The Wheeling Superdawg ’16

Posted on September 8, 2016 by admin

More than six years ago, I wrote, “What to do after touring a mansion exuding poshness, if you happen to be hungry? Go to a hot dog stand.

“Not just any hot dog stand, but the drive-in Superdawg. Not the original, which is on the Northwest side of Chicago, but the Wheeling, Ill., iteration that opened in January. It was on our way home.”

On Saturday, I noticed that the Wheeling Superdawg was on the way to the Chicago Botanic Garden, more or less. So we went again, the first time in more than six years. Before we got there, Yuriko said she didn’t remember any such place. But as soon as we arrived, she did. It’s hard to forget these characters.

Those are the rooftop boy and girl dogs — awfully heteronormative of them, some nags might say — but they’re also featured in a lot of other places, including on the packaging and the napkins. They’re also on the sign that faces the road (Milwaukee Ave. in Wheeling). These anthropomorphic hot dogs rotate slowly, unlike the static ones on the roof.
This time I had the original Superdawg. I forgot to order it without mustard, but other than that I liked it. Yuriko enjoyed her hamburger.

Back in ’10 I noted: “Each order station also has a sign that says: ‘We’re super sorry, but we’re unable to accept credit cards because of our unique drive in/carhop service…’ We went inside anyway, and they don’t accept cards there either. Retro indeed.”

I can report that in 2016, inside the restaurant at least, all manner of credit and debit cards are now accepted. Guess they figured the all-cash model was losing them some customers.

One more thing today: I’d be remiss if I didn’t note the 50th anniversary of Star Trek, though I have only the vaguest memories of it as a prime-time show in the late ’60s. One of the stations in San Antonio started showing it in the after-school slot in 1973, when I was in junior high. That I remember. The first episode the station aired was “Devil in the Dark.”

The series, and all its successor iterations, have been hit or miss over the years. Its starting concept — the pitch Roddenberry supposedly made — was “Wagon Train to the Stars.” Does anybody remember Wagon Train any more?

My own fondest memory of the show I’ve written about before: “More than 30 years ago, I spent a few days camped out in a dorm room at MIT. I noticed a few things while there, such as that everyone on the hall went to the common room to watch an afternoon showing of Star Trek, and everyone knew the lines. (The original series; because this was 1982, the only series. Patrick Stewart was still just a Shakespearean actor who’d played Sejanus for the BBC.).”

Non-Plants in the Chicago Botanic Garden

Posted on September 7, 2016 by admin

I thought of “Manmade Things in the Chicago Botanic Garden” as a title, but in a real sense everything in a highly cultivated garden is manmade, even if the raw materials of the displays are descended from naturally occurring plants. Artificial selection invented the tea rose, after all.

The Chicago Botanic Garden includes many things besides plants. Such as this sculpture in the Heritage Garden.

It’s instantly recognizable as a Robert Berks bubble-gum statue, in this case dating from 1982. Based on a casual search, his statues seem to be esteemed these days, especially now that he’s dead, but I’m with the art critics who were upset about the Einstein statue in DC when it was new. They’re ugly. That’s my two-word critique.

Anyway, the subject is fitting for a garden, since it’s Carolus Linnæus. In fact, I’ve seen his carved face before in such a place, but a long way from metro Chicago.
That’s Linnæus at the Adelaide Botanic Garden in 1991. A much more conventional bust, certainly, and maybe not that interesting. But at least it isn’t ugly. More about the Chicago-area Linnæus statue is at the always delightful Public Art in Chicago.

This is “Boy Gardener” in the Rose Garden.

By an Oak Park sculptor, Margot Mcmahon. Straightforward, unpretentious.

In the Japanese Garden, a yukimi lantern.

Supposedly it looks elegant covered with snow, and I’ll bet it does. I don’t think I’ll visit the gardens in winter to confirm that, though.

Also in the Japanese Garden, the Zigzag Bridge, with a selfie in progress, and a woman taking pictures of carp.

