGLISH COUNTRYSIDE HERE LOOKIN' AT THIS.
>> WELL, IT'S INTERESTING YOU WOULD SAY THAT, HUELL, BECAUSE THIS IS OUR MORTUARY HERE, AND DR. EATON JUST LOVED ENGLAND.
HE VISITED A MANOR HOME CALLED COMPTON WINYATES, AND IT WAS SUPPOSED TO BE THE BEST EXAMPLE OF TUDOR ARCHITECTURAL STYLE IN GREAT BRITAIN, AND SO HE ASKED HIS ARCHITECTS TO CREATE A PLACE THAT WAS VERY SIMILAR, AND THIS WAS INSPIRED BY THAT, AND SO THIS IS WHY IT LOOKS SO MUCH LIKE A PLACE FROM THE MID-CENTUR--MIDDLE AGES IN ENGLAND.
Huell: WELL, YOU FEEL LIKE YOU'RE AT A HOME HERE.
YOU DON'T FEEL--IT DOESN'T HAVE THE LOOK OF A MORTUARY AT ALL.
>> THAT'S EXACTLY RIGHT.
ANOTHER REASON FOR PEOPLE TO JUST FEEL MORE COMFORTABLE, THAT THEY AREN'T COMING TO A PLACE OF GLOOM AND DOOM.
Huell: NOW, YOU SAID THIS WAS A FIRST AS WELL.
>> THIS WAS THE VERY FIRST MORTUARY EVER ON THE GROUNDS OF A CEMETERY AND WITH THE FLOWER SHOP AND EVERYTHING RIGHT HERE.
WE JUST THOUGHT IT MADE IT SO MUCH MORE CONVENIENT FOR PEOPLE.
Huell: AND THIS HAS BEEN HERE LOOKIN' JUST LIKE THIS SINCE... >> SINCE 1933, HUELL.
Huell: SO THIS IS ONE OF THE EARLY BUILDINGS THAT HE BUILT.
>> ABSOLUTELY.
Huell: AND IT LOOKS TO ME LIKE IT HASN'T BEEN CHANGED AT ALL.
>> NO, IT HASN'T, NOT MUCH.
Huell: WOW.
IT IS ABSOLUTELY-- LET'S STAND OUT OF THE WAY AND GET A SHOT OF THIS.
IT'S ABSOLUTELY BEAUTIFUL.
YOU FEEL LIKE YOU'RE IN THE ENGLISH COUNTRYSIDE, AND IT WAS MADE TO LOOK LIKE WHAT?
>> COMPTON WINYATES IN-- IN GREAT BRITAIN.
Huell: WOW.
IT JUST KEEPS GETTIN' BETTER.
WE HAVEN'T COME THAT FAR INTO THE MEMORIAL PARK, AND AGAIN I FEEL LIKE I'M IN ENGLAND.
THIS IS ONE OF HOW MANY--THIS IS A CHAPEL, RIGHT?
>> YES.
WE HAVE 3 CHURCHES.
ALL OF THE CHURCHES AT FOREST LAWN ARE REPLICAS OF FAMOUS CHURCHES, EITHER IN GREAT BRITAIN OR IN THE UNITED STATES.
Huell: SO WHAT'S THE DEAL ON THIS ONE?
>> THIS IS A REPLICA OF A CHURCH CALLED THE WEE KIRK O' THE HEATHER, OR ANNIE LAURIE'S CHURCH.
THE ORIGINAL WAS ON LORD LAURIE'S ESTATE BACK IN 1350.
UNFORTUNATELY IT WAS DESTROYED ABOUT 1865, BUT OUR ARCHITECTS USED THE RUINS AND RECREATED THIS CHURCH THAT TELLS THE STORY OF ANNIE LAURIE.
Huell: HOW DID DR. EATON GET INTO--I MEAN, THIS IS PRETTY HEAVY-DUTY HISTORY WE'RE TALKI'' ABOUT HERE.
>> DR. EATON LOVED HISTORY.
HE LOVED GREAT BRITAIN, AND SO THIS IS WHY WE WANTED TO--ALL OF THE CHURCHES HERE ARE PATTERNED AFTER CHURCHES IN GREAT BRITAIN.
Huell: NOW, THIS ONE IS FAMOUS FOR A COUPLE OF REASONS.
A LOT OF PEOPLE USE THIS FOR WEDDINGS, DON'T THEY?
>> MANY PEOPLE USE THIS FOR WEDDINGS.
AS A MATTER OF FACT, RONALD REAGAN AND JANE WYMAN, HIS FIRST WIFE, USED THIS AS A WEDDING CHAPEL.
Huell: WERE MARRIED HERE?
>> WERE MARRIED HERE.
ABSOLUTELY.
Huell: AND ISN'T THAT INTERESTING?
BECAUSE USUALLY WHEN YOU THINK OF CEMETERIES, YOU THINK OF DEATH, BUT HERE'S A CHURCH THAT'S USED PROBABLY FOR FUNERALS AS WELL.
>> ABSOLUTELY, BUT WE'VE HAD-- Huell: BUT FOR WEDDINGS... >> YES.
