The Edgar Allan Poe Museum

Posted on October 31, 2019 by admin

Halloween snow today. Mid-morning.

Mid-afternoon. Of course, it will melt in a day or two.

I’ve spent a fair number of Halloweens in the North; this is the first time snow has fallen. Cold rain, sometimes, but no snow. Sometimes warm fall days or blustery cool ones, like the Halloween of 2001, when Lilly was so unnerved by the dark and the strong winds while out trick-or-treating that she insisted that I carry her home. She wasn’t quite four, so it was possible — but tiring.

Speaking of Halloween, I’ve been listening to “Danse Macabre” lately.

In high school, I made the mistake of calling the piece “Halloween music” in front of my band director. He let me have it. It’s a tone poem! It’s serious music from France! It’s blah blah blah. Know what, Mr. W? I was right. It can be all those other things and Halloween music as well. Halloween as in spirits roaming our world before All Hallow’s, not the candy-gathering custom.

The last place we visited during the recent Virginia trip was the Edgar Allan Poe Museum in the Shockoe Bottom neighborhood of Richmond.

A small, specialized museum not in a house that Poe lived in — one of the places he lived was a few blocks away, long demolished — but including a building that is suitably old. In fact, according to a plaque on the wall, the oldest house still standing in Richmond, the Ege House.

All in all, an interesting little museum. Ann thought so too. I found out things I didn’t know, such as that Poe was a gifted athlete at the University of Virginia. Also heard more about things I did know, such as that after Poe died, his enemy Rufus Griswold wrote damning and largely false accounts of the author — vestiges of which still cling to Poe.

The museum is essentially three rooms: Poe’s early life, which was haunted by Death; Poe’s literary career, which was informed by Death; and Poe’s early and mysterious death, which was literally about Death. Some of the artifacts were owned by Poe or his family, or were portraits of them. Other items evoked his life and literature.

Such as this marble-and-bronze memorial to Poe.

The sign says, “… Edwin Booth, on behalf of the actors of New York, presented this monument to the Metropolitan Museum of Art in 1885 in memory of Poe…” Eventually, I guess, the Met got tired of it, and it ended up in Richmond.

Or this bust of Pallas, a copy of a Roman sculpture. Can’t call yourself a Poe museum without that, though a depiction of Night’s Plutonian Shore would be good as well.

Poe himself in stone out in the garden.

The garden is a pretty little space. People get married there, apparently.

My own favorite item.

I haven’t seen The Raven, but a movie with Vincent Price and Peter Lorre and Boris Karloff and Jack Nicholson, directed by Roger Corman, who did a lot of Poe-inspired movies, has to be worth a look.

Hollywood Cemetery

Posted on October 30, 2019 by admin

It sounds like a place where movie stars repose, but Hollywood Cemetery in Richmond had that name long before the film industry acquired its metonym. The graveyard in California is the Hollywood Forever Cemetery, named such only in 1998 in a clear exercise in marketing. Founded in 1849, Virginia’s Hollywood is a first-rate example of the rural cemetery movement of the 19th century, and as beautiful a graveyard as you’ll find anywhere.

The cemetery stands on hills overlooking the James River, covering 130 acres not far west of downtown and counting more than 64,000 permanent residents. It has everything an aesthetic cemetery should have: landscape contour, trees and bushes, funerary art and a wide variety of stones, and notable burials.

I went on the warm and clear morning of October 15 not long after Hollywood opened. Getting there wasn’t too hard. It’s enough of an attraction that signs point the way.

But I suppose not that many people come on Tuesday mornings. A handful of joggers and dog walkers and groundsmen were the only other living people there.

Some mausoleums, but maybe not as many as in cemeteries in historically more prosperous parts of the country.