The explanation for its shape is that evil spirits can only travel in straight lines, and thus can’t follow you onto the island. What is it about evil spirits? They’re scared of noise, can’t follow a slight zigzag, and seem to have a lot of other handicaps to keep them from their malevolent work.

Here’s one of the bridges between the main part of the garden and Evening Island. Not so distinctive by itself, but it is shaded by enormous willows.
The other bridge to Evening Island has a name, the Serpentine, for obvious reasons. With more willows.
On Evening Island itself, there’s this structure rising from the flora.

The Theodore C. Butz Memorial Carillon, to give its formal name, installed in 1986. A sign at the base of the structure says, “Crafted in Holland, the Garden’s carillon is one of a few hand-played carillons in the United States. The cast bronze bells have a range of four octaves, and are played using a large keyboard. The smallest of the 48 bells weighs 24 pounds, and the largest weighs two and a half tons.”

No carillonneur seemed to be on duty, but we did hear it ring the hour, so I guess it can be set for automatic as well as manual.

Olmec Head & Man-Sized Fish in Chicago

Posted on August 15, 2016 by admin

Where in the Chicago area is this fellow?

Between the Field Museum and the Shedd Aquarium in downtown Chicago, that’s where, with the Field Museum in the background of the picture. It’s a replica by Ignacio Perez Solano of Olmec Head 8, and a gift of the state of Veracruz to Chicago, dedicated in 2003. So while near the Field Museum, it’s actually part of the city’s collection of outdoor art. It might not be as imposing as the original, but it’s no small thing at seven feet high and a weight of seven tons.

Later it occurred to me that I didn’t know much about the original Olmec heads, beyond their great antiquity in pre-Columbian Mexico, so I read a bit. “Seventeen heads have been discovered to date, 10 of which are from San Lorenzo and 4 from La Venta, two of the most important Olmec centres,” the Ancient History Encyclopedia tells me. “The heads were each carved from a single basalt boulder which in some cases were transported 100 km or more to their final destination, presumably using huge balsa river rafts wherever possible and log rollers on land….

“The heads were sculpted using hard hand-held stones and it is likely that they were originally painted using bright colours. The fact that these giant sculptures depict only the head may be explained by the widely held belief in Mesoamerican culture that it was the head alone which contained the emotions, experience, and soul of an individual.”

Apparently the state of Veracruz, especially when Miguel Alemán Velasco was governor (1998-2004), decided that norteamericanos would benefit from replica Olmec heads, so there are now eight such heads in the U.S., according to Wiki: Austin, Chicago, Covina, Calif., McAllen, Tex., New York, San Francisco, Washington, DC, and West Valley City, Utah.

Closer to the Shedd is a very different sort of sculpture, the aptly named “Man With Fish.”

According to the Chicago Park District, the work is “a gift to the Shedd Aquarium from William N. Sick in honor of his wife, Stephanie… The painted bronze sculpture portrays a man with his arms wrapped around an enormous fish. Water sprays from the fish’s mouth, dripping into a reflecting pool below.”

William Sick is a prominent local businessman, and also happens to be a trustee and former chairman of the Shedd Aquarium, and a director of Millennium Park. He must have decided at some point that a sculpture by Stephan Balkenhol was just the thing for the Shedd. It was the artist’s first work in the U.S., installed in 2001.

“Stephan Balkenhol (b. 1957), a German sculptor who studied at the Hamburg School of Fine Arts, created “Man with Fish,” the park district continues. “Several of Balkenhol’s works feature human figures relating to an animal or several animals in an unexpected way. ‘Man with Fish’ conveys this playful approach as does ‘Small Man with Giraffe’ which stands in front of the Hamburg Zoo.”

We didn’t go all the way downtown just to look at statues, as interesting as they were. Lilly goes to university this week, so we all wanted to do something together before that. Ultimately we picked the Shedd Aquarium. We figured it wouldn’t be quite so crowded on Friday as it would be on Saturday, so we went on Friday.
Wrong.

