Ignorance gone to seed 

My friend Derry Brownfield had an expression that describes somebody doing something so egregiously stupid that it causes jaws to drop in total disbelief.

A few days ago, a tourist in Rome was accused of carving into the walls of the Coliseum, something such as “Igor+Muffy2023” to show his undying affection for his girlfriend. After he was arrested, the young sculptor/love-struck fool sent a letter of apology to the local prosecutor.  He gave as his excuse, “I admit with the deepest embarrassment that only after what regrettably happened, I learned of the antiquity of the monument,”

The “thud’ you hear is the jaw of your correspondent striking the area carpet covering the hardwood floor under my chair. It has happened every time I have read the account of his apology.

He did not know that he was defacing a structure that was built about 2,000 years ago? Did he spend his entire education playing video games in class?  Did he make it through thirteen grades of school and however many years of college without ever hearing ANYTHING about ancient Rome?

This is one of those times when it is common for millions of people to think, “How could anybody be that stupid!!!!!!” (I probably did not include enough exclamation points, actually).

The Coliseum is only one of the most recognized structures in the entire world. How can somebody NOT know it and the ruins of the Roman Forum and other obviously ancient features in Rome that the city and a lot of its structures dates back to Biblical times?

It’s ROME, for God’s Sake!  The place is old. Could he not tell it’s old just by looking at it?  Did he think it was built like that just last week? 

Why did he go there to begin with?  What was he expecting to see—lots of buildings by Frank Lloyd Wright?  (This assumes he knows what a Frank Lloyd Wright is.)

What did he think went on in the Coliseum?  The Rome Lions versus the Florence Christians in the Chariot Bowl?  He seems to say in his apology, “Golly, I wouldn’t have done it if I hadn’t thought it was sort of new.” As if there’s nothing wrong with spray-painting anything made or built within his lifetime that sits still long enough to be attacked by a clown with a pressurized can or a chisel.

Somewhere in the last twenty or thirty years, a new culture has been created that says it’s okay to display your decorative skills by spray painting property that does not belong to you and for which you have no permission to paint—or carving your initials in something made of more solid materials twenty centuries ago.  “See how brilliant I am?  I can paint or chisel my name and other names or even paint a suggestive or profane slogan on your property.  You’re welcome. I did it to enhance public appreciation of your property (building, boxcar, subway car, billboard, town sign). And I really like your day-glow red St. Bernard now, by the way.

Equally troubling is his apparent belief that he can just deface any building he wants to deface.  Places such as this were created, whenever, so people like him can carve away at the stone if they feel romantically or artistically inclined.

Where do these people come from?  The ones who carve their names in the rocks of world monuments and satisfy their personal artistic muses by turning somebody else‘s property into their canvas or carving piece?

Wouldn’t it be interesting to talk to their parents?   And see how proud they are of their children for their overwhelming self-expression and how they want to commemorate their immortal love for one another.  Or until their gap year ends, mom and dad’s money runs out, and they go to separate homes.

There are better ways to make your mark on the world. I wonder if such a thing will occur to those whose ignorance has gone to seed.

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Fly Missouri

Our son flies for Southwest Airlines.  Living the Dream.

Always wanted to be a pilot.  Went through the program at Warrensburg before it was the University of Central Missouri.  Went through the Ramen Noodle days as a flight instructor to pile up the hours that let him fly cargo planes (I told him he should always fly cargo because a box never hijacked a plane) until he racked up the hours to fly people.  Flew regionally then became a First Officer for Southwest five years ago or so.

Great company to work for.  Loves it.

Pretty handsome forehead, don’t you think? A few months ago Rob got to fly a special plane.   Missouri One.

Back in 2015, Southwest decided to honor thirty years of service in Missouri with a special 737-700.

It’s been six years since Southwest unveiled Missouri One.  Don’t know why we haven’t heard about it until recently but it sure is a beauty.  It was decorated at Aviation Technology Services in Kansas City, the first city in Missouri that Southwest started serving.

Southwest went into business in June of 1971. Flights involving Kansas City began on February 18, 1982 and St. Louis about three years later. Southwest has done so well at St. Louis that everything comes out of the East Terminal and Lambert Airport has become the line’s international gateway.

At the time Missouri One took to the air, Southwest had nine other state-themed planes. And now Rob, who lives about a half-hour from Denver International Airport, has gotten to fly his home state’s plane. It wasn’t intentional.  Crews go to the airport and get aboard whatever plane is headed to the city to which the crew is scheduled to fly.  Missouri One just happened to be THE plane that day.

We can’t write perceptive and always-correct political observations, you know.  Every now and then we have to bust a button about something.

How did Southwest get the state seal and all that other stuff on that plane?

Take a look at this:

https://www.youtube.com/watch?v=zLKFVIbVEfk

Missouri hasn’t declared an official Missouri Bicentennial Airplane but if it did, this one would have to merit serious consideration.

Someday, Southwest will have to retire Missouri One.  Maybe the company would donate it to be with TWA Constellation, DC-3, Lockheed 1011, and other planes at the Airline History Museum at the Charles B. Wheeler Airport in Kansas City.  Might not be too soon to suggest it.

(photo credits: Rob Priddy, Southwest Airlines, worldairlinenews.com, Airline History Museum, Kansas City)

 

A face of Missouri

What do we read in the face that is a symbol of our state?   What would she say to us about who we are and who we should be?

Her right hand is outstretched in blessing but her gaze is challenging.

She is waiting for us to say something. What would we say? What should we say?

She will tolerate no nonsense. No fawning. Flattery will get us nothing. Neither will bluster. Threaten her with harm and she won’t change expression while she breaks your arm. Offer her flowers of friendship and she will be thankful but flowers won’t get you very far.

Her eyes see through us.

We wonder what we should say. Nothing that would compliment her beauty. She knows she is beautiful and has no need to flaunt it or to expect others to tell her what she already knows about herself.

She is strong of will, confident in her intelligence that is obvious to those who come face-to-face with her.

What is she saying to us just by her look at us?

This is one intimidating lady.

You can be better than you are, she says. You might have greatness but do not stop achieving it. Get on with the business of loving your neighbor. Don’t ignore those who need you. And stop whining about things. Be meaningful, not just important.

Don’t dispense and don’t accept BS.

Obfuscation won’t work with me. Don’t try it.

Be better. You can be but you too often don’t want to be and you know it.

You can be more than yourself. Get with it.

I won’t tell you how to do it. You’re capable of figuring that out.

I was the goddess of agriculture, grain, and fertility to the ancient Romans. I was kind and benevolent and anything that was “fit for Ceres” was very good, splendid in fact. I represented the love a mother bears for her child.

You will not see me this way for the rest of your lifetime, probably. But I will be atop your Capitol and I will be watching you as a mother watches her child.

Do not disappoint your mother.

Straighten up. Behave. Be “fit for Ceres.”

            (Ceres. Sunday night, December 8, 2019, waiting to “go home.”)

 

 

 

 

A GODDESS COMES TO EARTH

Ceres, a lady of myth and mystery who has extended blessings to state capitol visitors for ninety-four years, has been brought to earth by mortals who love her and care for her.
She’s in Chicago now and will be staying there about a year before she comes home to the capitol.
She’s a ten-feet four-inches tall, two-thousand pound bronze statue whose presence among flesh-and-blood humans was an emotional event for many of those who spoke quietly in loving terms as they walked around the flatbed trailer on which she’d been carefully laid after days and hours of preparation for her removal from the capitol dome.
She’s beautiful.
We’re going to spend some time in this entry telling her story, which is as ancient as the Greek and Roman empires, as recent as last week, and is beginning a new chapter. We’ll be drawing on the research we did for The Art of the Missouri Capitol: History in Canvas, Stone, and Bronze and for the upcoming book about the history of the building.