Hollywood offers some nice views of the James. I’d heard that the river was low because the region’s been dry lately.
As you’d expect, one section has an enormous Confederate burial ground.
Made distinctive by a monumental pyramid, dedicated in 1869.
“This famed 90-foot pyramid stands as a monument to the 18,000 Confederate soldiers buried in Hollywood Cemetery,” the cemetery web site says. “Made entirely from large blocks of James River granite, the pyramid was created through the efforts of the women of the Hollywood Memorial Association who tended the graves of the Confederate dead after the Civil War. They worked together to raise over $18,000 and commissioned the help of engineer Charles Henry Dimmock to design the pyramid.”

By chance, I happened across J.E.B. Stuart’s grave. Plenty of other Confederate generals lie in Hollywood as well.

But I wanted to find the cemetery’s presidential graves, which I did. Jefferson Davis was hard to miss, located toward the western edge of Hollywood among other members of his family. He and his wife Varina are in front of the bronze.
I believe that’s the third flag of the Confederacy, limp on the flagpole. The draped figure on the left marks the graves of Joel and Margaret Hayes; she was one of the Davis daughters. Off further to the left, though not in the picture, is the grave of Fitzhugh Lee.

The angel marks the grave of Varina Anne Davis (1864-1898), youngest daughter of the Davises.
On one of the cemetery’s prominent ridges is Presidents Circle, location of the two U.S. presidents.
One is James Monroe.
He died in 1831, before the cemetery opened, but was re-interred here in 1858 from New York City, during the centennial year of his birth. Apparently the reinterment was quite a big deal, involving speeches, banquets, civilian and military escorts, and a fair amount of cooperation between the states of Virginia and New York, as detailed in this article in the Richmond-Times Dispatch.

The article also notes a toast delivered by a Richmonder at the Virginia banquet: “New York and Virginia; united in glory, united in interest… nothing but fanaticism can separate them.”

Oh, well. Architect Albert Lybrock designed Monroe’s Gothic Revival cast-iron monument. Seems like he’s best known for that very work.

Not far away is John Tyler’s tall marker, mostly in shadow when I saw it.
He happened to be in Richmond when he died in early 1862, before he could take his seat in the CSA House of Representatives. He had been in the Provisional Congress, however.
His second wife, Julia, is with him, and a few of his large brood are nearby. Hollywood Cemetery says: “Tyler requested arrangements for a simple burial, but Confederate President Jefferson Davis hosted a grand event, complete with a Confederate flag draped over the coffin.”

The bust wasn’t added until 1915. Guess bronze was in short supply in secessionist Virginia, and funds in short supply after the war. The work is by Raymond Averill Porter, better known for a Henry Cabot Lodge statue in Boston.

Counting the two latest ones, that makes 17 U.S. presidential grave sites I’ve visited: Jefferson, Monroe, Jackson, Tyler, Polk, Lincoln, A. Johnson, Grant, Hayes, B. Harrison, Taft, Hoover, Truman, Kennedy, LBJ, Nixon and Ford.

Colonial Williamsburg

Posted on October 29, 2019 by admin

Things to bring to Colonial Williamsburg: money, walking shoes, water (especially in summer) and — I can’t stress this enough — some historical imagination. Not everyone has much. I understand that. Still, if you can’t bring much historical imagination to your visit, best to go somewhere else.

A look at a few of the recent “terrible” reviews of Colonial Williamsburg on TripAdvisor illustrates the point (all sic).

Mrpetsaver: This place is like that fort or museum with old buildings common in some communities, but on a larger scale.

My kids got bored very quickly and so did I. Most of the staff are great and professional dressed up in costumes, but aren’t acting. Instead, they discuss how the original inhabitants did their different jobs etc.

Dewpayne: It has some very interesting sites but there so far away you get bored it’s more about the shops and selling water I wouldn’t recommend it.

zebra051819: This historical site was a huge disappointment and I would not recommend spending your time here. There must be more informative sites where one could gain an appreciation of Civil War history.

Mrpetsaver is right, though. Colonial Williamsburg is a larger version of an open-air museum. It is an open-air museum. One on a grand scale, the likes of which we’d only experienced — sort of — at Greenfield Village.