Huell: AS WELL.
>> OVER 25,000 COUPLES HAVE BEEN MARRIED IN THE CHURCHES AT FOREST LAWN THROUGHOUT THE YEARS.
Huell: WOW.
AND AGAIN, THIS LOOKS AS AUTHENTIC AS IT CAN BE RIGHT HERE.
YOU WOULD THINK WE WERE IN ENGLAND.
>> ABSOLUTELY.
THAT'S--THAT WAS WHAT WE WERE STRIVING FOR, AND I THINK WE'VE ACCOMPLISHED IT.
Huell: WELL, THAT'S WHAT PEOPLE ARE LOOKIN' FOR WHEN THEY'RE GETTING MARRIED AND ALSO WHEN THEY'RE HAVING THEIR FUNERAL.
THEY WANT A PLACE THAT HAS THIS KIND OF CHARACTER TO IT.
>> ABSOLUTELY.
IT'S VERY COMFORTING AND VERY TRADITIONAL.
Huell: AND RIGHT HERE ACROSS FROM THE CHURCH ON THIS LITTLE PLAZA HERE IS SOMETHING CALLED THE WISHING CHAIR.
>> YES, HUELL.
THAT'S CORRECT.
WHAT THIS IS, THESE ARE MADE FROM STONES FROM THE ACTUAL LOCATION, AND SO AFTER A-- Huell: YOU MEAN THESE STONES WERE BROUGHT FROM SCOTLAND.
>> FROM SCOTLAND.
AND SO AFTER THE WEDDING TAKES PLACE, THE BRIDE AND GROOM WILL SIT IN THE CHAIR, AND THEY LOOK DOWN, AND THEY READ THIS POEM THAT SAYS, "DRESSED IN OUR BEST AND ALL ALONE, WE SIT WITHIN THE WISHING CHAIR, WHICH BODES SUCCESS FOR EVERYONE EXCHANGING BRIDAL KISSES THERE," AND THEN THEY KISS.
Huell: BOY, YOU DID A GOOD JOB.
YOU READ THAT BACKWARDS.
>> I USED TO BE A SCHOOLTEACHER, YES.
Huell: SO THEN THEY KISS... >> AND THEN THEY KISS.
Huell: AND THAT'S PART OF THE WEDDING CEREMONY.
>> YES.
AND LOTS OF PHOTOGRAPHS TAKE--GET TAKEN HERE.
Huell: RIGHT HERE IN THE WISHING CHAIR.
AND WAS THIS SOMETHING THAT DR. EATON WOULD HAVE-- HE LIKED DETAILS, DIDN'T HE?
>> YES, HE DID.
HE LOVED DETAILS, AND HE LOVED WEDDINGS.
HE WAS VERY EXCITED IN 1923, WHEN THE FIRST COUPLE CAME TO US AND ASKED TO BE MARRIED IN ONE OF OUR CHURCHES.
Huell: AND SINCE THEN, HOW MANY PEOPLE YOU FIGURE HAVE BEEN MARRIED HERE?
>> AT LEAST 25,000 COUPLES.
Huell: AND I'M SURE EVERY ONE OF THOSE MARRIAGES SURVIVED.
>> ABSOLUTELY.
Huell: NOW WE'RE COMIN' THROUGH THE GATE RIGHT HERE BESIDE THE CHURCH, AND LOOK AT THIS.
THIS IS JUST BEAUTIFUL IN ITS SIMPLICITY AND IN THE QUIETNESS THAT YOU FEEL WHEN YOU'RE HERE.
>> YES, HUELL, THAT WAS ONE OF DR. EATON'S IDEAS, TOO, IS THAT PEOPLE COULD COME HERE AT A TIME MAYBE AFTER A FUNERAL OR JUST EVEN BEFORE, JUST TO HAVE A PLACE OF QUIET AND SOLITUDE TO REFLECT AND--AND TO, UH, MEDITATE AND SAY SOME PRAYERS.
Huell: DO PEOPLE KNOW ABOUT THIS?
IT'S KIND OF TUCKED OFF TO THE SIDE.
>> WE HAVE PEOPLE WHO COME HERE ALMOST EVERY DAY JUST TO CALM DOWN.
Huell: YOU MEAN PEOPLE JUST FROM THE COMMUNITY WHO COME HERE... >> ABSOLUTELY.
THEY JUST--THEY LOVE COMING HERE FOR THE QUIET AND SOLITUDE IN A MAJOR METROPOLITAN AREA.
Huell: WOW.
THIS IS--IT'S SO SMALL AND SO SIMPLE AND YET SO BEAUTIFUL, AND I GUESS IF YOU'RE GONNA HAVE A GARDEN FOR MEDITATION, THIS IS IT RIGHT HERE.
>> THIS IS THE ONE.
ABSOLUTELY.
Huell: YOU FEEL IT JUST WALKIN' THROUGH THAT GATE.
YOU FEEL THE SENSE OF WHAT THIS GARDEN IS ALL ABOUT.
>> YES.
VERY PEACEFUL.
Huell: NOW YOU'VE STUMPED ME.