GTT 2016 This & That

Posted on July 21, 2016 by admin

“We’re going to see some bears,” I told a groggy Ann as we drove through Nashville on the Saturday morning we were there.

“I don’t want to go to a zoo.”

“Not those kinds of bears.”

These kinds of bears.
Standing concrete bears, snowballs in hand, ready to toss them. To cut ’n’ paste from the now-defunct Nashville City Paper (March 15, 2004): “The polar bear statues have long been a symbol of the community of Edgehill. They were the creation of the late Gio Vacchino, who owned the Mattei Plaster Relief Ornamental Company around 1930. They were constructed as advertisements for the Polar Bear Frozen Custard shops on Gallatin Road and West End Avenue, which closed after World War II.

“Edgehill resident Zema Hill bought the bears and placed them in the neighborhood in the early 1940s. He placed two in front of a funeral home and two in front of his house where they eventually became a symbol and part of the culture of Edgehill. They stood at 1408 Edgehill Ave. for more than 60 years. The two funeral home bears were sold to a North Nashville resident in 1952.”

The fate of the funeral home bears remains unknown. The two formerly at 1408 Edgehill – which I used to see frequently, since I lived on Edgehill a few blocks away for a year – are now fixed at the corner of Edgehill and 12th on public property.

In Memphis, we made a brief stop to look at some other animals. Living creatures this time, the Peabody Hotel ducks. The two on the right are easy to see, but there were a few others on the left of the fountain in the lobby.
I can’t remember when I first heard about the ducks. Maybe as far back as college. When I knew we’d be passing through Memphis, I checked to make sure they still residing in the hotel lobby fountain. So they are. We didn’t see the ducks march, but we did see the ducks.

“How did the tradition of the ducks in The Peabody fountain begin?” the hotel web site asks, and proceeds to answer with a story that’s a little vague, but never mind: “Back in the 1930’s Frank Schutt, General Manager of The Peabody, and a friend Chip Barwick, returned from a weekend hunting trip to Arkansas. The men had a little too much Tennessee sippin’ whiskey, and thought it would be funny to place some of their live duck decoys (it was legal then for hunters to use live decoys) in the beautiful Peabody fountain. Three small English call ducks were selected as ‘guinea pigs,’ and the reaction was nothing short of enthusiastic. Thus began a Peabody tradition which was to become internationally famous.®

“In 1940, Bellman Edward Pembroke, a former circus animal trainer, offered to help with delivering the ducks to the fountain each day and taught them the now-famous Peabody Duck March. Mr. Pembroke became the Peabody Duckmaster, serving in that capacity for 50 years until his retirement in 1991.”

The hotel, true to modern form, is also quick to point out that “raised by a local farmer and a friend of the hotel, each team of Peabody Ducks lives at the hotel for only three months before retiring from their duty and returning to the farm, where they are free to live as wild ducks… the hotel recognizes its resident waterfowl as wild animals and does not domesticate them or treat them like pets.” Good to know.

In Little Rock, we visited the state capitol just before we left town.

It’s somewhat austere, but I was really taken with the gold-leaf dome interior.
The Cass Gilbert Society notes that “the Arkansas State Capitol, designed and constructed over the course of some eighteen years, was the product of one political investigation, two architects, and three governors…. As executed, the [capitol] is constructed of gray granite with a pedimented entrance section below the dome, flanked by colonnaded wings terminating in pedimented pavilions, each with a shallow dome over the legislative chamber within. The dome rises from a colonnaded drum and is surmounted by a lantern. The building has been characterized as having ‘the transverse stairhalls and the clear articulation in three blocks of Gilbert’s Capitol of Minnesota, but its simplicity is almost raw.’ ”

In Texarkana, a place I’d only ever passed through, I decided it was high time to drive down State Line Ave. and visit the Texarkana U.S. Post Office and Courthouse. Here’s a shot of the building I took despite the rain, taken while standing on the border, which is helpfully marked on the pavement. A sign also says the location is at LAT 33 25 29.8 N and LONG 94 02 35.2 W.
I didn’t need to visit the courthouse, but went through a metal detector on the Texas side and then through a door on the Arkansas side to enter the post office, a wonderful ’30s-style federal facility, complete with brass-plated mail boxes and cages for the tellers. The tellers are on the Arkansas side, the mail slot on the Texas side. I mailed a postcard. Sure, it’s an imaginary line, but I had some fun with it.