WHO IS CERES?
Ceres is a figure from Roman mythology whose Greek counterpart is Demeter. She’s the goddess of grain, of agriculture, of fertility, a representative of Mother Earth. We’ll use the Roman version of her story here. She was a sister of Jupiter who was impregnated by Jupiter (family relationships among gods and goddesses apparently were not frowned upon in the myth
The family weirdness continues with Pluto kidnapping Proserpina with plans to marry her and live in the underworld. Mama Ceres, as you might expect, was not favorably disposed to such an arrangement. As she searched for her daughter, she stopped the growth of crops and caused deserts, acts that alarmed Jupiter to send Mercury to the underworld to convince Pluto to let Proserpina return to the surface.
Pluto blackmailed Proserpina. He forced her to agree to return to the underworld for part of the year. When Proserpina showed up, Ceres was happy and as long as the two were together the earth was fertile and crops grew, trees had leaves, and the grass grew. But when Proserpina has to return to Pluto, Ceres becomes depressed and the earth begins to lose its productivity and the trees start to lose their leaves and the lawn finally stops growing.
So we have brought Ceres to earth at a time when she supposedly becomes depressed because she misses Proserpina—which might explain the chilly and snowy day of falling leaves and dying lawns when she came down. Although the capitol restoration workers say she’ll be put back up in a year, regardless of the weather, we think it would be more appropriate to put her back in place at a time when the wind blows warmer, the trees are budding, the days are growing longer, and so is the grass.
That’s the best we can figure out this complicated family relationship of gods and goddesses in ancient Rome and ancient Greece.
Regardless, let’s hope that Proserpina, unknown to her mother, already is living in Chicago (known for many years for its underworld history) and hears that Mom is going to be in town, and that they get together. We’re ready for a quick return of spring.

WHY CERES?

Simple. She’s the goddess of agriculture, among other things.  Although Missouri is becoming more urban, its number one industry remains agriculture. It was even moreso when she was commissioned, cast, and put into place.

THE MISSOURI CAPITOL WAS NOT HER INTENDED SITE
It not only was not the intended site, but the statue of Ceres appears to be less than an original design.
For example, the Smithsonian Learning Center has this statue titled “Maidehood,” a version of which also is in the Brookgreen Gardens in South Carolina.
The hand is up, not down, and the gown is more revealing than the attire of Ceres. But the design similarities are unmistakable.
Then there is this work from the Panama-Pacific Exposition of 1915, also by Sherry Fry:
She’s called “Peace” in this version.
Fry originally intended the statue to fulfill a commission for Grant’s Tomb in New York. But an undated newspaper clipping in the papers of Decoration Commission member Cora Painter says, “When he visited the Missouri Capitol, he was struck with the thought that there was the building to which his theme was fitted and he executed the model for Missouri instead of New York.”

SHE’S NOT THE ONLY CAPITOL CERES
We aren’t the only state capitol with a statue of Ceres. Vermont’s capitol in Montpelier has had a Ceres statue since 1858. As this is written, sculptor Chris Miller is carving—from Honduran Mahogany— the third Ceres statue to adorn the statehouse dome. The clay model he is working from was done by Jerry Williams, who usually works in granite. The first two wooden statues fell victims to rot after about eighty years each.
(The picture is from Sevendaysvt.com)

WHO DECIDED SHE SHOULD BE UP THERE?
The original decision was made by the State Capitol Commission Board, the predecessor of the Capitol Decoration Commission. And for a time, there was some consideration of making her out of something else.
The capitol architectural firm of Tracy and Swartwout (pronounced Swart-out) proposed a ten-foot statue of Ceres, the goddess of agriculture “fully robed and head erect.” They suggested, “In her right hand she carried the torch of education and in her left, which hangs by her side, are a few blades of wheat.” The Capitol Commission Board approved the idea in September, 1915 then wondered whether the statue should be made of sheet copper instead of bronze, what the thickness of copper should be if that was the material of choice, and what would be the cost difference.
By mid-1916 the board was waiting for the great bonze doors to arrive for the south front of the building and had started casting up sums to see what else it could buy. It thought there would be enough for a statue of Ceres on the dome, among other things. The W. F. Norman Sheet Metal Manufacturing Company of Nevada, the home town of commissioner Theodore Lacaff, sent the board a plaster model of a proposed twelve-foot ball statue that could be made of 48-ounce of sheet copper for $2,480.
But the board was hit with a Missouri Supreme Court ruling that almost drained its bank account, leaving it without funds for the statue or to hire sculptors to carve figures for the main pediment.

Architect Egerton Swartwout called the board’s suggested cost of the statue “absolutely inadequate” and noted the price of bronze had gone up so much since war broke out in Europe that the board could not afford the bronze for the statue much less pay for casting it. He warned of vendors who would “sell you a lot of junk which they too often put on court houses and other such buildings, like the Civil War Memorials that are scattered through the land, made out of stamped tin.”
Swartwout suggested the statue be made of hammered sheet copper, the material used in the Statue of Liberty. Norman said copper and bronze were scarce because the government was not allowing their use for anything but war work. Norman endorsed the idea of Ceres “since such stress is being laid upon the importance of cereals” at the time and the Missouri War Production Board was encouraging, and getting, great improvements in state agriculture production. Although Norman later got an option on some copper of the same weight used in the Statue of Liberty, the Ceres project wound up on the Capitol Commission Board’s scrap heap.
The Jefferson City Daily Capital News observed that the war had caused Ceres “to gracefully sidestep the honor of standing on top of the capitol dome and beaming down upon a peaceful world. Gallantly Ceres gives way for old glory who will proudly wave over the most beautiful state capitol in the Union.” But, forecast the newspaper, “When victory ends the war, Ceres will have her inning.” Sherry Fry’s bronze Ceres statue was hauled to the top of the dome in the fall of 1924, made of bronze. It would be more than six decades before the Norman Company got some of its products in the capitol, when it installed the tin ceiling in the office of Senator Harold Caskey.

THE SCULPTOR
The statue was designed by Sherry Edmundson Fry, an Iowa-born sculptor who began his career when he shaped a figure from clay scooped from a ditch near his Creston, Iowa home. His father refused to support his desire to study are in college so Fry picked potatoes to work his way through Grinnell College.
After graduation, Fry worked with sculptors Lorado Taft and Charles Milligan in Chicago before moving to New York to work for Karl Bitter, who created the original “Signing of the Treaty” panel that is on the river side of the capitol. He signed on as a crewman aboard a cattle boat bound for France so he could study at the leading art institutes in Paris. Fry continued his studies in Italy before returning to France where he met Des Moines businessman James Edmundson who hired him to create a sculpted image of his father. Fry so admired Edmundson that he took the man’s last name as his middle name. (The Archives of American Art in Washington, D. C., has the only photograph of Fry we have been able to track down.
)During World War I, Fry was part of the newly-formed Army Camouflage Corps, one of the leaders of which was Evarts Tracy, whose architectural firm designed the Missouri Capitol. Tracy appears to have been the connection that got Fry the Ceres commission. He was paid $15,000 for this work (about $215,000 today).

THE REAL WOMAN, PERHAPS
We have suggested that the inspiration for the figure on our capitol’s dome might have been Audrey Munson, considered the country’s first supermodel. We have only circumstantial evidence because the records of the Capitol Decoration Commission have disappeared (we maintain a hope somebody will find some dust-covered file boxes in their attic or in a long-forgotten closet corner that will contain those records) and we have not located any of Fry’s personal papers

 Audrey was the favorite model for New York sculptors—the New York American referred to her as the “queen of Artists’ Studios”—including those who decorated our capitol, for more than a decade. She was such a popular subject that the organizers of the 1915 Panama-Pacific Exposition in San Francisco published a guide book of the exposition statues that featured her face and body. More than half of the statues at the exposition were of Audrey.
Audrey Munson went into movies and became the first woman to appear nude in an American mainline movie. Her family put her in a mental institution in 1931. She died there in 1996 at the age of 104, thirty years after Fry’s death.