Colonial Williamsburg shouldn’t be confused with Williamsburg, Virginia, which is a town of around 14,500 on the lower reaches of the James River. As a 21st-century American town, it has the usual amenities, such as honky-tonks (maybe), Dairy Queens and 7-11s, where you can buy cherry pies, candy bars and chocolate-chip cookies.

Colonial Williamsburg, on the other hand, occupies 173 acres and includes 88 original buildings and more than 50 major reconstructions. All of Colonial Williamsburg is within modern Williamsburg, but not all of modern Williamsburg involves Colonial Williamsburg. A fair bit of it doesn’t, according to maps.

A hundred years ago, Williamsburg was a small college town with a history, namely as the second capital of Virginia when it was a prosperous tobacco colony. No doubt the story of how Colonial Williamsburg came to be in the early 20th century is fairly complicated, with a number of major players, but I’m going to oversimplify by saying that Money wanted it to happen, as persuaded by Preservationism.

Money in the form of Rockefeller scion John D. Rockefeller Jr., who had the deep pockets necessary to start the purchase and restoration of the historic sites, and Preservationism in the form of W.A.R. Goodwin (1869–1939), rector of Bruton Parish Church in Williamsburg, who felt alarmed that the 20th century was eating away at the area’s historic structures.

Colonial Williamsburg is a odd hybrid of past and present, but also of museum and neighborhood. The foundation that runs the museum doesn’t play it up — and some of the disappointed TripAdvisor reviews note it ruefully — but it turns out that you don’t need a ticket to wander along the streets of Colonial Williamsburg.

Cars aren’t allowed on the streets during museum hours, but visitors are perfectly free to park a few blocks away and walk around. That’s because the town of Williamsburg still owns the streets and sidewalks, making them public thoroughfares.

Also — another thing the foundation doesn’t dwell on — people live in Colonial Williamsburg. “There are dozens of people — families, couples, college students — who live in some of the historic homes of Colonial Williamsburg,” says Local Scoop. “Many of the homes are original colonial-era buildings; others were rebuilt based on historical accounts to look like the homes they once were.

“It’s not a perk available to everyone. To live in the Historic Area, one has to work at Colonial Williamsburg or be an employee at the College of William & Mary. In all, there are 75 houses rented through the Colonial Williamsburg Foundation…”

I found this out when I was there, and pretty soon I started noticing that a fair number of the houses had small signs denoting them as private residences. I also noticed a few people doing neighborhood sorts of things, like jogging or walking their dogs, as opposed to tourist sorts of things.

So why buy a ticket? That’s so you can see the interiors of the many buildings flying the Grand Union flag. They mark the open-air museum’s buildings.
Also, your ticket gets you into some Colonial Williamsburg events, many of which involve reenactors. So we got tickets. At $45 each, and no student discount (grumble), that’s more than Henry Ford/Greenfield, in the same league as some theater tickets and some theme parks, and less than other theme parks (whose mascot is a Mouse).

At that price, I was determined to wear out my feet. So we did, spending October 14 from late morning to late afternoon at Colonial Williamsburg. At the end, I felt like I’d gotten my money’s worth. I’m a sucker for open-air museums, for one thing, but more than that, it is a special place with a lot to see and think about, if you add a dash of historical imagination.

You walk from the visitor center along a wooded path until you come to the historic buildings. The first one of any heft is the Governor’s Palace.
Maybe no grand thing back in England, but for colonial Virginia, a worthy residence for the gov. What you see now is a reconstruction from plans and, according to the guide on the interior tour that we joined, archaeological investigation of the materials left when the building collapsed in a fire in 1781, not long after Gov. Jefferson had decamped to Richmond.

When it burned, the structure was being used as a hospital for men wounded at the Battle of Yorktown. All of them but one escaped the fire, the guide said. I told Ann we should listen for that unfortunate fellow’s ghost. She told me to shush.

From there we wandered down the Palace Green to Duke of Gloucester St., pretty much the main street of the historic area. The view from the other end of the Palace Green.
Nearby is the Bruton Parish Church. It isn’t one of the Colonial Williamsburg buildings, but people go in as if it were. We did. A couple of parishioners were on hand to tell visitors about the church.
The building dates from the 1710s, but according to this history, it didn’t look much like the original by the mid-1800s, after various alterations and modernizations. Like Colonial Williamsburg, the church was restored to its 18th-century appearance only in the early 20th century.