YOU BROUGHT ME TO A PLACE HERE ON TOP OF THIS HILL, AND I HAVE NO IDEA WHAT WE'RE LOOKING AT.
>> HUELL, WHAT WE'RE LOOKING AT IS SOMETHING CALLED THE TEMPLE OF SANTA SABINA.
THIS WAS ACTUALLY AN ALTAR IN THE CATHEDRAL IN SANTA SABINA, ITALY, 1,500 YEARS AGO.
THIS IS AN ORIGINAL.
Huell: NOW, HOW DID DR. EATON GET THIS?
HE WASN'T RAIDING CATHEDRALS ALL OVER ITALY, WAS HE?
>> ABSOLUTELY NOT.
THEY DECIDED TO REMODEL THE SANCTUARY AND PUT IN A NEW ALTAR, AND THERE REALLY WASN'T ROOM FOR THIS ONE, AND SO WE WERE ABLE TO PROCURE THIS AND BRING IT OVER TO THE UNITED STATES.
Huell: NOW, WHAT IS THIS USED FOR TODAY?
IS THIS A MARKER?
IS SOMEONE BURIED THERE?
>> THIS IS ACTUALLY A PRIVATE FAMILY MEMORIAL, YES.
WE BROUGHT--WE HAVE MAJOR WORKS OF ART, AND THEN WE OFFER FAMILIES AN OPPORTUNITY TO HAVE OR BE NEAR THESE MAJOR WORKS OF ART.
Huell: SO WAS THIS WORK OF ART HERE BEFORE SOMEONE WAS BURIED HERE, OR WERE THEY IN RELATIONSHIP TO EACH OTHER?
>> NO, DR. EATON BROUGHT THIS SOME YEARS BEFORE THE FAMILY CHOSE TO HAVE THIS, AND-- Huell: SO IT SAT HERE AS A PIECE OF ART.
>> ABSOLUTELY.
Huell: AND THEN IT BECAME A BURIAL PLACE.
>> THAT IS EXACTLY RIGHT.
Huell: AND PIECES OF ART LIKE THIS ARE DOTTED ALL OVER THIS PARK, AREN'T THEY?
>> WE HAVE OVER 1,500 STATUES, YES, AND MAJOR WORKS OF ART.
Huell: WOW.
AND I SAY, "PARK," NOW.
IT'S EASY FOR ME TO SAY, "PARK," INSTEAD OF CEMETERY, BECAUSE LOOK OUT HERE.
NOW, HERE'S--THIS IS GLENDALE OVER HERE, RIGHT?
AND YOU'RE LOOKIN' KIND OF DOWN TOWARD L.A. >> THAT'S CORRECT.
THAT'S COUNTY GENERAL OUT THERE.
Huell: ALL RIGHT, SO THIS IS THE CITY HERE, BUT LOOK OVER HERE.
NOW, THIS TRULY IS A PARK.
IT LOOKS AND FEELS LIKE A PARK.
>> AND THAT'S THE WHOLE IDEA AND CONCEPT.
Huell: WOW.
THIS IS--WAS THIS CONTROVERSIAL?
>> YES, IN THE BEGINNING, IT WAS, BUT SINCE THAT TIME, EVERY MAJOR CEMETERY HAS COPIED US.
Huell: BUT WHY WAS IT CONTROVERSIAL?
>> WELL, SOME PEOPLE JUST--IT'S HARD TO CHANGE.
THEY LIKED THOSE TRADITIONAL TOMBSTONES.
BUT ONCE THEY SAW THIS AND THE PEACE AND SERENITY IT OFFERED, THEY SOON EMBRACED THIS CONCEPT.
Huell: BECAUSE ALL OF THESE HEADSTONES ARE ALL FLAT AND ARE ALL THE SAME SIZE, EXCEPT FOR OF COURSE BIG ONES LIKE WE JUST LOOKED AT OVER HERE, BUT EVERYTHING ELSE, THERE'S NO SENSE OF COMPARING FAMILY TOMBSTONES.
"MY TOMBSTONE IS BIGGER THAN YOUR FAMILY'S TOMBSTONE."
>> THAT'S EXACTLY RIGHT.
EXACTLY RIGHT.
Huell: IS THAT WHY IT WAS CONTROVERSIAL?
>> THAT'S ONE OF THE REASONS, YES.
I THINK IT WAS CONTROVERSIAL FOR THAT REASON.
Huell: AND HOW LONG DID IT TAKE FOR THIS IDEA TO CATCH ON ALL OVER THE WORLD?
BECAUSE HE STARTED DOIN' THIS BACK IN... >> 1912.
HE--THAT WAS HIS IDEA IN 1912, AND SINCE THAT TIME, PROBABLY AROUND THE TWENTIES AND THIRTIES, ALMOST EVERY MAJOR CEMETERY.
Huell: SO HE REALLY WAS AHEAD OF THE-- >> YEP.
Huell: HE WAS ON THE CUSP.
>> YES, HE WAS.
Huell: BOY, LOOK AT THIS.