SIZE

Some of those who saw Ceres on the trailer after she was brought down were surprised that she isn’t bigger. It’s a matter of proportion and the Capitol Decoration Commission that commissioned the statue wanted to make sure the statue did not overwhelm the building’s design nor would it be insignificantly small. When Sherry Fry submitted a design, a steeplejack made a two-dimensional wallboard silhouette that he hoisted into position atop the dome. Commission members and others on the ground walked around the dome to study the figure from all angles and found, as one chronicler put it, the statue “stood out, bold, distinct, and beautiful.”
By contrast, Thomas Crawford’s statue of “Freedom” on our nation’s capitol is nineteen feet-six inches high and weighs fifteen-thousand pounds. The statue was cast in Rome, where Crawford had his studio. It was shipped to this country in six crates and put together atop the capitol in 1863. Your loyal observer frankly thinks that she is too large for that dome but—to the surprise of some, perhaps—he was not around in 1863 to protest. Neither was Crawford, who died in 1857.

BRINGING HER DOWN

No one is alive today to see her return to earth who saw Ceres, or at least the top part of her, hoisted to the dome in 1924. For most of a century we have had only photographs from airplanes or long lenses to show us her beauty.
Unless you went to Columbia.
Before Sherry Fry was allowed to cast a bronze statue, he had to submit a half-size preliminary sculpture to the Decoration Commission. Many of the preliminary drawings, paintings, window designs and sculptural models were taken to the University of Missouri School of Art and Archaeology by commission chairman John Pickard, the founder of the university’s art history department. Some preliminary painting are in the Ellis Library. The plaster models of the south front frieze line some of the hallways on the top floor of Jesse Hall, the main administration building. Unfortunately (as of our last visit there) there are no signs telling anyone what those encased things are.

For years, Fry’s preliminary model of Ceres was in Pickard Hall on the Francis Quadrangle but when that building was closed after it was found to be contaminated by radioactive elements left from research in the early 1900s the museum was moved to what’s known as Mizzou North, the former Ellis Fischel Cancer Hospital on the business loop. The statue is still there although it has lost a hand and some toes.

In 1995 some folks made their way to the top of the dome to check on Ceres’ condition. A few days before she was brought down, the Office of Administration had a photographer on the dome with her. Until workers started preparing to bring her down several days ago, nobody had gone face-to-face with the goddess since ‘95. Unless they’d been to Columbia.

It’s hard to compare the face of the plaster model with the face of the final bronze statue because of light and perspective. But it appears to us Fry made a slight alteration in the face of Ceres, perhaps slightly lengthening it, when he made the final version. (Compare with the statue’s face at the end.)

Two guys were essential to the safe return of Ceres to earth. One was Zack Franklin who ran the big crane that reached up and over to Ceres and gently lifted her from her perch and gently lowered her to the trailer below. Lt. Governor Mike Kehoe (who commemorated their roles) called Franklin “the most important man in Missouri during the five to seven minutes Ceres was in the air.”

The eyes for Franklin on the platform far above was James Stafford, talking by radio to the crane operator as the delicate task of attaching the hook to the carefully-wrapped harness around the statue. It was fitting that Stafford should be intimately involved in the process. His great-grandfather had been one of the workers who constructed the building that Ceres has presided over all this time.

 

So she came down, wrapped in a state flag that was a last-minute thought earlier that morning, turning to seemingly bless the building over which she presided or maybe to wave goodbye for a little while, and then for the first time in more than nine decades, she was allowed to lie down.

 

FACING THE WRONG WAY?
We don’t know where this got started, the idea that when Ceres was winched to the dome in 1924 that workers turned her the wrong way before anchoring her. We have never found any contemporary accounts saying that.
We’re not sure what the rationale is for that idea other than north Missouri is the state’s main corn, wheat, and beans producing region while the south (except for the Bootheel) is better at raising rocks.
One person has suggested she faces south to reflect Missouri’s Confederate heritage, in effect turning her back on the North. Again, we have never found any contemporary comment or account indicating that is the case. It is true that “Dixie” was part of the inauguration ceremonies for new governors in those days but we do not believe the Capitol Decoration Commission was in any way motivated to turn its goal of appropriately decorating the building into a political statement.

So why does she face south—and WILL face south when she returns from Chicago (as shown in Lloyd Grotjan’s photo from our Art book)? Because the south front of the Capitol is where the people come for admittance to the halls of their government. Her hand is extended in blessing to the people of Missouri who gather below her for inaugurations, rallies, concerts—-for some years in the hot summers the mainline Protestant churches held joint worship services on the lawn—or just to visit the state’s greatest symbol. It would be extremely poor manners if the patron goddess of Missouri turned her back on her people.
We wouldn’t be surprised if that was what the commission thought when Ceres ascended in 1924.

AND A FINAL NOTE—
Some of us think the beauty of Ceres should not be so far away that Missourians cannot be touched by it for another century or so. Perhaps those restoring the Capitol would consider doing what has been done with “Freedom” in the National Capitol.
The full-size plaster model for that statue that was used to cast the bronze statue on top of the building was stored in pieces for more than 130 years before it was restored by the Architect of the Capitol in 1929. It stands today in Emancipation Hall of the U. S. Capitol’s Visitor Center.
The United States Capitol Historical Society sells a nine-inch tall version of the statue made of crushed marble removed during the renovation of the east front of the building and mixed with resin. It sells for forty-six dollars. An much smaller replica is available as a Christmas ornament.
Oklahoma, which finally put a dome on its Capitol is topped by a twenty-two foot tall statue, a nine-foot replica of which is in the rotunda.
Today’s laser scanning and 3-D printing technology could produce an accurate reproduction of Ceres that would make a striking attraction in the Capitol Museum or to the Capitol visitor’s center that is talked about from time to time. And a small but well-detailed version made of the dust from the stones removed during the present restoration and repair project could be a solid seller at the tour desk.

Beauty should not be hidden, even if it is in plain sight, 250 feet above those who would admire it.

 

The portrait

To be candid, we had something more interesting than this planned for today but decided to wait a little bit before posting it. Instead we are focusing on a tempestuous teapot of an issue.

Post-Dispatch reporter Jack Suntrup asked a few days ago if there will ever be a portrait of Governor Eric Greitens hanging along with portraits of Missouri’s other governors at the Capitol.  The answer is, yes, there should be one.

The hanging of official portraits has been an irregular sort of thing.  Several recent governors’ portraits were missing until the Missouri Academy of Squires (as we remember the story) paid to have them painted.  Matt Blunt’s portrait does not appear between the portraits of Roger Wilson and Jay Nixon. Neither he nor anybody else has commissioned one.

There are no doubt some who think the circumstances of Greitens’ departure should prohibit his portrait from being placed in the building.

We respectfully disagree.

Refusing to allow a Greitens portrait amounts to trying to erase history.  He was elected.  He did serve.  He quit.  We cannot deny that by some arbitrary decision that his portrait doesn’t belong among portraits of statesmen.  And spies. And traitors. And drunks. Human beings are elected to the governorship.

Let’s consider Trusten Polk, Sterling Price, Claiborne Fox Jackson, and John Sappington Marmaduke for example.

Polk, who served the shortest time as governor, became a U. S. Senator and was expelled from the Senate for disloyalty at the start of the Civil War when he cast his lot with the South. His portrait is in the collection and we’ve never heard anybody suggest it should be removed.