One strategy when evaluating online reviews is to toss out the very high and very low ratings, something like in competitive gymnastics. Gushing praise may well be a plant, and shrill invective might be from people who would complain about the seat cushions on a lifeboat. Then read other reviews with some skepticism, but not too much. Pretty much like you’d read anything else.

In this way I decided that the Austin Motel in Austin and the Havana Hotel in San Antonio would be reasonably good places to stay for a few days each. Turned out I was right.

The Austin Motel started off as a tourist court in 1938, and while updated (AC, wifi, that kind of thing), it retains some of the old charm, while not costing the moon despite its popular location in SoCo. Everything was basic, but without some of the petty annoyances motels dish up sometimes, such as a squeaking, rattling, noisy air conditioner. It also had some nice touches: a real key on a brass key ring, for instance, but no bottle opener fixed to one of the room surfaces — it needed that.

The motel also features a rusting shell of a car next to its parking lot, vintage late ’30s, now the centerpiece of what looks to be a xeriscape.
The Havana Hotel has a nice location in downtown San Antonio, near the Riverwalk and the Tobin Center. The property started as a company hotel in 1914 and while modernized (you know, AC, wifi) retains many of the charms of the original design, such as high ceilings and dark woods. Though a little more expensive than the Austin Motel, you got a little more, such as a hip Italian SMEG refrigerator in the room.

One more thing: the Greetings From Austin mural off funky 1st St. “On the southern exterior wall of Roadhouse Relics, this mural first adorned the neighborhood business in 1998,” writes Cris Mueller in Austinot. “Artist and owner Todd Sanders and his friend Rory Skagen recreated this iconic Austin postcard on the side of the building to add light to a neighborhood that, at the time, was taking a turn for the worst.”

It was renovated in 2013 and looks pretty fresh. Roadhouse Relics, incidentally, sells neon signs. How very Austin.
I could have waited until the people had cleared away, but what good would that be? People make the shot more interesting.

Austin Color by Night & Day

Posted on July 18, 2016 by admin

If it hasn’t been published already, a sharp photographer needs to do a coffee table book about Austin’s neon signs. There are many. Some are striking. Neon’s underrated anyway.

The Austin Motel on South Congress, where we stayed during the first days of July, has a distinctive one.
The hipster coffee shop attached to the Austin Motel has a sign with that mid-century neon vibe. It might even be a rehabbed version of a period sign. Neon was disdained then as commercial light pollution, if I’ve interpreted the likes of “The Sound of Silence” correctly.
The following are more examples of SoCo neon, the only neon zone I took pictures in during this visit. But we saw plenty more elsewhere in Austin.

On the morning of July 4, before the heat cranked up, we went to see the graffiti’d walls on Baylor St. just of Lamar Blvd. in Austin, formally called the Hope Outdoor Gallery. It’s a series of walls and other surfaces on a hillside that have been painted and repainted over the last five years.

The place is an accident of the recession, since the raw space was provided by a failed condo development. A lot of condos failed after 2008, though not so many left behind half-completed walls.

Atlas Obscura tells us that “the failed condo walls were at first a magnet for both street artists and vandals. However, around 2011 Andi Scull Cheatham, with the support of the two primary owners at the time, Vic Ayad of Castle Hill Partners and architect Dick Clark, cleaned the space up and turned it into a semi-official outdoor gallery space.

“Scull Cheatham then enlisted world-famous street artist Shepard Fairey, who posted a number of large pieces on one of the biggest exposed walls for the initial launch. Since then artists from all over the city, and world, continue to cover every inch of exposed concrete…”

Such as this fellow, at work on one of the walls when we were there.

