The Ghosts of the Neptune Society Columbarium

The story of the Neptune Society Columbarium is intertwined with San Francisco's complex relationship with death, burial, and the land that the city desperately needed for the living.

In 1898, the Independent Order of Odd Fellows, a fraternal organization dedicated to charity and community service, commissioned architect Bernard Cahill to design a columbarium for their cemetery in what was then the outskirts of San Francisco. Cahill, who would later become known for his visionary city planning proposals, created a masterpiece of neoclassical architecture.

The building featured a central rotunda topped by a copper dome, surrounded by four wings of columbariums arranged in a cruciform pattern. The interior was designed to inspire contemplation and peace, with elaborate plasterwork, decorative tiles, and stunning stained glass windows that transformed sunlight into a kaleidoscope of colors. The niches themselves were arranged in elegant rows, designed to hold urns of various sizes while allowing space for personalization.

The Odd Fellows Cemetery was one of several major cemeteries that had grown up in this area of San Francisco, collectively known as the 'City of the Silent.' Calvary Cemetery, Masonic Cemetery, and Laurel Hill Cemetery were its neighbors, creating a vast necropolis that was home to many of San Francisco's most prominent citizens.

By the turn of the 20th century, San Francisco was growing rapidly, and the cemeteries that had once been on the city's outskirts now occupied some of its most valuable real estate. In 1901, the city passed an ordinance prohibiting any new burials within city limits, citing public health concerns and the need for development.

The great earthquake and fire of 1906 only intensified pressure on the cemeteries. As the city rebuilt, every acre was precious. Political and business interests began pushing for the removal of all cemeteries from San Francisco proper.

The battle over the dead lasted decades. Cemetery associations fought in court, families protested, and religious groups objected to disturbing consecrated ground. But eventually, economics won. Between 1923 and 1941, the vast majority of San Francisco's cemeteries were relocated to Colma, a small town just south of the city that would eventually become known as the 'City of the Dead,' where the deceased outnumber the living by over a thousand to one.

The columbarium, however, remained. While bodies could be exhumed and reburied, the logistics of moving tens of thousands of cremated remains proved daunting. Additionally, the building itself had architectural and historical significance that some wanted to preserve. The Odd Fellows continued to operate the columbarium until 1934, when financial difficulties during the Great Depression forced them to close it.

For the next forty years, the columbarium sat abandoned and deteriorating. The stained glass windows were broken, the ornate plasterwork crumbled, and the building became a target for vandals. Many of the niches were damaged, their contents scattered or stolen. It seemed that the columbarium would join the other cemeteries in oblivion.

In 1979, the Neptune Society of Northern California purchased the neglected columbarium and began an extensive restoration. Over the following decades, they painstakingly repaired the damage of neglect, restoring the stained glass, plasterwork, and decorative elements to their original beauty.

The Neptune Society resumed accepting cremated remains, and the columbarium once again became an active memorial. Today, it houses over 30,000 souls, with space remaining for thousands more. The niches range from simple to elaborate, with families decorating their loved ones' final resting places with photographs, flowers, letters, and personal items that reveal the personalities of those within.

Among those interred are noteworthy San Franciscans from every walk of life: Harvey Milk's ashes were originally placed here before being scattered at sea, the founder of the Fillmore ballroom, the inventor of the Irish coffee, and countless others whose stories are told in the mementos that surround their urns.

The restoration brought new life to the columbarium - but it also seemed to awaken something else. As visitors returned and the building regained its former glory, reports of paranormal activity increased dramatically. It was as if the spirits who had been disturbed during the decades of neglect were now making their presence known more strongly than ever.

The Neptune Society Columbarium is not merely a place where the dead are stored - it appears to be a place where they continue to exist in some form. The reports of paranormal activity here are numerous, varied, and come from credible witnesses including staff members, visitors, and paranormal investigators.

The most frequently reported apparition at the columbarium is a woman dressed in elaborate Victorian clothing who appears in the upper galleries. She has been seen by staff members, visitors, and even during official tours. Witnesses describe her as middle-aged, with her hair pinned up in the fashion of the late 1800s, wearing a dark dress with a high collar and long sleeves.

She is typically spotted walking slowly along the upper floors, pausing occasionally to look at specific niches as if visiting someone she knew. When approached or spoken to, she does not respond but simply fades from view, leaving witnesses with a profound sense of sadness.

Some believe this woman is one of the original occupants of the columbarium, someone who was interred here in the early years and has never left. Others speculate she may be searching for a loved one whose remains were disturbed during the decades of abandonment. Whatever her identity, she seems peaceful - a eternal mourner forever visiting those she loved.

The central rotunda of the columbarium, with its soaring dome and elegant proportions, has remarkable acoustics. But visitors report hearing more than echoes here. Multiple witnesses have described hearing whispered conversations when the building is empty, the sound of someone calling a name, or soft crying that seems to come from everywhere and nowhere at once.

A staff member who has worked at the columbarium for over fifteen years described her experiences: 'The voices are almost constant, but you get used to them. It's like there's always a gathering happening that you can almost hear. Sometimes it's clear enough that you'll turn around expecting to see someone, but there's no one there. I think they're just continuing the conversations they had in life.'