Sterling Price was a Confederate general during the Civil War and once led an army that threatened to try to capture Jefferson City by force of arms.  His portrait shows him wearing his Confederate uniform.  We’ve not heard anybody say he shouldn’t be recognized.

Claiborne Jackson was the governor who fled from Missouri when a U. S. Army general rejected his efforts to keep federal troops out of the state. Jackson set up a Confederate government in exile in Arkansas, where he died. He, Price, and Polk had taken oaths to defend the United States Constitution but then took up arms against their state and nation.

John S. Marmaduke is somewhat different.  He was a Confederate general who was nevertheless chosen by the people twenty years after the end of the Civil War to be the Governor of Missouri.  Haven’t heard any objections to his portrait being at the capitol.

James Wilkinson, twice a Revolutionary War General who was involved in shady deals and kicked out of the Army later became a general again and was involved with Aaron Burr’s plot to foment a western frontier revolution. He was a spy for the Spanish government when he was the governor.

Robert M. Stewart was known for his drunken escapades, one of which involved riding his horse into the governor’s mansion and feeding it from a sideboard that is in the present mansion.  He was a bachelor who sometimes employed female prisoners to work at the mansion. No, we don’t know what they did while they were there.  But nobody has suggested that character issues should keep his portrait from being provided.

Guy B. Park, a product of the Pendergast political machine of Kansas City, was just a Platte County Circuit Judge three weeks before his election as governor.  When the Democratic candidate died, Park was plucked from his bench, put at the top of the ticket, and won by a big margin.  His ties to Boss Tom Pendergast were supposedly so strong that the mansion became known as “Uncle Tom’s Cabin.”

But his portrait is in the capitol.

These and other governors were humans, political animals of one stripe or another, who did what they had to do to get elected and to serve, or get elected to a lower office and move up to the governorship when the job became vacant for one reason or another.

The portraits are not intended to provoke unwarranted admiration for the men who have held this office. They are there to mark Missouri history.

So it is with Eric Greitens. He deserves some wall space because he was elected to fill some office space. Somebody, some day, will paint his portrait.  There won’t be a historical gap in the images of our governors.   People can look at his portrait as they look at the portraits of other governors and perhaps wonder what he did.

Or, most likely, they’ll glance at it and then move on to something more interesting—the big map of Missouri soils or the stagecoach or the big kettle used by the Boone family to boil salt water.

Never before in the history of the world—

Only a small percentage of visitors to Missouri’s Capitol get to go up to the Whispering Gallery, a place where a person can stand facing the wall and whisper something that is clearly heard by someone facing the wall on the other side of the gallery.  It is unlikely that those who have been there or those who have noticed from their position far below the railing high up in the dome that is the gallery’s home have ever heard that the Missouri Capitol Whispering Gallery was unique in the history of architecture when it was designed.

Never had anything like it been done before.  And as far as we know, the story has never been told before. Or if it has, it hasn’t been told for a long, long time.

Deep in the files of the Capitol Commission Board at the Missouri State Archives is a letter written September 29, 1924 by Egerton Swartwout, the architect whose firm designed our capitol, a few days before the building’s dedication in 1924.  This letter, as is the case with so many of his letters, is an incredibly human document these ninety-plus years after that event.  In it, he recalls his company getting the bid to design the building, the struggles with the contractor over the stone to be used, and other issues that had to be dealt with.  Toward the end of the fourth-page of the five-page letter, he writes of his partner, Evarts Tracy, who had left the firm to help create the Army’s Camouflage Corps during World War I and who had died in Paris in 1921 while helping the French with their postwar reconstruction effort, “Poor Tracy, he was extremely interested in the Capitol and very proud of it and one of the things that appealed to him particularly was the whispering gallery, the only one, by the way, that has ever been made artificially, or rather made on purpose, and that was done by Professor Sabine.   Poor chap, he is dead now but he talked to me about it often and mentions it in his Memoires…”

That mention sent us off in search of Wallace Sabine and his memoirs.  Wallace Sabine was a physics professor at Harvard when Tracy and Swartwout were students there.  When Harvard built the Fogg Auditorium, the school quickly learned the audience could not hear what was being said on the stage and asked Sabine to find out why.  Sabine’s research made him the father of architectural acoustics. The measurement of sound absorption today is the Sabin.  When Tracy and Swartwout were designing the capitol in 1913, they sought Sabine’s advice for ways to make sure members of the House and Senate could hear the speakers in their cavernous, stone-lined chambers.  The sound-absorbing curtains and fabrics in both chambers, including in the ceilings, are the result of Sabine’s study of the original plans.  Some old timers your reporter talked to a long time ago recalled that debate could be heard in the pre-public address system days quite well.

Sabine was only fifty when he died in 1919. His successor at Harvard as the Hollis Chair of Mathematics and Natural Philosophy, Theodore Lyman, edited a volume of Sabine’s papers and speeches and even some unpublished presentation, one of which was about whispering galleries.”

Sabine began that paper, “It is probable that all existing whispering galleries, it is certain that the six most famous ones, are accidents; it is equally certain that all could have been predetermined without difficulty and like most accidents could have been improved upon.”  There six he wrote about in his paper were the dome of St. Paul’s Cathedral in London, Statuary Hall at the Capitol in Washington, The vases in the Salle Des Cariatides in the Louvre in Paris, St. John Lateran in Rome, the Ear of Dionysius at Syracuse, and the Cathedral of Girgenti.  Statuary Hall in our nation’s capitol was the original chamber of the United States House of Representatives until it was outgrown.

Eighteen pages into his discussion of whispering galleries, the father of architectural acoustics wrote that the whispering gallery at St. Paul’s Cathedral in London could have been more efficient had the walls been “slightly, indeed almost imperceptibly curved.” And then he continues, “Such a gallery will be in the dome of the Missouri State Capitol, a gallery unique in this respect that will have been planned intentionally by the architects.”

By the time this paper was published in 1921, editor Lyman added, “The building is now complete. One of the architects, Mr. Edgerton [sic] Swartwout, reports that the whispering gallery in the dome exactly fulfills Professor Sabine’s prediction and has been the cause of much curiosity and astonishment.”

There was some technical stuff in the paper that explained why our whispering gallery works so well and was better than any of the “accidental” ones in previous world history that we won’t get into.   But the fact remains—-

The Missouri Capitol’s whispering gallery was the first one in the entire history of world architecture that was designed specifically to be a whispering gallery.

We just dug that story out in the last ten days or so to put in the next capitol book (don’t ask us when it will be out—maybe 2019 if things work out but look for it when you see it).  But we couldn’t wait that long to tell it.  We’ve known our capitol is an extraordinary place.  But this feature puts it on a whole new scale.

There have been several intentional whispering galleries built in this country and internationally since then.  But the Swartwout/Sabine Whispering Gallery in the Missouri Capitol was the first of its kind.

Ever.

Next time you’re in the rotunda. Look up.  Climb up, if you have permission.  And step through a door to world architectural history.

(The photo is from the blog, “Opulent Opossum,” by Julianna Schroeder, who said some nice things about the Capitol art book back in 2011.  She was a great editor to work with.)

Carol

It’s not one of the Christmas carols or hymns we are likely to hear in our churches during this holiday season, but it’s one we need to hear in a year when brotherhood has taken a beating throughout the world.

There are thousands of paintings and other depictions of Jesus, the most ubiquitous—probably—being those of Warner Sallman, particularly his “Head of Christ,” which has been reproduced a half-billion times, some say.  But Jesus probably didn’t look much like the pretty Aryan Jesus made famous by Sallman. And how he really looked is immaterial anyway.  It’s how we see him.