“Currently HOG is organized by the HOPE Campaign, SprATX and, the now sole owner, Vic Ayad,” continues Atlas Obscura. “The art changes quickly and you’ll often get a chance to see artists in action so multiple visits are recommended. Mr. Ayad continues to support HOG, but its long-term future is uncertain so see it while you can.”

The place attracts a lot of photographers, too.
And climbers on the higher walls.
The place has remarkable visual texture, whichever way you look.

Mount Holly Cemetery, Little Rock

Posted on July 14, 2016 by admin

In pricing rooms in Little Rock, I discovered that a downtown room provided by a limited service hospitality chain (as they say in the biz) wasn’t much more expensive than one out on the highway. I opted for the downtown property.

You get what you pay for at that kind of place: the ice machines were all broken, and so was our room’s landline, though I except few guests would notice that any more. I only noticed because I wanted to call the front desk to ask if any of the ice machines were working. The answer to that, which I got at the front desk in person: no. Something about the filters breaking at the same time.

The front desk clerk helpfully got some ice from the restaurant for me, however. He also told me the location of a nearby grocery store, since one thing to do when you’re on the road is enjoy a grocery store-based meal in your room, the contents of which depend on whether you have a refrigerator or microwave in the room.

As I drove to the grocery store, I noticed an old Little Rock cemetery. The Mount Holly Cemetery. The next morning, before the day’s heat kicked in on June 27, I walked to the cemetery from the hotel while Ann still slept. A sign in front says the cemetery was founded in 1843 — part of the first wave of park-like burial grounds — and is the burial places of six U.S. Senators, 11 Arkansas governors, four Confederate generals, 15 state Supreme Court justices, 21 mayors of Little Rock and “others prominent in the history of Arkansas.”

Sad to say, I’m not up on Arkansas history. I have a list of the prominent burials in front of me and I don’t recognize any of the names. Still, that isn’t why I went to the cemetery. This one was for aesthetic reasons.

Not bad. Not as fine as Woodland Cemetery and Arboretum in Dayton, but few burial grounds are. Mount Holly has a lot of weathered old stones (which for some reason, bastards vandalized recently). The plots are organized in rows and columns, like city blocks. Necropolis blocks, I guess.

There’s some funerary art, such as an angel over GOOD DOCTOR Craven Payton.

Or this one, whose name I cannot read.

This one’s definitely for a child. I think the dates are 1919-1926.

A new historical marker (dated 2015) at one edge of the cemetery told me that three cadets who fought at New Market, all natives of Little Rock, are buried at Mount Holly: Samuel B. Adams, Chester G. Ashley and Francis S. Johnson.

Also in the necropolis: David O. Dodd, “Boy Martyr of the Confederacy,” whose story I didn’t know until I read about it. I didn’t see his grave. Casualties of the “Brooks-Baxter War” are also in Mount Holly, I read. It’s another story from Arkansas history I didn’t know, and a fairly remarkable one at that — an armed quarrel over who would be governor of the state in 1874.

One unusual feature was a small bell house deep in the cemetery.

A sign inside the structure says, “Ring Bell For Sexton. These streets were designed for carriages. Please be cautious with your automobile!”

The Nashville Parthenon

Posted on July 12, 2016 by admin

Here’s my thought about Prime Day, which I’d never heard of before: I have enough stuff. I don’t need more stuff, certainly not from Amazon, unless the nonstore retail behemoth is willing to sell me (say) $20 gold pieces at face value.

On the other hand, I haven’t seen enough things, so Lincoln’s birthplace wasn’t enough in the way of monumental structures on the our trip, GTT 2016. Not at all. The very next day, we went to see the Parthenon in Nashville’s Centennial Park, after I queried Ann to make sure that she didn’t remember our visit eight years ago. This time, she will.

The Parthenon was as crowded on a Saturday morning in the summer, as you’d expect. It’s also the sort of place that inspires picture-taking.