The church’s graveyard was fenced in, but you could get a pretty good look at it anyway.
Some of the stones were close to the church itself.
The stone of Letitia Tyler Semple, one of President Tyler’s many children. A handful of stones were inside, flush with the floor of the church, as you see in old English churches. W.A.R. Goodwin has one of those.

We spent the rest of the day looking at and entering various structures on or near Duke of Glouchester St., such as the Geddy Foundry, the Courthouse, the Market Square, the Magazine, the Printing Office, the Silversmith, Bakery, Apothecary, and Raleigh Tavern, where we saw two reenactors: one playing Marquis de Lafayette and other James Armistead Lafayette, who spied for the Patriots at the Marquis’ request, and, after some inexcusable delays by the state of Virginia, finally won his freedom for his service.

Duke of Glouchester St.
The Magazine and its arms.
The Courthouse and nearby stocks. No rotten tomatoes on hand for tossing.
Duke of Glouchester St. Courthouse

Botetourt St.
The reconstructed Capitol was the second-to-last place we visited, taking a late-afternoon tour. Nicely done, I thought, though the authenticity of the redesign has been questioned.
The last place was Charlton’s Coffeehouse, where a foundation employee (“costumed interpreter”) in 18th-century garb showed us around and served visitors either coffee, tea or hot chocolate. Most of us tried the chocolate, as Ann and I did. Colonial hot chocolate included a variety of flavors not usually associated with modern hot chocolate. If I remember right, almonds, cinnamon and nutmeg in our case, but no rum. Our time is decidedly more abstemious than Colonial days when it comes to alcohol. Tasty anyway.

Some people expect the costumed interpreters to be actors (see above). To varying degrees they were in character, but mostly their job was to explain what went on in a particular building, and in the places like the foundry and silversmith and printing office, demonstrate some of the 18th-century work techniques. I had no complaints.

The fellow in the foundry turned out pewterware before our eyes and the young woman who showed us around the coffeeshop was informative and entertaining, telling us for instance the story of the tax collector (under the Stamp Act, I believe) who was greeted at the coffeehouse by a committee (mob) of citizens who suggested he find other work for himself. Wisely, he did.

There are restaurants at Colonial Williamsburg in some of the “taverns,” but I didn’t want to spend time at a sit-down restaurant when there were other things to see. So we subsisted on snacks during the visit, which are available in Colonial-themed small stores here and there on the grounds.

The 21st-century snacks were good.

UVA, Part 2: Nap at the Rotunda, the Lawn Obscured & Homer the Fundraiser

Posted on October 28, 2019 by admin

From the street, the approach to the Rotunda, the Thomas Jefferson-designed signature building of the University of Virginia in Charlottesburg, is up a series of steps overlooked by a bronze of Jefferson.
UVA Rotunda The Rotunda’s entrance is on the other side, facing the wide expanse of the Lawn, which is a quadrangle lawn surrounded by buildings, the likes of which you see at other American college campuses. Though the UVA Lawn had antecedents, its Lawn likely inspired the others.

“Standing at the north end of the University’s Lawn with its flanking faculty pavilions and student rooms, the Rotunda is based on the Pantheon in Rome,” says a NPS site on World Heritage Sites in the United States.

“Its Lawn continues to serve as a model for centralized green areas on university campuses. Reconstructed in 1899, after being severely damaged in a fire, the Rotunda retains many of its original Jeffersonian design elements and remains a physical embodiment of his illustrious legacy.”

I’d read a bit about the Jeffersonian UVA buildings — collectively the Academical Village — and wanted to look down from the Rotunda balcony at the sweep of the Lawn, as generations have before me. I expected a fine view.

Well, almost.
Some kind of event in preparation. Eventually, I would find out what.