And that brings to Alfred Burt and his wonderful Christmas carol, “Some See Him…”

Alfred Burt was the son of an Episcopal minister in Michigan who began in 1922 the custom of sending special Christmas cards to parishioners that included the words and music for a new Christmas Carol the Reverend Bates Burt had composed. After Alfred graduated from the University of Michigan with a degree in music in 1942, “Dad” Burt suggested he take over the Christmas card custom.  Alfred’s wife, Ann, asked the organist at the Bates’ church to write the lyrics while Alfred wrote the music.

Alfred Burt and Wihla Hudson created fifteen carols before his death because of lung cancer in 1954 at the age of thirty-three.

Their 1951 composition, Some See Him is a favorite in our household and seems appropriate for this year.

Some children see Him lily white,
the baby Jesus born this night.
Some children see Him lily white,
with tresses soft and fair.
Some children see Him bronzed and brown,
The Lord of heav’n to earth come down.
Some children see Him bronzed and brown,
with dark and heavy hair.

Some children see Him almond-eyed,
this Savior whom we kneel beside.
some children see Him almond-eyed,
with skin of yellow hue.
Some children see Him dark as they,
sweet Mary’s Son to whom we pray.
Some children see him dark as they,
and, ah! they love Him, too!

The children in each different place
will see the baby Jesus’ face
like theirs, but bright with heavenly grace,
and filled with holy light.
O lay aside each earthly thing
and with thy heart as offering,
come worship now the infant King.
‘Tis love that’s born tonight!

In a world that sometimes seems pretty short on love and brotherhood, Alfred Burt’s carol seemed to us pretty important—although we aren’t aware of any service where it will be sung.

If you’d like to hear it, we recommend this performance by Santino Fontana and the Mormon Tabernacle Choir:

https://www.youtube.com/watch?v=v83iNif0hEw

And if you are not familiar with the Alfred Burt carols, we invite you to enjoy this first recording of them, in the year after his death, by the Columbia Choir:

https://www.youtube.com/watch?v=RXI6mjujeU8

May we see each other in the spirit of peace this season.

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Oh, how Tom Benton would love to wade into this!

Indiana University has decided that its students should no longer be forced to attend classes in a room that contains part of a large mural painted by Missouri’s Thomas Hart Benton in 1933, three years before he painted the mural at the Missouri Capitol.

An online petition had demanded removal from a classroom of the offensive section of the mural, which shows, amidst a lot of other things, a Ku Klux Klan rally with a burning cross. The university won’t remove it.  But the chancellor has decided the university won’t “force” students to see it—and, of course, ponder what it’s about.

The mural was created for the Indiana building at the 1933 Chicago World’s Fair, billed as “The Century of Progress.”  The entire mural is 230 feet long and fourteen feet high. It’s so big, much bigger than our capitol mural, that it is housed in three buildings on the campus at Bloomington, Indiana.

IU’s Provost, Lauren Robel, says in part of a 1,902 word statement, “While I believe that we can and should educate the public and our community about the murals, that intellectual work can and should take place in a context that does not involve the captive audience of classes devoted to other subjects.”  So, starting with the next semester, Room 100 in Woodburn Hall will be put to “other uses.”

The Indiana mural generated a certain amount of controversy from the start. Lawrence County (Indiana) Historical Society President Zora Askew said the mural “should offend the sensibilities of every Hoosier who has resect for the hardy pioneers from the East, West, North, and South that came to form the melting pot now known as Indiana.” State conservation director Richard Lieber, who supervised the mural’s creation, claimed the Klan had no significance in the state.  Benton wrote in his first autobiography, An Artist in America, that he arranged a happy hour with some legislators and invited Lieber, rigging the meeting so someone would ask if he thought the Klan was important to Indiana history. Benton responded that he was doubtful but appealed to the legislators. “They being newly-elected Democratic politicians, while the Klan business occurred under Republican auspices, promptly informed me that it was of immense importance and had nearly ruined the state,” Benton wrote. “When they got through airing the importance of the Klan, I shouldn’t have dared to leave the organization out of the factual history of Indiana.”

This writer would like to see Ms. Robel discuss the shutdown of the room as a classroom with Mr. Benton who has, fortunately for her perhaps, been dead since 1975.  But when he finished his Missouri mural in December, 1936, he faced severe criticism from people who didn’t like some of the things in it–a baby’s naked bottom, a depiction of bank and train robber Jesse James, an illustration of the violence of Missouri’s guerilla warfare (including a lynching) during the Civil War, the portrayal of a slave sale, and particularly a depiction of Kansas City political boss Tom Pendergast.

His critics felt the unsanitary parts of history had no business being on display in our state capitol that is otherwise decorated with depictions of Missouri’s more noble or victorious moments.

He didn’t give an inch to them.

The House Lounge for many years was a place where captive audiences often met. The House Appropriations Committee, particularly, used to hold its hearings there. State department representatives were forced to sit in a room surrounded by images that might make them “uncomfortable” and justify their budget requests, a process we guarantee you was much more uncomfortable than the images on the walls. The use of the room for hearings was abandoned in 1980 not because anybody was traumatized or might have been traumatized in some way, but because smoking was banned in the room because of the damage and potential damage to the mural.

Discomfort is a big reason for the decision, however, at Indiana University.  The university apparently doesn’t want any of its students in these post-Charlottesville days to be discomfited by a mural showing a part of Indiana’s history.

Indiana University historian James Capshaw is discomfited by those who try to link the panel to Charlottesville. He told the Star, “It’s not like a Confederate monument that was erected in the 19-teens or ‘20s that was specifically to enforce Jim Crow practices and basically put blacks in their place again…It’s very different from what’s going on in Charlottesville and other places.”

Roble seems to sympathize somewhat with Capshaw’s view that the mural should be discussed in the proper context but she says teachers don’t like time to be taken away from their courses to explain the significance of the mural segment. Furthermore, she maintains, such sessions haven’t worked.

The Indianapolis Star has reported a petition campaign was started by a 32-year old former IU student now living in Florida who said the school “has a responsibility to do something to address student and faculty discomfort,” although the newspaper reports she didn’t recall hearing much about the mural when she was a student in Bloomington. But now she has referred to the mural segment as “a symbol of hate” and worried that “something as simple as a picture can sometimes, to some people, be justification for those kind of acts.”  She wanted to have the panel taken down. In fact, she suggested the entire mural be removed from the campus and put in a museum “for educational purposes,” a place where it could become “a learning opportunity” instead of just “sitting in a classroom” (where, we note, educational purposes are practiced and learning opportunities are a constant).

A petition reflecting her concerns was circulated on campus in August. It got more than one-thousand signatures.

—on a campus that had more than 43,000 students for the start of the 2016-17 school year, with record numbers of minorities.

We haven’t seen the 2017-18 final fall enrollment figures. We also haven’t seen any breakouts of those thousand-or-so students showing how many of them have or have had classes in that room and how many of those who did were so distracted by Benton’s reference to the era when the Klan was a powerful political force in Indiana—as it was a force in 1920s Missouri—that it disrupted their school work.

Apparently the school’s VP for Diversity, Equity and Multicultural Affairs carried no weight in the discussion.  James Wimbush, reports the newspaper, said the panel does not violate the university’s diversity statement: “It does not glorify or celebrate this particular dark episode of the KKK in Indiana, but instead shows that the state’s past has shameful moments the likes of which we do not want to see again, ever.”

And Benton, who believed history had to be taken “warts and all,” would probably appreciate his comment that, “It’s important to understand the state’s history—the good and the bad.”   Wimbush said the mural segment offered a teachable moment.

But instead of using it to teach, the university is going to shield its students from the opportunity to learn a lesson available for eighty years from Benton’s painting.

Roble, by the way, ruled out covering the panel with cloth because would amount to censorship.  Apparently making sure students are not exposed to it during their classes is not.