Since it’s well known, there’s little point in detailing the history of Nashville Parthenon — its origin as a temporary plaster building at the Tennessee Centennial Expo in 1897; the permanent sandstone replacement in the 1920s; and the addition of the monumental statue of Athena inside in 1990. But I will add something the late Dr. Ned Nabors told me — told the class I was in — about the columns.

Each of the columns in the original Parthenon leans slightly inward, to give the appearance of being straight. That too is a well-known feature. If the columns were magically extended upward, they would converge about a mile and a half in the sky. Thus each column in the original was slightly different; each was carved to be unique.

In modern times, such uniqueness would be painfully expensive, so the columns of the Nashville Parthenon are exactly alike. To achieve the lean, the floor under part of each column is raised slightly. But enough to be apparent if you look down at the bases of the columns. Besides the building material, that’s one of the main differences between the original and the one in Nashville. (And that no one’s used Nashville’s to store gunpowder yet.)

Alan LeQuire’s Athena Parthenos, 42 feet tall and brightly painted, as the Greeks no doubt did saw her, commands the temple’s naos.

She inspires poses.

We also spent some time in the Parthenon’s lower level, looking at its collection of paintings, and the exhibit about the Tennessee Centennial Exposition. The expo celebrated the centenary of Tennessee’s 1796 statehood, though held in 1897 (like the Columbian Exposition of 1893, a year after the anniversary). Fittingly, the site of the expo later became Centennial Park.

Ilene Jones Cornwell writes: “The Centennial Exposition, held May 1 through October 30, 1897, was ‘essentially a fair on a grand scale,’ wrote A. W. Crouch and H. D. Claybrook in Our Ancestors Were Engineers. Attractions included 12 large buildings featuring exhibits on the commercial, industrial, agricultural, and educational interests of the state; a ‘midway’ including Egyptian, Cuban, and Chinese villages; a ‘Giant See-saw’ designed by local engineer and steel fabricator Arthur J. Dyer; Venetian gondoliers on newly created Lake Watauga; a Venetian Rialto bridge designed by local architect C. A. Asmus; parades and ‘sham battles’ by the Tennessee Militia; fireworks and other entertainment; and a 250-foot flag staff designed by E. C. Lewis. Major Lewis also had conceived the idea to create a replica of the 5th century B. C. Athenian Parthenon to house the art exhibit, then commissioned local architect W. C. Smith to make the needed drawings….

“After the Exposition closed, all buildings except the Parthenon were torn down and removed. The success of the Exposition, as well as the progressive movement of the late 19th century to establish public parks, planted the seed for Nashville’s park system. In 1901 Mayor James Head appointed five men, one of whom was Major E. C. Lewis, to the new Board of Park Commissioners. Negotiations were begun by the city in early 1902 with the owners of the 72-acre Centennial Park to purchase the land for a permanent city park. After months of complicated offers and counter-offers, described in The Parks of Nashville, Nashville Railway and Light Company purchased Centennial Park and its title was presented to the city park board on December 22, 1902.”

Even by about 11 that morning, it was too hot to spend much time wandering around Centennial Park, which was too bad, since there are a variety of other things there besides the Parthenon.

Such as a large locomotive that the park has — and how many locomotives are there in public parks? Must be a web site or guide book about that, but I’m too lazy to find it. But not too lazy to look up the Centennial Park locomotive: a Nashville, Chattanooga & St. Louis 4-8-4.

Also, I either never noticed, or had forgotten, the Robertson monument, which is a freestanding column. It isn’t far from the Parthenon, so we walked by it.
Cornwell again: “When negotiations had begun to purchase the Centennial land, [Major Lewis] purchased the 50-foot granite shaft for $200, then his fellow-commissioner Samuel A. Champion ‘resolved that it be erected in the park as a monument to the memory of James Robertson.’ Lewis also purchased the flat-stone base for $10 in 1903 to remain beside Lake Watauga as a memorial to the Centennial Exposition. A new granite base was needed to support the heavy shaft after its relocation, but no record has yet been found of the base’s creator or its procurement. Wherever the massive base originated, Johnson described the monument’s creation in The Parks of Nashville: ‘With a tripod made of three large oak logs and block and tackle, Major Lewis raised the shaft into position and then constructed the foundation beneath it.’ The granite shaft and its base weigh a total of 52.5 tons.”