CAMERON, COME OUT HERE AND JUST TAKE A LOOK WITH THE BLUE SKIES AND THE TREES AND THE GRASS AND THE ROLLING HILLS.
THIS IS JUST SPECTACULAR.
IT'S ONE OF THE PRETTIEST SIGHTS YOU'LL SEE ANYWHERE IN SOUTHERN CALIFORNIA.
IT'S LIKE A PARK.
NOW WE HAVE COME TO OLD FOREST LAWN, AND I CAN TELL IT'S OLD FOREST LAWN BECAUSE... >> BECAUSE THERE ARE HEADSTONES HERE, AND THIS IS THE ONLY PLACE WHERE WE DO ALLOW HEADSTONES TO BE AT FOREST LAWN.
AND THIS WAS JUST FOR ABOUT THE FIRST 6 OR 7 YEARS, BEFORE DR. EATON REALLY TOOK CHARGE AND SAID LET'S NOT HAVE THESE ANYMORE.
Huell: SO THESE HEADSTONES DATE BACK TO 1906 TO ABOUT 1912, RIGHT IN THAT PERIOD.
>> THAT IS CORRECT.
THAT'S--OF THE PEOPLE WHO HAVE PASSED AWAY THEN.
SOME OF THE HEADSTONES THEMSELVES DATE BACK INTO THE 1800s.
Huell: WOW.
AND THIS IS THE ONLY LITTLE SECTION RIGHT HERE... >> THAT IS CORRECT.
Huell: THAT HAS THE TRADITIONAL HEADSTONES.
>> YEAH.
Huell: EVERYTHING ELSE ARE FLAT TO THE GROUND.
>> THAT'S RIGHT.
Huell: NOW WE'RE STILL RIGHT ADJACENT TO THE OLD PART OF THE CEMETERY, AND WHAT IS THIS, BOB?
IS THIS ANOTHER ONE OF THESE CHURCHES?
>> NO, HUELL.
THIS IS CALLED THE GREAT MAUSOLEUM THAT WAS PATTERNED AFTER CAMPO SANTO, AND IT'S DESIGNED FOR PEOPLE WHO'D RATHER NOT BE IN THE GROUND.
Huell: SO THIS IS ALL A MAUSOLEUM HERE.
>> YES, IT IS.
Huell: THAT'S HUGE.
WHEN WAS THIS BUILT?
>> THIS WAS STARTED BACK IN 1922, AND IT TOOK YEARS AND YEARS AND YEARS TO FINISH.
THERE'S ACTUALLY 11 TERRACES BUILT INTO THE SIDE OF THE HILL.
Huell: SO IT'S LIKE A TERRACED GARDEN.
>> ABSOLUTELY.
Huell: AND LOOK AT THESE 3 STATUES BUILT INTO THE SIDE HERE.
IS THIS JUST ARTWORK, OR ARE THESE GRAVE SITES AS WELL?
>> THIS IS ALSO ARTWORK AND FAMILY MEMORIALS FOR THOSE FAMILIES.
THEY WANTED SOMETHING SPECIAL.
Huell: WOW.
AND ALL OF THIS, EVEN THE OLD HEADSTONES, BUT EVEN THE ONES THAT ARE, YOU KNOW, FLAT TO THE GROUND, EVERYTHING HERE IS VERY TRADITIONAL, ISN'T IT?
>> ABSOLUTELY, YES.
WE--ALL OF OUR STATUES ARE MARBLE OR BRONZE IN THE VERY TRADITIONAL STYLE, BECAUSE THEY'RE TIMELESS.
THEY'LL GO ON FOREVER.
Huell: NOW WE'VE COME UP TO THE MAUSOLEUM ITSELF.
BOY, THIS IS-- WELL, LOOK AT THIS OVER HERE.
THIS IS BEAUTIFUL OVER HERE.
THIS IS ALL PART OF THE MAUSOLEUM.
>> ABSOLUTELY.
YES, IT IS.
Huell: THE MAIN PART OF IT IS RIGHT HERE.
LOOK AT THIS.
BOY, THIS IS SPECTACULAR.
BUT YOU BROUGHT US HERE TO LOOK AT THE BUILDER'S CREED.
>> THE BUILDER'S CREED WAS WRITTEN ON JANUARY 1, 1917, AND THIS IS DR. EATON'S FOUNDING PHILOSOPHY.
Huell: OF WHAT A CEMETERY SHOULD BE.
>> OF WHAT A CEMETERY SHOULD BE, AND THE THIRD LINE SAYS, "I BELIEVE, MOST OF ALL, IN A CHRIST THAT SMILES AND LOVES YOU AND ME," AND, "I THEREFORE KNOW THE CEMETERIES OF TODAY ARE WRONG, BECAUSE THEY DEPICT AN END, NOT A BEGINNING."
AND THAT'S WHAT HE WANTED-- Huell: THAT WAS PART OF HIS CREED RIGHT THERE IN STONE.
>> AND THAT'S WHAT HE BELIEVED IN, YES.
Huell: NOW YOU HAVE BROUGHT US INSIDE THIS SPECTACULAR, BEAUTIFUL, HUGE MAUSOLEUM WITH THE STATUARY.