We’d arrived about an hour before the Rotunda closed, so in we went, to see the stately rooms and artwork. The stateliest space is a floor up, under the dome.
However stately the Rotunda might appear at this moment, it has had a bumpy history, especially the 1895 fire.

An oculus is at the tip-top of the dome. Apparently it has a long history of leaking.

Students were tucked away at tables and alcoves in the Rotunda, attending to books and papers but mostly electronics. Besides being a masterpiece of neoclassical design, the brainchild of Thomas Jefferson and part of a World Heritage site, the Rotunda is also a place where students hang out. We too sat down for a few minutes.

When I wanted to go, Ann wanted to stay, relaxing in one of the Rotunda’s comfy chains. So she did, while I headed out into the rest of the Academical Village for the next hour. Maybe she took a light nap while I was gone.

Heading out, I noticed this structure. Not actually part of the Academical Village, but pretty close by.
The University Chapel. “The Gothic Revival building was designed by Charles Emmett Cassell of Baltimore, the chapel’s cornerstone was laid in 1885, and the chapel was dedicated in 1889… The University Chapel no longer holds regular religious services, but weddings and memorial services still take place inside.”
Some kind of meeting was going on inside when I stopped by, so I didn’t linger too long. From there, I happened on one of the Academical Village’s 10 walled gardens, which are behind the row of buildings that flank the Lawn. Nice, but I suppose spring or summer would be the best time to wander through the gardens.

I made my way along the Lawn’s side buildings. I hadn’t read enough about the Academical Village to realize that some of the buildings still include student rooms; originally they were the school’s only housing. A few doors were open and even a few Sunday-afternoon student get-togethers were visible inside. Must be special rooms in the scheme of UVA student housing. What do you have to do to be assigned one of them? (The polite way to ask that question.)

Further down the Lawn, I was hoping for a good look at the Rotunda. Well, almost.
At the south end of the Lawn is the impressive Old Cabell Hall.
Topped by a Greek inscription dating from a time when students studied Greek. Also, a time when optimistic inscriptions were carved on prominent buildings. The Greek is John 8:32, “And ye shall know the truth, and the truth shall make you free.”

“A bookend to the University’s Rotunda, Cabell Hall was one of three buildings designed for the south end of the Lawn by architect Stanford White of McKim, Mead & White,” UVA says. “Completed and dedicated in 1898, the building was named in honor of Joseph C. Cabell, a member of both the Virginia legislature and the UVA Board of Visitors, and a steadfast ally of Mr. Jefferson as he sought to win state approval and funding for the University.

“Since 1951, Cabell Hall has housed the McIntire Department of Music and the Music Library as well as the University’s principal lecture and concert hall. Its auditorium has a seating capacity of 851 and hosts more than 200 public performances and events each year.”

Including a performance on October 13. I wandered in and heard music coming from the auditorium. No admission, so I sat in for a few minutes, and was treated to a bit of a Anyango Yarbo-Davenport violin recital (I don’t know what she was playing; but here’s a recording of her work.)

I would have stayed longer, but I wanted to get back to the Rotunda to meet Ann at closing time. Just outside Old Cabell, workers were erecting a large temporary pavilion — which is why I didn’t get a broader view of Old Cabell. What was all the hubbub on the Lawn, anyway?

Then I saw a sign that explained all: a coming fundraising event. Learning is fine and all, but fundraising — that’s job one for today’s Academical Village.

The university also notes: “Directly in front of Cabell Hall stands a 1907 bronze sculpture, created by Moses J. Ezekiel, of blind Homer and his guide.”

Homer was inside the temporary pavilion, which was a work site, so I didn’t go in. I could see the shadow of the statue from outside.
Another sign called the upcoming event Brunch With Homer. The idea amused me. I’d pony up a few dollars for UVA if I thought I could see a Homer reenactor reciting one of his epics over a sumptuous brunch. Abbreviated and in English, of course, to resonate with a modern North American audience. But I don’t think that’s what the event planners had in mind.