Electronic voice phenomena (EVP) recordings made in the rotunda have captured what sound like names being spoken, brief phrases in English and other languages, and what one investigator described as 'the murmuring of a crowd, like a party from another era.'

One of the most unnerving phenomena at the columbarium involves the personal items that families place around their loved ones' niches. Staff members have reported arriving in the morning to find objects moved from where they were the night before - photographs turned to face different directions, flowers rearranged, small items shifted from one niche to another.

While vandalism was common during the years of abandonment, the modern columbarium has security measures in place, and these movements happen in areas where no one could have accessed during closed hours. Some believe the deceased are rearranging their own belongings or reaching out to items in nearby niches that remind them of their own lives.

One particularly strange incident involved a pair of reading glasses that had been placed in a niche decades ago. Staff found them one morning sitting on a bench in the rotunda, open as if someone had just set them down while stepping away. They were returned to the niche, only to be found on the same bench a week later. After this happened several times, staff left them on the bench - where they remained undisturbed.

Visitors frequently report experiencing sudden, intense cold in specific areas of the columbarium, particularly on the upper floors and in certain alcoves. These cold spots seem to move and are not associated with any drafts or ventilation issues. Some visitors describe feeling as if they've walked through a wall of ice that leaves them chilled to the bone.

Even more common are reports of sudden, overwhelming emotions. Visitors with no personal connection to anyone interred here have been brought to tears, felt waves of grief or loneliness, or experienced a profound sense of peace in certain areas. These emotional experiences are often very specific - one spot might evoke deep sadness, while another just a few feet away creates a feeling of joy or contentment.

A psychic who visited the columbarium offered this interpretation: 'The emotions are impressions left by the grieving and the dead. Over a century of mourning has saturated this place. But there's also love here, so much love. The dead are not suffering - they're surrounded by the affection of those who placed them here and those who continue to visit.'

The columbarium's beautiful interior makes it a popular subject for photographers, both amateur and professional. Over the years, a significant number of these photographs have captured anomalies that weren't visible to the naked eye. Orbs of light, misty figures, and in some cases, what appear to be distinct human forms have shown up in images.

One photograph, taken during a memorial service, shows what appears to be an elderly man standing among the mourners. None of the attendees remembered seeing him, and when the image was enlarged, his features didn't match anyone present or any known photograph of the deceased being honored.

Another image, taken by a tourist, shows a child standing in one of the alcoves. The area is restricted to visitors, and no children were present in the building at the time. The photographer described feeling a 'gentle tug' on her camera strap just before taking the picture.

In the fall of 2018, Margaret Chen visited the columbarium to see the niche of her grandmother, who had been cremated and placed there in 1952. Margaret had visited many times over the years, but this visit was different - it would be her last before moving across the country.

As Margaret stood before her grandmother's niche, speaking quietly about her memories and her upcoming move, she became aware of a presence beside her. She turned to see an elderly woman standing there, dressed in clothing that seemed oddly old-fashioned - a floral dress with a full skirt, the kind Margaret had seen in photographs from the 1950s.

'She was so solid, so real,' Margaret recalled. 'She was smiling at me with such warmth. I thought she was another visitor at first. But then she spoke, and her voice... it was my grandmother's voice. I recognized it from old recordings my mother had kept.'

The figure said only five words: 'I'm proud of you, Mei-Mei.' Mei-Mei was the nickname Margaret's grandmother had used for her as a child - a name no one had called her since her grandmother's death when Margaret was seven years old.

'I blinked, and she was gone. Not walked away - gone. I stood there crying for I don't know how long. But they were happy tears. She came to say goodbye, and to let me know she's still with me.'

Margaret still visits the columbarium whenever she returns to San Francisco, and though she's never seen her grandmother again, she says the niche always feels warm when she touches it - even when the surrounding ones are cold.

David Moreno, a professional architectural photographer, was commissioned in 2021 to photograph the columbarium for a historical preservation project. He planned to work late into the evening to capture the interior lit by the setting sun through the stained glass windows.

David had been photographing for about two hours when he noticed something strange through his camera's viewfinder. In one of the upper galleries, there appeared to be a man standing at the railing, looking down at him. David lowered his camera to look directly, but no one was there. When he looked through the viewfinder again, the figure was back.

'He was wearing a dark suit, and he seemed to be trying to get my attention,' David explained. 'He kept gesturing toward the exit. At first I thought it was a staff member telling me to leave, but the building was supposed to be empty. When I called out, asking if someone was there, my voice just echoed.'

David continued working, but the figure appeared in three more of his shots, always in the upper gallery, always gesturing toward the door. Finally, David packed up his equipment and headed for the exit. As he reached the door, he heard a tremendous crash from inside.

One of the decorative plaster elements from the dome - a piece weighing nearly fifty pounds - had fallen and shattered exactly where David had been setting up his next shot. If he hadn't left when he did, it would have struck him directly.

'I went back the next day to finish the project,' David said, 'and I made sure to say thank you out loud when I entered. I think whoever that was saved my life. The photos from that night? The figure doesn't appear in any of them. Just me, alone, in a beautiful old building that apparently has a very protective resident.'