I ASSUME THIS IS MARBLE ON THE FLOOR.
>> YES, IT IS, HUELL.
Huell: AND THIS WAS BUILT BACK IN... >> ABOUT 1922, WE STARTED, AND IT TOOK YEARS AND YEARS AND YEARS TO FINISH.
Huell: OK, NOW OVER THE YEARS, THOUSANDS OF PEOPLE HAVE BEEN BURIED HERE.
THIS IS A MAUSOLEUM.
>> THAT IS CORRECT.
Huell: BUT THE REASON YOU HAVE BROUGHT US HERE TODAY IS TO SEE THIS, AND LOOK AT THIS HUGE, BEAUTIFUL--THIS LOOKS CATHEDRALESQUE... >> ABSOLUTELY.
Huell: HERE, THIS BEAUTIFUL BIG ROOM WITH THE "LAST SUPPER."
AND WHAT IS THE STORY BEHIND THIS DEPICTION OF THE "LAST SUPPER"?
>> WELL, WHEN DR. EATON VISITED ITALY, HE SAW THE ORIGINAL "LAST SUPPER" FRESCO, AND IT WAS IN SUCH TERRIBLE CONDITION, IT JUST SADDENED HIM.
LATER ON IN THE TOUR, HE WENT TO THE CATHEDRAL IN ASSISI AND SAW SOME BEAUTIFUL STAINED-GLASS WINDOWS, AND HE PUT THE TWO TOGETHER.
HE THOUGHT "WHY NOT HAVE THE 'LAST SUPPER' WINDOW, RECREATE IT IN STAINED GLASS?"
AND HE ASKED, "IS THERE ANYONE WHO COULD DO IT?"
AND HIS GUIDE SAID ABSOLUTELY.
ROSA CASELLI MORETTI, WHO WAS THE LAST OF HER FAMILY OF CREATING STAINED-GLASS WINDOWS, HE THOUGHT SHE, OF ANYONE, WOULD BE ABLE TO DO IT.
SHE WAS A FANTASTIC ARTIST.
Huell: SO HE COMMISSIONED HER.
>> HE COMMISSIONED HER, AND THEY RECEIVED PERMISSION FROM THE ITALIAN GOVERNMENT FOR HER TO LOOK AT THE ORIGINAL SKETCHES THAT LEONARDO da VINCI HAD MADE... Huell: WOW.
>> TO RECREATE THIS "LAST SUPPER" WINDOW.
Huell: DR. EATON LOVED MICHELANGELO, DIDN'T HE?
>> DR. EATON LOVED MICHELANGELO SO MUCH THAT WHEN HE WAS OVER THERE, HE OFTEN ASKED OF THE ORIGINALS, "MAY I BUY A MICHELANGELO ORIGINAL?"
AND OF COURSE THE ITALIAN GOVERNMENT AND THE CHURCH SAID ABSOLUTELY NOT.
AND SO HE SAID, WELL, THE NEXT BEST THING WOULD BE TO HAVE REPLICAS, EXACT REPLICAS MADE.
AND SO, IN THIS ROOM, WE HAVE 1, 2, 3, 4, 5 STATUES OF ORIGINALS BY MICHELANGELO, AND THESE ARE ALL EXACT COPIES.
Huell: SO THEY'RE-- THEY'RE PERFECT.
>> THEY ARE PERFECT.
ABSOLUTELY.
PERFECT.
Huell: NOW, THIS STAINED GLASS HERE IS SPECTACULAR, AND ALL OF THESE SEATS ARE NOT HERE BY ACCIDENT.
>> NOT AT ALL.
HE WANTED TO SHARE THIS ARTWORK WITH THE PUBLIC, AND SO EVERY DAY, WE HAVE A--A SHOWING, ACTUALLY ABOUT 5 OR 6 SHOWINGS A DAY, WHERE WE INVITE THE PUBLIC TO COME, AND WE HAVE A LITTLE 20-MINUTE PROGRAM ABOUT THE STAINED-GLASS WINDOWS AND THE STATUES.
Huell: SO PEOPLE CAN COME IN HERE, THE PUBLIC CAN COME IN HERE AND SIT AND SEE THE STATUARY AND SEE THE STAINED GLASS AND-- >> AND HEAR THE HISTORY.
Huell: AND HEAR THE WHOLE STORY.
>> YES.
Huell: NOW, THE LIGHTING ON THIS IS UNUSUAL, ISN'T IT?
>> YES.
HUELL, THIS IS ACTUALLY NATURAL DAYLIGHT, AND SO IN THE AFTERNOON, IT BECOMES SORT OF DARK AND--BUT IN THE MORNING, IT'S JUST BRILLIANT, BECAUSE THE SON COMES UP OVER IN THE EAST THERE.
Huell: SO WHAT DO YOU DO, JUST HAVE AN OPEN WINDOW BEHIND THIS?
>> YES.
WE--WE HAVE AN OPEN WINDOW BEHIND THAT.
Huell: IT'S JUST, YOU KNOW, REALLY OVERWHELMING.