Robertson, the “Father of Tennessee,” co-founded Nashville with John Donelson in 1779. For a moment I thought he and his wife might be buried there in the park, but then I remembered seeing his grave some years ago at the Nashville City Cemetery, where many early Tennesseans not named Andrew Jackson repose (he’s at the Hermitage).

The Abraham Lincoln Birthplace National Historical Park

Posted on July 11, 2016 by admin

“Where are we going?”

“Lincoln’s birthplace,” I told Ann on the morning of June 24 as we left Elizabethtown, Ky. “It’s about 10 miles off the Interstate. Bet his parents were glad to have a place near the highway.”

Ha, ha, Dad, was the reaction.

The Abraham Lincoln Birthplace National Historical Park is in fact about 10 miles east of I-65, a roadway built much later than the Lincolns’ cabin or even the monumental building erected on the site 100 years later, with its groundbreaking on February 12, 1909. TR was there that day to wield the ceremonial trowel, which is now on exhibit at the visitors center.

So is a statue of the Lincoln family. It includes the only depiction that I’ve seen of toddler Abraham Lincoln, with his parents and older sister Sarah. John Russell Pope, who also lived long enough to do the Jefferson Memorial in Washington, DC, and a good many other things, designed the birthplace memorial.
“Built on the knoll above the sinking spring where many believe the Lincoln cabin originally stood, the Memorial Building at Abraham Lincoln Birthplace National Historical Park was constructed between 1909 and 1911 in an effort by the Lincoln Farm Association to commemorate the life and accomplishments of the sixteenth President of the United States and to protect his ‘birth cabin,’ ” notes the NPS.

“Pope’s design of the building included many symbolisms related to Abraham Lincoln, including fifty-six steps leading up to the building to represent the fifty-six years of Lincoln’s life. Sixteen windows in the building and sixteen rosettes on the interior ceiling are there to remind visitors that Lincoln was the sixteenth president.”

Inside is the fake Lincoln cabin.
Haven’t got an historic relic? Make one that looks right, especially during the late 19th century, when touring exhibits were a way to make money. (Read about promoter Alfred Dennett and the fake cabin here.) According to the NPS, the structure now characterized as a cabin that “honors” the original. Sure, why not – and besides, the faking of the cabin was so long ago (1890s) that it too is of historic interest.

Up the road (US 31E) from the monument a bit is Lincoln Boyhood Home, which is only a few structures, all re-creations, but none made of marble or granite. From there, of course, the Lincolns moved to Mississippi and Abraham grew up to be a leader of the Confederacy… no, that was Jefferson Davis, also a Kentucky boy born in the early 1800s. Geography is destiny? I’m not smart enough to know.

Hodgenville, Ky., which is between the birthplace and boyhood home, does what it can to make passersby stop for a little Lincoln at the local “museum,” which mostly seemed like a gift shop. Also, the town traffic circle has a statue of an adult Lincoln and a boy Lincoln.

One more thing I saw on US 31E, south of the birthplace: a ghost sign on the side of a barn that said SEE ROCK CITY. If I’d been able to pull off to the side of the road at that moment, I would have, to take a picture (and baffle Ann). It was not to be. But it was there.

A Little More Rockford

Posted on April 19, 2016 by admin

The gardens outside the Nicholas Conservatory in Rockford would be worth a trip back in a month or two, when they’re in full flower. On Saturday, the floral exuberance of spring was just beginning. Even so, there were a few other things to see, such as a statue of a man taking a picture.And, at that moment, an actual man taking pictures.

The statue, by the way, is by Seward Johnson, whose work I’ve seen elsewhere. This one is called “Sight Seeing,” and dates from 1991. The camera depicted would have been old fashioned even then. I have an inkling that Johnson isn’t popular among art theory specialists, for being shockingly derivative, or not smashing any paradigms, or something.