UVA, Part 1: Rugby Road

Posted on October 27, 2019 by admin

We arrived behind the Rotunda of the University of Virginia at about 4 pm on October 13. Under cloudy skies, but the day was warm and good for walking around the picturesque campus. Even parking had been relatively painless, and at no cost, on a street a few blocks away.

We walked down Rugby Road to get to the Rotunda. At one point, we crossed a bridge over railroad tracks. A specific message had been painted on the inside of one of the safety walls.
There was evidence of repeated painting.
Later, as we walked back to the car, I got a good look at the other side of the bridge.
Local tradition. I figured it had to be. Didn’t take long to find an article about the bridge — Beta Bridge — in UVA Today.

“For instance, one of the most notable landmarks on Grounds, Beta Bridge, has been at the center of its own tradition since just the latter half of the 20th century.

“Often brightly colored with hand-lettered messages spanning its length, the bridge carrying Rugby Road over the C&O Railroad tracks over the years has become the place for paintbrush-wielding students to express themselves.”

I don’t know whether Riley accepted or declined the proposal, or even if it was serious, but I was able to look up the unfortunate fate of Henry McDavid Reed. He was a UVA student who died of brain cancer in August.

That’s not all I found out about Rugby Road, which has a number of frat houses on it, and passes by the university’s art museum and architecture school, among other things. It’s also the title of a UVA drinking song, mostly sung to the tune of Charles Ives’ “Son of a Gambolier.”

Its first verse no doubt includes some of the cleaner lyrics:

From Rugby Road to Vinegar Hill, we’re gonna get drunk tonight.
The faculty’s afraid of us, they know we’re in the right,
So fill your cups, your loving cups, as full as full can be.
And as long as love and liquor last, we’ll drink to the U. of V.

The version on YouTube also has a verse that I suspect is left out these days.

All you girls from Mary Washington and RMWC,
Never let a Virginia man an inch above your knee.
He’ll take you to his fraternity house and fill you full of beer,
And soon you’ll be the mother of a bastard Cavalier!

RMWC would be Randolph-Macon Woman’s College in Lynchburg, which is now simply Randolph College. Mary Washington is the University of Mary Washington in Fredericksburg, Virginia.

If I’d thought about collegiate drinking songs when I was in college, I probably would have considered them hopelessly old fashioned — and that was 40 years ago. Maybe I didn’t hang out with the right crowd. Or the wrong crowd, take your pick.

Monticello

Posted on October 24, 2019 by admin

Here I am again, I thought as I stood on the west lawn of Monticello, a place of such enormous resonance, in the early afternoon of October 13, 2019. The nickel view.
Yet I had a hard time remembering much about my first visit, which was on September 4, 1988. Maybe that’s because 31 years is a long time. Or because the view of Monticello from the west lawn, which I’ve known as long as I’ve known Jefferson nickels — all my life, for all practical purposes — is as close as anything gets to changeless.

I do know that the first time I saw the building in person, I realized that the nickel has a uninspired representation of Monticello. Flat. In person, you see that it’s a place to gaze at from more than one angle.
I’m holding a nickel in this picture, by the way.
A look at the eastern elevation. I’m glad to say that the house sports lightning rods, unlike a hilltop structure in Wisconsin that’s going to burn down after a strike someday.
The east entrance is where the interior tours start. Actually, no. You’re not getting in the building without starting at the David M. Rubenstein Visitor Center, which is down the hill from Jefferson’s home. That’s something different from 1988. The 42,000-square-foot visitors center has only been there for about 10 years.

Exactly where we bought tickets back then, I don’t remember, but I suspect it was simpler facility — not like the five pavilion-complex of the Rubenstein. Also, there were no timed tickets the first time around. I even think our tour was self-guided. Nor did I experience the warren of interconnected parking lots next to the visitors center, which was largely full. There must have been parking in 1988, and it too must have been simpler, but who remembers things like that?
Also: this interesting chronology tells me that I paid $7 in 1988 for my ticket. That’s just over $15 in current dollars. Note the 2019 ticket price: $26.95. Guess that extra $12 is going to pay for ever-fancier guest infrastructure.