We do not intend to try to get inside Benton’s head and divine today what he would argue specifically with Roble’s decision.  He did, after all, defend the rights of institutions to do with their public art what they wished.  He went in 1954 to Lincoln University in Jefferson City for a meeting of the National Conference of Teachers of Art in Negro Colleges where he was asked, “Does the public have the right to criticize the symbols of a mural or maybe erase it off the wall?”   He responded:

It boils down to whether the public has the right to destroy the work of an artist…It was never, in ancient times or medieval times, believed that an institution which didn’t like a picture didn’t also have the right to get it out of the way…The question of the property value in works of art is a difficult one to decide even today. Current educated sentiment seems to be with the artist—that is, if the artist puts his soul into a thing, it is believed the average buyer hasn’t the right to destroy it…Certainly, if the majority of the people in a community object to a mural, I really don’t see what the artist can legally do to keep them from boarding it up, or tearing it down, or doing whatever they want with it…Has the community the right to get rid of something it doesn’t like?  Well, generally, even in the most liberal society, I’d say the answer would be “Yes.” 

Benton’s 1954 response would seem to support Roble’s 2017 decision. But, based on his defenses of his Missouri mural, he might question whether the rationale behind letting a few petition-signers representing only a small, small part of the student body make the entire university overly sensitive when public dialogue is so badly needed in the face of events in Charlottesville and elsewhere.

“The purpose of a work of art is not so much to tell what the artist’s thoughts were as to stimulate thoughts in those who view it,” Benton wrote in 1940. “A cartoon tells a specific story and lasts a day—a work of art tells as many stories as there are people to see it. It lasts by that power to continually stimulate…”

We are left to wonder how putting Benton’s painting out of sight and out of mind for young people whose lives going forward desperately need the stimulation of history, “warts and all,” serves education’s oft-stated goal of creating a thinking, responsible society.

(The writer of this entry is the author of Only the Rivers are Peaceful: Thomas Hart Benton’s Missouri Mural, published in 1989.  The photograph of the classroom is from the Indiana Daily Student newspaper. Benton is from Angiesdiay.com.)

-0-

We do not intend with this entry to diminish the extensive thought process behind Provost Robel’s decision, but only to question the decision—as Benton questioned the inclinations of those who sought to keep the public from thinking about the issues raised in his Missouri Capitol mural.  In fairness to her, we offer from the September 29, 2017 edition of The Indianapolis Star her entire memo:

Dear IU Bloomington Community,

I write to discuss the Benton Murals. In 1933, Thomas Hart Benton was commissioned by the State of Indiana to create the Indiana Murals for the Chicago World’s Fair. This work, which has become Benton’s most enduring artistic accomplishment, contains a self-portrait embedded in the panel entitled “Indiana Puts Her Trust in Thought.” Some eight decades after their creation, the murals serve as a vivid reminder of the strength and resiliency of a community that puts its trust in thoughtful reflection and dialogue about its past, present, and future.

I apologize in advance for the length of this communication, but the subject is complicated, the history is long, and the factors to be balanced are many. I therefore put my trust, as always, in your willingness to think carefully with me, and look forward to the discussion and ideas I am sure this letter will spark.

Herman B Wells brought the Benton Murals to the Bloomington campus several years after the World’s Fair. At the time, the IU Auditorium and several other buildings around the Fine Arts Plaza were under construction, and Wells saw the murals as ideal centerpieces for a burgeoning campus arts district. As a result, Indiana University is now steward to this astonishing and celebrated work of art, a 22-panel mural sequence displayed in three separate venues on the campus. Two of those spaces, the IU Auditorium and the IU Cinema, are performance and artistic venues. One, Woodburn Hall 100, is currently used as a large classroom.

The classroom contains a panel of the murals that has repeatedly sparked controversy, as it includes a depiction of a Ku Klux Klan rally and a burning cross. The imagery in that panel, entitled “Parks, the Circus, the Klan, the Press,” has been controversial since its creation. Benton’s intent was to show the role that the press had played in battling the Klan through exposing the Klan’s corruption of and infiltration into all levels of Indiana government in the 1920s. At the time of the mural’s creation, many opposed Benton’s decision to include the Klan, because they did not want to portray Indiana in a negative light, and the memories of the Klan’s political influence were still raw. Benton, however, overcame this opposition, and maintained artistic control. He believed that his murals needed to show all aspects of the state’s history, even the ugly and discomfiting parts, so we could confront the mistakes of the past.

Understood in the light of all its imagery and its intent, Benton’s mural is unquestionably an anti-Klan work. Unlike statues at the heart of current controversies, Benton’s depiction was intended to expose the Klan’s history in Indiana as hateful and corrupt; it does not honor or even memorialize individuals or the organization as a whole. Everything about its imagery—the depiction of the Klan between firefighters and a circus; the racially integrated hospital ward depicted in the foreground suggesting a different future ahead—speaks to Benton’s views. Every society that has gone through divisive trauma of any kind has learned the bitter lesson of suppressing memories and discussion of its past; Benton’s murals are intended to provoke thought.

Throughout history, art has served many purposes, often to lift up and honor a subject but also at times to call attention to something that is deserving of our condemnation. It is a mistake, therefore, to assume that a depiction of an historical event is the same as honoring it. Picasso, for example, depicted the horrible bombing and destruction of the village of Guernica in one of his most famous and admired paintings. It shows the consequences of the fascist bombings of a Basque village not to glorify that tragedy but to condemn it. That painting now serves as a powerful anti-war and anti-fascist work of art. It does so by depicting and calling our attention not to what we are honoring but to what we are condemning. I believe the same can be said for the Benton murals.

Nevertheless, the imagery in this panel of the murals is vivid, startling, and disturbing; and to reach the conclusion I just stated about the meaning of the mural requires work and time studying the mural and its interrelated images. Like most great art, Benton’s murals require context and history. Many well-meaning people, without having the opportunity to do that work, wrongly condemn the mural as racist simply because it depicts a racist organization and a hateful symbol.

However, even with the proper information and education, many students still feel strongly that a Klan rally and burning cross looming over their classes seriously impedes their learning. For some of our students, the burning cross is a symbol of terror that has haunted their families for generations. For others, the robed Klansman has figured in personal family or community tragedies and anguish. These reactions are absolutely reasonable on their face, and as Charlottesville shows, they are not ancient history. They have to be reckoned with, but it is far from clear that the reckoning should be an inevitable part of a class in finite mathematics, macroeconomics, organic chemistry, or gross anatomy and physiology—all classes taught regularly in this space—particularly since the burden of that reckoning inevitably falls more heavily on students whose race or religion have made their families the historical targets of the Klan.

Every few years, since at least the 1980s, the campus has grappled with the presence of the Benton Murals in Woodburn. We are entrusted with the preservation of this important work of art, yet we must also do everything possible to promote a civil and inclusive campus that provides equal opportunity for all to learn. What to do?

This question becomes especially urgent whenever events such as the march of white supremacist groups in Charlottesville and the current national debate over Confederate monuments occur. These broader conversations become deeply local, and we must come to a decision as a community on how to handle public art and memory as it pertains to the Benton Murals on our campus. On at least eight occasions since the 1980s, diverse committees of faculty, students, and staff have considered the issues raised by the controversial panel. Our campus has held town halls, symposia, and conferences to discuss the panel and its impact, including just this week a faculty-led discussion organized by PACE on “Art, Public Memory & Racial Justice.” Such efforts have consistently led to the conclusion that we need to do what Indiana University does best: educate. We have called on our community to educate through discussions of history, art history, African American and African Diaspora Studies, American Studies, and every discipline that touches on how a controversial and anti-racist piece of art should be contextualized and understood.