After the conservatory, we repaired to the Stockholm Inn, an enormous restaurant in Rockford. Word is — relayed by the Internet — that it too is very popular, though its offering of superb yet standard Swedish food at reasonable prices might put off some foodies.
After all, the place doesn’t offer farm-to-table fair-traded locally sourced artisanal Swede-tastic regional cuisine, guaranteed to be authentic, massaged and sublimated to gastro-perfection. Try the Nordic fusion gravlax tacos; they’re to die for.

No, the thing to order — the thing that I ordered — are the Swedish pancakes, a close cousin of the humble crêpe, infused with butter, vivified by syrup. Thin, smooth, sweet, wonderful. What they had for breakfast in the mead halls of yore, since one has to eat as well as drink.

The University of Illinois During the 2016 Spring Break

Posted on March 28, 2016 by admin

On the afternoon of March 18, Lilly and I drove down to Champaign-Urbana, and on the next day, we took a look at the University of Illinois flagship campus, which happens to sprawl across both of those small towns. Since our visit, Lilly has decided to attend there in the fall. She’d been leaning toward it anyway. We’d only been there once before, briefly, during our return from the Downstate towns of Arthur and Arcola in the spring of 2007. So it was as if we’d never been there before, especially for her.

Spring break had just started at the university. That meant only a handful of students were around, including some who were clearly leaving. On one street on campus, buses were lined up and ready to take students to specifically marked destinations, mostly in the Chicago area. Spring break also meant, happily, that parking was free and easy.

Even so, we spent a lot of time on foot. Without much of a plan: sometimes new places call for the old random walkabout. Lilly will certainly learn all she needs to know about the place and more in the fullness of time. The campus has a lot of fine buildings, especially fronting the Main Quad, and I was especially taken with Foellinger Auditorium and its green dome at one end of that quad, though I didn’t quite get an image of its full domed glory.

The building dates from 1907 and was designed by Clarence H. Blackall, a Boston architect who did a lot of theaters, and if you read a list of them, very many didn’t survive the great age (that is, regrettable age) of knocking down old stuff, whose apogee came in the 1960s. The Foellinger has clearly endured, though I’ve read that it wasn’t up to stuff acoustically at first, and needed a lot more work. We didn’t pop inside for a look. Next time, maybe.

Not far away was the 185-foot McFarland Carillon, which dates only from 2009.
A Missouri firm called Peckham, Guyton, Albers & Viets, which seems to do a lot of higher ed work, designed the tower, which has 49 bells. We noticed bells ringing at half hours and quarter hours, sometimes, but I’m not sure it was the carillon.

Elsewhere we peeked inside the chapel at St. John’s Catholic Newman Center, which is part of a complex that includes Newman Hall and the Institute of Catholic Thought, and is the largest Newman Center in the country, according to Wiki. Dating from 1926, the chapel has a splendid interior. I explained to Lilly that it was named after Cardinal Newman, not Alfred E., but she didn’t know either of them.

Nearby is the Episcopal Chapel of Saint John the Devine, also a part of a campus ministry. I wanted to take a look in there too, but it was closed for the day.

Heading back to our parking space, we encountered one of the many pieces of public art on campus.There was no plaque nearby that I saw, but information is online. It’s full title is “Tree of Life Fantasy: Synopsis of the Book of Questions Concerning the World Order and/or the Order of Worlds,” by Alice Aycock. As we approached it, I figured it might be a massive sundial, as I’ve seen recently, but no.

This description lacquers on the art-ese pretty well, but it does rhetorically ask, “can we not comprehend the sculpture solely as an interesting, if baffling, assemblage of disparate elements?” Yes, we can. Interesting, but in my amateur opinion not baffling, because it’s mainly an interesting assemblage of disparate elements, though I’d say an interesting “combination of shapes,” since disparate is a ten-dollar word best saved for special occasions.

Been There, Seen That

By Dees Stribling

Category Archives: Public Art