DID DR. EATON BUILD THE MAUSOLEUM WITH THE IDEA IN MIND OF HAVING THIS?
>> WELL, WHEN HE GOT TO THIS POINT OF BUILDING IT, HE HAD COMMISSIONED THE STAINED GLASS, AND SO HE ASKED THE ARCHITECTS, "LET'S CREATE A PLACE WHERE WE CAN DISPLAY THIS STAINED-GLASS WINDOW," AND SO THIS WAS CHOSEN.
Huell: SO THIS WAS ACTUALLY BUILT TO DISPLAY... >> TO DISPLAY THE GLASS, YES.
Huell: THE GLASS.
>> BACK IN 1931.
Huell: WOW.
THIS IS ONE OF THE MOST BEAUTIFUL DEPICTIONS OF THE "LAST SUPPER" I'VE EVER SEEN.
IT'S MESMERIZING, ISN'T IT?
>> ABSOLUTELY.
AND IT'S DISPLAYING THE TIME WHEN JESUS JUST TOLD HIS DISCIPLES THAT "ONE OF YOU IS GOING TO BETRAY ME," AND IT'S THEIR REACTION.
AND ACCORDING TO HISTORIANS, UM, LEONARDO da VINCI WANDERED THE-- THE STREETS, AND HE JUST SKETCHED JUST REGULAR TOWNSFOLK, AND HE USED THEIR FACES TO BE THE DISCIPLES.
Huell: BOY, YOU CAN SEE WHY PEOPLE SITTING HERE WOULD-- WOULD LOVE THIS.
>> OH, ABSOLUTELY.
IT'S-- IT'S JUST MARVELOUS.
Huell: DR. EATON KNEW WHAT HE WAS DOING, DIDN'T HE?
>> YES, HE DID.
Huell: I KNOW THAT SOUNDS LIKE A--I DON'T MEAN THAT IN A TRITE WAY.
HE REALLY WAS A--I DON'T WANNA SAY A SHOWMAN, 'CAUSE THIS WASN'T A SHOW.
BUT HE--HE WANTED PEOPLE TO SOAK IN ALL OF THIS RICHNESS, ALL OF THIS HISTORY.
>> ABSOLUTE--YES, HE DID.
HE WANTED TO HAVE ONE PLACE WHERE PEOPLE COULD COME AND NOT HAVE TO TRAVEL THROUGHOUT ITALY TO SEE SOME OF THE MAJOR WORKS OF ART.
Huell: THEY COULD SEE IT RIGHT HERE IN GLENDALE.
>> THEY CAN SEE IT RIGHT HERE IN GLENDALE.
Huell: NOW WE'VE COME LITERALLY TO THE TOP OF THE HILL TO SEE, I ASSUME--ALTHOUGH I'M NOT SURE--ANOTHER CHURCH.
>> WELL, ACTUALLY, NO.
THIS IS A BUILDING THAT'S BASED ON A CATHEDRAL IN ORVIETO, ITALY, AND IT WAS BUILT IN 1944, COMPLETED IN 1951.
DR. EATON BUILT THIS BUILDING WITH HIS OWN MONEY.
COST A MILLION AND A HALF DOLLARS.
Huell: WAIT A MINUTE.
HE SPENT A MILLION AND A HALF OF HIS OWN MONEY ON THIS BUILDING?
>> IN 1944, WHEN YOU COULD BUY A HOUSE FOR $5,000.
AND THEN HE TURNED AROUND AND SOLD IT TO FOREST LAWN FOR $1.00 SO PEOPLE COULD SEE WHAT'S INSIDE.
Huell: WITH THE STIPULATION... >> THAT IT WOULD ONLY BE USED FOR PEOPLE TO SEE WHAT'S INSIDE THE BUILDING.
Huell: AND NOW WE'RE GONNA FIND OUT... >> WHAT'S IN THE BUILDING.
Huell: WHAT'S INSIDE THE BUILDING.
NOW, WAIT A MINUTE.
THIS CROSS RIGHT HERE, YOU CAN SEE THAT ALL OVER GLENDALE.
>> THAT'S RIGHT, AND THAT'S BEEN ON THE TOP OF BUILDING EVER SINCE IT WAS BUILT, AND THEN IN DECEMBER, WE CHANGE THAT TO A STAR.
Huell: WOW.
THIS IS JUST-- YOU KNOW, THERE'S--BUT ONCE YOU START REALLY LOOKING, THERE'S A LOT TO SEE AROUND HERE.
>> AB--THERE SURE IS.
I JUST LOVE WALKING AROUND AND-- AND LOOKING AT ALL THE BEAUTIFUL ART.
Huell: ALL RIGHT, WE'RE GETTING READY TO GO INSIDE THE BUILDING TO SEE WHAT THIS BUILDING HOUSES THAT DR. EATON CARED SO MUCH ABOUT THAT HE BUILT THE WHOLE BUILDING JUST TO SHOW OFF WHAT'S INSIDE.
>> WHAT'S INSIDE.
Huell: LOOK AT THIS.
OK, WE'RE INSIDE.
I'M READY FOR ANY--OH!