I agree that the proper response to the Benton Murals is education, and I have been the beneficiary of a review of the work of all of these previous efforts. However, most committees have concluded that this education needs to be done in every class taught in Woodburn 100. As a result, well-intentioned efforts to require ameliorating discussion of the murals there have foundered, and ultimately been abandoned, multiple times. Instructors without appropriate academic backgrounds feel unprepared for the discussion that should surround such a sensitive set of issues, and unhappy to be taking class time for discussions that have nothing to do with the subject of the class and everything to do with the room it is in. Students are captive audiences in Woodburn 100, and those with repeated classes there resent the repeated discussions related to the classroom art, as opposed to the subject-matter of their classes.

The murals cannot be moved. Benton painted them using egg tempera paint, which has become extremely fragile over time. Moreover, the space in Woodburn 100 was designed specifically to house the two panels that now hang there, and they were installed in such a way that moving them would almost certainly cause irreparable damage. Nor does the notion of covering them with a curtain accord with our responsibility as stewards of this precious art. Covering the murals feels like censorship and runs counter to the expressed intent of the artist to make visible moments in history that some would rather forget. Furthermore, covering the murals during class periods would leave them hidden for the vast majority of time and create a situation in which the decision to uncover them could be used by some as a symbolic act in support of the very ideology the murals are intended to criticize.

However, there is nothing sacrosanct about using Woodburn 100 as a classroom. While I believe that we can and should educate the public and our community about the murals, that intellectual work can and should take place in a context that does not involve the captive audience of classes devoted to other subjects. Therefore, Woodburn 100 will convert to other uses beginning in the spring semester 2018.

We have determined that we can accommodate almost all (and perhaps all) the classes typically taught there as early as this spring in other locations without a loss of classroom capacity, and we will certainly be able to accommodate them all elsewhere by summer. Like the other two venues in which the murals are displayed, Woodburn 100 can usefully serve other purposes, such as a gallery space and public lecture space, that are more conducive to teaching about the mural. Indeed, many departments and faculty members have expressed a need for more such spaces on campus, and Woodburn 100 offers a ready-made solution. Its adjacency to the arts corridor makes it particularly conducive to these purposes and will also allow us to install interactive media that can educate those who come for the gallery space or for other events. We could also put this art in conversation with other pieces of art the campus owns or could borrow, which would allow us to much better use the murals’ potential for education and engagement than the current configuration allows. I believe that repurposing the room is the best accommodation of the multiple factors that the murals raise: our obligation to be a welcoming community to all of our students and facilitate their learning; our stewardship of this priceless art; and our obligation to stand firm in defense of artistic expression. I invite community members to think creatively about how best to use this repurposed space to engage with the issues the murals present.

The Benton Murals are a national treasure. They depict the social progression of Indiana history—including, explicitly, the promise and hope of racial integration and a free press arising out of the fight against the political influence of the Klan—through the visceral and powerful vision of one of the most significant artists of the period. Indiana University is the steward of this incredible public art, we are bound to protect it and educate the world about it, and we will do so in ways that are pedagogically appropriate. Our primary mission is to teach students to think critically and deeply about the world, and great art is an important route to that end. We will continue to strive for this ideal, and challenge each other to think intensively and critically about art, history, diversity, and inclusion, and what it means to be a citizen of this university, state, and the world. Benton’s work deserves no less.”

— Lauren Robel, executive vice president and provost

 

 

 

Walls, doors, and a big creepy thing: Notes from the road, June edition

We’ve been on the road, observing places and meeting people, poring over old newspapers, talking to groups, reading things.  Stuff like that.  It’s good to get away from the political center of things for a while.

Spoke to a convention of state geologists in Branson the other day.  Never talked before to so many people with rocks in their heads.

For those who think there’s never anything new, we offer this note from the Jefferson City Capital News of September 11, 1910:

“The government is planning to build the longest fence ever constructed in the world.  It will extend from El Paso, Texas to the Pacific coast, more than 1,000 miles and will divide the United States and Mexico.  The fence will be of barbed wire.  Work will begin in a few weeks.”

Speaking of walls, we were looking through a recent edition of Archaeology magazine and its article on Hadrian’s Wall, the wall built by Roman Emperor Guess Who.   Trivia question:  How many miles long was (is) Hadrian’s Wall?

The Great Wall of China is 5,500.3 miles long.  Just saying it is impressive.  But let’s put it another way.  If the Great Wall of China were straightened into one segment and moved to the western city limits of Jefferson City and we started driving on it toward China, we would be able to get 82% of the way there

Hadrian’s wall would stretch from Jefferson City to Lamonte (between JC and Knob Noster).  73 miles.

Here’s a nice place to eat in Cape Girardeau.  But it would not be wise to become too enamored of its fine adult beverages while you are there and wait until your bladder was sending such urgent messages that you don’t have time to read some signs and your mind is no longer agile enough to understand them.

Katy O’Neill’s Public House in historic downtown Cape, is at the bottom of a hill. If you go there and your thinking is not as acute as it was before you began to socialize, make sure you read and comprehend the signs.

(They’ll get bigger if you click on them, at least here)

We do wonder, however, why it’s not still St. Patrick’s Day in both rooms.

—–

We’ve checked out the Crystal Bridges Museum of Art on Bentonville, Arkansas.  We were told that some of the snooty art folks on the east and west coasts have their noses out of joint because Alice Walton, who dreamed up this place, had the nerve to keep so much great art out here in flyover country, and particularly in such a Podunk place as Bentonville.  We were reminded of a comment made by Dr. John Pickard (for whom Pickard Hall is named at the University of Missouri), the chairman of the commission that hired the artists to decorate the capitol.  He complained that lot of eastern artists weren’t big enough to see over the Allegheny Mountains.  This was in the days well before we were flyover country.  But Doc P. and Alice W. had it right.

We recommend a trip to Crystal Bridges which is, itself, a work of art.  And it has a very nice restaurant.  If you are a little jittery about arachnids, you might want to close your eyes and have someone lead you into the museum….

The sculpture is by Louise Bourgeois and it’s called “Maman.”  Linda DeBerry, writing for the Crystal Bridges website, says the thirty-foot-tall spider carrying 26 marble eggs is a tribute to her mother.  After you get over your initial shudder at that thought, understand that, as DeBerry writes Bourgeois claimed “The spider…was not an ominous or frightening figure, but rather a representation of the protection and industry of her own beloved mother, who repaired tapestry for a living and died when the artist was 21.” Bourgeois said, “The spider is a repairer. If you bash into the web of a spider, she doesn’t get mad. She weaves and repairs it.”

Uhhh-huh.

Hold up your hand if you ever thought of YOUR mother this way.

Spider-mom aside, don’t be afraid to go to the Crystal Bridges museum.  It’s spectacular.  You are likely to spend enough time looking at the art and sculpture in the museum’s galleries—and at the Frank Lloyd Wright house that was moved there piece-by-piece that you’ll need lunch or dinner. We thought the food was good.  And before you leave town, fill up the car at a gas station in Bentonville.  It was a buck-98 the day we were there, seventeen cents less than the stations in Jefferson City, where gas prices tend to be suspiciously high most of the time.

Bentonville is an okay place.  Pretty much a company town, as is Jefferson City.

Chatting at the Y the other day about baseball’s desire to shorten the games.  Curtailing visits to the pitcher’s mound.  Requiring pitchers to throw the ball in a certain amount of time.  How about restricting the number of adjustments to batting gloves?  Limiting the amount of time batters can excavate a place for their back foot?

All of that is just playing games with the game. Here’s what would shorten games: Limiting the number of commercials between innings.  And during pitching changes.

Not likely to happen, of course.  The Game, whether it’s baseball or basketball or football—any game that is not continuous, long ago abdicated its right to its own clock when it decided to accept big broadcasting fees.

I think I just nibbled a little bit on the hand that used to feed me.