LOOK AT THIS.
I-- LITERALLY, I DON'T KNOW WHETHER I'VE EVER BEEN SPEECHLESS BEFORE.
I'VE NEVER SEEN ANYTHING LIKE THIS.
WHAT ARE WE--WHAT IS THE STORY HERE?
>> HUELL, WE'RE LOOKING AT A PAINTING BY A POLISH ARTIST NAMED JAN STYKA.
IT'S CALLED "THE CRUCIFIXION" OF JESUS.
IT WAS JUST BEFORE HE'S NAILED TO THE CROSS.
IT'S 195 FEET LONG, 45 FEET HIGH.
IF WE SET IT ON ITS END, IT WOULD BE AS HIGH AS A 20-STORY BUILDING.
Huell: NOW, THIS WASN'T COMMISSIONED FOR FOREST LAWN, WAS IT?
>> NO, IT WASN'T.
AS A MATTER OF FACT, IGNAZ PADEREWSKI, THE POLISH PIANIST--AND HE WAS ACTUALLY THE PRESIDENT OF POLAND--HIS GOOD FRIEND JAN STYKA WAS AN ARTIST, AND HE RAISED THE MONEY FOR STYKA TO PAINT THIS PAINTING.
WHILE IT, THE CANVAS--IT'S ON ONE SINGLE PIECE OF CANVAS--WAS BEING WOVEN IN BELGIUM, STYKA WENT TO THE HOLY LAND, WHERE HE MADE OVER A THOUSAND SKETCHES.
IT TOOK HIM YEARS TO FINISH THIS.
Huell: WHERE WAS THIS DISPLAYED BEFORE... >> THIS WAS ACTUALLY DISPLAYED IN EUROPE, BUT THEN IN 1904 AT THE ST. LOUIS WORLD'S FAIR, THEY DECIDED TO BRING IT OVER TO THE UNITED STATES, BUT WHEN THEY GOT TO ST. LOUIS, THERE WASN'T A BUILDING BIG ENOUGH TO SHOW IT.
AND THEN ON THE WAY HOME, THE CUSTOMS AGENT STOPPED JAN STYKA AND SAID, "WAS THIS DISPLAYED OR DID YOU BRING THIS INTO THE COUNTRY?"
AND THEY DEMANDED HE PAY CUSTOMS DUTIES.
HE DIDN'T HAVE THE MONEY.
Huell: SO WHAT HAPPENED TO IT?
>> THE PAINTING WAS SEIZED BY THE U.S. CUSTOMS AGENTS, AND IT WAS STORED IN QUITE A FEW PLACES, AND IT ENDED UP IN THE BASEMENT OF THE CHICAGO OPERA HOUSE.
Huell: HOW DID DR. EATON FIND THIS?
ALTHOUGH I'M NEVER SURPRISED AT HOW DR. EATON GOT ANYTHING, YOU KNOW?
>> DR. EATON HEARD ABOUT THIS, AND HE HAD A SEARCH MADE, AND WHEN IT WAS DISCOVERED, HE BOUGHT IT, SIGHT UNSEEN.
IT WAS BROUGHT OUT BY RAIL.
IT WAS ACTUALLY ROLLED UP ON A TELEPHONE POLE.
AND HE HAD IT OPENED UP AT THE SHRINE AUDITORIUM.
AT THAT TIME, IT WAS THE ONLY PLACE IN LOS ANGELES BIG ENOUGH.
WHEN HE SAW IT, HE SAID, "THE PUBLIC MUST SEE THIS," AND SO THAT'S WHEN HE HAD THIS BUILDING BUILT.
Huell: LOOK AT THE SIZE OF THIS BUILDING, AND YOU'VE GOT ALL OF THESE SEATS HERE, SO PEOPLE COME IN HERE AND DO THE SAME THING THEY DO WITH THE-- >> ABS--YES.
Huell: "LAST SUPPER."
>> AND THIS IS SHOWN EVERY HOUR ON THE HOUR BEGINNING AT 10:00.
Huell: THIS IS--I DON'T KNOW-- LET'S STAND OVER HERE.
CAMERON CAN STAY OVER THERE.
AND IT GIVES YOU SOME KIND OF AN IDEA HOW BIG.
YOU'RE JUST OVERWHELMED BY THIS, BUT WHEN YOU LOOK AT IT, IT'S SO INTIMATE, AND YOU CAN--IT'S NOT JUST SOME HASTILY BRUSHED PAINTING.
>> NOT AT ALL.
ALL THE CHARACTERS HAVE FACES.
Huell: SO HE LITERALLY BUILT ALL OF THIS JUST FOR THIS PAINING.
>> JUST TO SEE THE PAINTING.
Huell: AND IT'S BEEN HERE SINCE... >> 1951.
APRIL 28, 1951, WAS THE FIRST TIME IT WAS DISPLAYED.
Huell: I HAVE LIVED IN CALIFORNIA FOR 25 YEARS.
I NEVER KNEW THIS WAS HERE.
IS THIS ON PEOPLE'S RADAR SCREEN?