Didn’t get to see any of the Congressional baseball game on the in-room teevee while we were gone.  Wonder if the Cardinals had any scouts in the audience looking for bullpen help.

The spirits of Eric Sloane

We’ve been thinking a lot in these days of division, anger, and anxiety of Eric Sloane, dead now for more than thirty years, and something he wrote for our nation’s bicentennial.

He was born Everard Jean Hinrichs but he changed his name when one of his art instructors, John F. Sloan, suggested artists should use assumed names early in their careers so their developmental art would not be recognized as theirs in more successful times. So he became “Sloane” as a tribute to his instructor.  And “Eric?”   That came from the middle letters of “America,” an appropriate choice given what he became.

Eric Sloane was likely the nation’s foremost illustrator and writer about Americana, folklore, and country wisdom. He published about forty books known for their illustrations, perhaps, as much as for their written content.  For instance:

For the nation’s bicentennial, Sloane wrote and illustrated The Spirits of ’76, a thin volume that focused on “ten early American spirits which I believe have either weakened or vanished.”  What he wrote for the first of the spirits resonates today. The Spirit of Respect:

“I have often quipped that the best way to learn any subject is to write a book about it, and researching early American patriotism was no exception.  When I began compiling my group of vanishing spirits with patriotism at the head of my list, I at once began learning.  With frequent flag burnings, with the stars and stripes being worn on the backsides of blue jeans and the Pledge of Allegiance ruled out as unconstitutional, I presumed that American patriotism must be at an all-time low, and that it was the national spirit most in need of return.  As I researched and analyzed the subject, however, I soon realized that patriotism has become all too closely related with war: the most patriotic people in history (like the Nazis) were always the most warlike and ruthless.  Great thinkers, I learned, very often frown upon patriotism, and the more I thought about this spirit, the more I too wondered about its real values.  ‘This heroism upon command,’ wrote Einstein, ‘this senseless violence, this accursed bombast of patriotism—how intensely do I despise it!’  One philosopher called patriotism ‘the religion of Hell.’

“I had never regarded patriotism in such a light and I began to think.  I remembered my first encounter with pseudopatriotism about half a century ago while I was a student at military academy:  while folding the flag at sundown with a fellow student, I had accidentally let it fall to the ground. ‘You son of a bitch!’ my helper cried, ‘You let the American flag tough the ground!’

“That was long ago when obscenities were treated as obscenities and I wasn’t going to allow anyone to call my mother a dog.  A fist fight followed and I still carry a small scar of the incident. I suppose it was a mini example of how wars start, where there is as much punishment to the punisher as there is to the sufferer, all in the name of patriotism.

“Stephen Decatur’s ‘Our country right or wrong,’ had often worried me.  I found more to my liking, Carl Schurz’s ‘Our Country right or wrong—when right to be kept right and when wrong to be put right.’ And so I wondered if we have not been using the word incorrectly (or even the wrong word). I went to my collection of antique dictionaries. In one old volume such as might have been used by George Washington or Nathan Hale or Patrick Henry and other early patriots, I found the answer: we certainly have been using the word incorrectly.

“Patriotism in the old sense was defined as ‘The Spirit of acting like a Father to one’s country: A Publick Spiritedness.’  This definition is quite different form todays: ‘One who guards his country’s welfare, especially a defender of popular liberty.’  I recalled how Hitler described Nazism as ‘the popular liberty’ and his storm troopers were known as ‘defenders of popular liberty.’  War, I realized, has for a long while been waged in the name of patriotism instead of nationalism.  Nationalism has been one of the most killing diseases of mankind. The American Revolution was actually a patriotic revolution against nationalism.

“The difference between twentieth century patriotism and eighteenth century respect became more evident as I researched. Johnson said, ‘Patriotism is the last refuge of the scoundrel’ and Russell said ‘Patriotism is the willingness to kill and be killed for trivial reasons.’ Perry said, ‘Patriotic fervor can obliterate moral distinctions altogether.’ But Washington used Shakespeare’s words: ‘I do love my country’s good with a respect more tender, more holy, and profound than mine own life…After what I owe to God, nothing should be more sacred than the respect I owe to my country.’ I began to realize that the early patriot was more aware of his national position than the present day patriot.

“I suppose the first great American patriots were those fifty-six men who signed their names to their own death warrant on July fourth in 1776.  Yet their names are nearly forgotten to history; the average American can name only three or four of the signers of that profound declaration. One librarian was embarrassed about not being able to recall any others ‘besides George Washington and Patrick Henry’; of course neither had signed.  Soon forgotten, true patriotism is a very personal emotion, asking no reward.

“Looking away from the battlefield for an example of patriotism is difficult at first; but they do happen all around us and every day. I found one such example at a wedding anniversary dinner. I don’t like country club affairs and so I really had not looked forward to Haig Tashjian’s surprise party.  Other than my wife and myself, all were Armenian. A diminutive lady arose during the dinner and made a toast.  She confided that she was nearing one hundred years of age and she told how her family had fled in fear of the Turks, and how she came to America.  Then she told how America had fulfilled its promise of being a good home for Armenians just as it has for so many other European people.  ‘And so my toast,’ she said, ‘is not only for the wedded couple, but to the country that has made everything possible for them and for us.  Before I sit down, I want to lead you all in singing God Bless America.

“As the chorus ended I could hear the faraway strains of a rock-and-roll band playing in some adjoining banquet room; there was a meaningful hush as many wiped away a tear; then the dinner continued.  I felt unusually proud to be a native American, and thankful to Armenia for fathering such a gracious people. I had witnessed the inspiration of true patriotism, heroism in humility. Peace has just as worthy patriots as the battlefield.

In the beginning, the word patriotism came from the word pater (father) and patriotism was ‘a quality of respect of one who is devoted to his family in fatherly fashion’; it had little to do with war or nationalism.  Therefore, I offer that the word patriotism be substituted whenever possible, by the better word respect.  I find respect to be the vanishing American spirit most worthy of return to our beloved nation.

“Respect for family, respect for the nation and the land, respect for the flag and the law, respect for mankind and respect for oneself—these have been outstandingly wanting during the last few years.  Within the family, within the nation and to all other nations, the only hope for the survival of civilization is respect or love for one another. In the end, this is all that matters.

Native (-born) Americans are so frequently disrespectful to their nation that it comes as a pleasing and heartening surprise to witness respect for us from those born elsewhere.  The attendant where the Liberty Bell was shown found it interesting that those who most often removed their hats as they beheld the great bell were foreigners. Once two blind Japanese soldiers in uniform came ‘to see’ the bell, and asked the attendant to read to them the inscription thereon.  He led their hands over the raised letters and he showed them where the crack was.  He watched them leave, talking excitedly in their own language and he wondered exactly what their reaction had been.  But stuffed into the bell’s crack, he found two roses that the veterans had been wearing. ‘I didn’t think Japanese soldiers could have done it to me,’ he said, ‘but at that instant I had even more love for America, and respect for the old bell than ever before.’

“”Adlai Stevenson seldom used the word patriotism. ‘When an American says he loves his country, he doesn’t refer to the purple mountain majesties and amber waves of grain.  Instead he means that he loves an inner air, an inner light in which freedom lives and in which a man can draw the breath of self-respect.’”

Sloane’s other lost spirits: hard work, frugality, thankfulness, pioneering, Godliness, agronomy, time, independence, awareness, and an eleventh spirit—hope.

The Spirits of ’76 is out of print but it is available through the internet. My copy was published by Ballantine in 1973. It is pretty much forgotten in today’s social warfare.  But it might be good for people on the extreme wings as well as those in the middle to get it and give serious thought to those lost spirits and the challenge of finding them again. There is always that eleventh spirit.  Hope.