>> UNFORTUNATELY SOMETIMES WE CALL FOREST LAWN THE BEST-KEPT SECRET IN LOS ANGELES.
Huell: WELL, THIS IS THE BEST-KEPT BIG SECRET IN LOS ANGELES.
THIS IS JUST OVERWHELMING FROM EVERY ANGLE.
THE BUILDING ITSELF IS A WORK OF ART.
AND THEN TO HAVE THIS BEAUTIFUL, BIG PAINTING HERE, THIS IS OVERWHELMING.
AND YOU KNOW WHAT?
IT POINTS OUT HOW BIG DR. EATON'S DREAMS WERE FOR THIS PLACE.
>> YES.
YES, AND IT-- IT CONTINUES ON.
Huell: LEAVING THIS BUILDING AND THE HUGE PAINTING, WE'VE GOT YET ANOTHER--WELL, YOU KNOW, I'VE NEVER CEASED TO BE SURPRISED AT WHAT YOU'VE GOT OVER HERE, BUT THERE'S MORE, ISN'T THERE?
>> YES, THERE IS.
THE BEST IS YET TO COME.
Huell: AND I BET YOU THIS LADY RIGHT HERE SMILIN' FROM EAR TO EAR--YOUR NAME IS?
>> I'M JOAN ADAN.
Huell: AND WHERE ARE WE?
>> WE'RE AT THE FOREST LAWN MUSEUM.
Huell: THERE'S A MUSEUM HERE?
>> YES, THERE IS, AND I'M THE-- Huell: WHY AM I NOT SURPRISED?
LET ME SAY GOOD-BYE TO YOU.
>> GOOD-BYE, HUELL.
Huell: YOU'VE BEEN A GREAT TOUR GUIDE.
THANK YOU SO MUCH.
>> MY PLEASURE.
Huell: AND NOW WE'VE STILL GOT MORE TO SEE INSIDE THE MUSEUM.
LET'S GO INSIDE.
LOOK AT THIS.
NOW, WE'VE SEEN STAINED GLASS TODAY.
WHAT'S THE DEAL ON THIS STAINED GLASS?
>> WELL, THIS STAINED GLASS IS QUITE OLD.
IT RANGES FROM THE 13th CENTURY ALL THE WAY UP TO THE 20th.
Huell: WHAT IS THIS DOWN HERE, THESE BEAUTIFUL BIG--WHAT ARE THESE MADE OF?
>> THESE ARE BRONZE, ALTHOUGH THEY LOOK PAINTED TO LOOK LIKE WOOD, BUT THEY'RE ACTUALLY BRONZE.
THEY'RE ITALIAN, 16th CENTURY.
Huell: I'M OVERWHELMED AT WHAT WE'RE LOOKING AT HERE, WHICH IS A COLLECTION OF... >> OUR BEST OF THE BEST OF OUR SCULPTURES.
Huell: NOW, DID HE ACQUIRE ALL OF THESE, OR DO YOU CONTINUE TO ACQUIRE THEM AS YOU GO ALONG?
>> WELL, RIGHT NOW WE'RE NOT ACQUIRING, BUT HE DID ACQUIRE THESE WHILE HE WAS HERE, AND I THINK HE DID A FABULOUS JOB.
Huell: AND LOOK AT THIS ROOM.
IT'S JUST OVERWHELMING AND SO UNEXPECTED.
I THINK THAT'S BEEN WHAT HAS BEEN THE REAL SURPRISE OF THIS WHOLE TOUR WE'VE TAKEN TODAY IS THAT YOU JUST DON'T EXPECT TO FIND SOMETHING LIKE THIS IN A CEMETERY.
>> NO, YOU DON'T.
WE'RE VERY, VERY FORTUNATE TO HAVE THIS.
Huell: SO THAT'S IT.
OUR DAY HERE AT FOREST LAWN IN GLENDALE, THIS BEAUTIFUL PLACE WHICH WAS THE LITERALLY THE DREAM OF DR. HUBERT EATON.
HIS DREAM WAS TO TURN THE TRADITIONAL CEMETERY FROM A PLACE OF SADNESS, OF GLOOM AND DOOM AND DARKNESS INTO THIS WONDERFUL PLACE THAT'S PARKLIKE, THAT'S OPEN, THAT'S AIRY, THAT IS ABSOLUTELY A CELEBRATION OF LIFE.
THIS WAS AND IS DR. HUBERT EATON'S DREAM, AND THE BEAUTIFUL THING ABOUT THIS DREAM IS THAT THIS BEAUTIFUL PLACE IS HERE TODAY FOR ALL OF US TO VISIT AND ENJOY.
WE HAVE HAD AN ABSOLUTELY WONDERFUL, INSPIRATIONAL, AND SURPRISING DAY HERE AT FOREST LAWN.
[CAPTIONING MADE POSSIBLE BY KCET PUBLIC TELEVISION] >> "VISITING WITH HUELL HOWSER" IS MADE POSSIBLE THROUGH A GENEROUS GRANT FROM THE RALPH M. PARSONS FOUNDATION.
[CAPTIONED BY THE NATIONAL CAPTIONING INSTITUTE
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