In 1925, not long after the house was opened to paying visitors, admission was 50 cents — the equivalent of $3.88 in 1988 and $7.34 now, so I suppose ticket inflation has been an ongoing thing at Monticello.

I originally bought tickets online for the 10:45 am tour, but jammed traffic on I-64 just outside Charlottesville put us at the visitor center at 10:50. The helpful clerk didn’t bat an eye at that, and put us on a 12:30 pm tour (meeting at 12:25).

What that meant was that we had time to walk up the high hill to Monticello, as opposed to taking a shuttle bus, and stop roughly halfway up to see the Jefferson family graveyard, so it worked out for the best. Climbing gives you a sense of just how high the hill is. Besides, it’s a lovely path.
The burial ground is behind an ornate iron fence.
There are a lot of Randolphs. Jefferson’s daughter Martha married a Randolph, and they were the fecund parents of 13 children, 11 of whom survived childhood.
President Jefferson himself.
The path from the burial ground to Monticello proper takes you past the re-created garden, planted on a long terrace dug out of the side of the hill. In October, most of the vegetables have been harvested already, but some still linger.

The house tour, lead by a lively gray-haired gentleman who was probably a retired teacher, took us through the first floor, beginning with the entrance hall and its displays of Indian artifacts and animal horns and paintings and maps and such. Museums as such didn’t much exist in early Republic Virginia, so Jefferson created one for himself.

Then I remembered the Great Clock, hanging over the main entrance, from last time. A favorite of mine.

Other rooms feature books, furniture, paintings — including a Gilbert Stuart portrait of Jefferson probably painted when he was president — more books, oddly placed beds, scientific instruments, papers, clocks, busts, yet more books, and the dumbwaiter that he had installed to fetch wine from the cellar below, something else I remembered from 30 years ago. It’s an admirable clutter.

After Jefferson sold much of his library to the U.S. government to form the nucleus of the revived Library of Congress after the British burned the original one in 1814, he started accumulating books again. The only reasonable thing to do, and hang the cost. Libraries as such didn’t much exist in early Republic Virginia, so Jefferson created one for himself. Twice.

From Monticello’s FAQ:

Who built the house?

Local white masons and their apprentices did the stone and brickwork. Local carpenters, assisted by several Monticello slave carpenters, provided the rough structural woodwork. The fine woodwork (floors, cornices, and other moldings) was the work of several skilled white joiners, hired from as far away as Philadelphia. One Monticello slave, John Hemmings, who trained under the white workman James Dinsmore, became a very able joiner and carpenter.

How much did the house cost?

No one so far has managed to calculate the cost of Monticello with any degree of accuracy.

That is, the house was a money pit for the third president.

We also spent some time looking around the exhibits in the North and South Pavilions, which are structures that branch away from the main house, though they don’t seem directly connected. We poked around such places as the wine cellar and the beer cellar next to it, plus the elaborate kitchen, which naturally wasn’t part of the main house. When you dined with Thomas Jefferson, the feast must have been sumptuous.

There are a few outbuildings. Such as this slave cabin replica, built since I visited last time.
I don’t remember exactly how much emphasis Monticello put on slavery during my first visit. I suspect it was a matter not of denying it, but not talking much about it either.
I can report that in 2019, not only does Monticello not deny the importance of enslaved labor at the house and farm, or the humanity of the enslaved, the official texts talk about it quite a lot. Including the Sally Hemings and Hemings family story — which rates a room of its own in one of the pavilions and a video. That pendulum has swung.

Monument Avenue, Richmond

Posted on October 23, 2019 by admin

Our original plan had been to visit Hollywood Cemetery in Richmond after the American Civil War Museum on the afternoon of October 12. But as so often happens in tourist mode, plans change. It was nearly 5 by the time we left the museum, too late to get to and see the cemetery that day.

But not too late to drive over to Monument Avenue, which I’d considered a secondary destination when planning the trip. Monument Avenue is northwest of downtown, with one terminus not far from the campus of Virginia Commonwealth University, which was alive with students as we drove through.

The avenue struck me as more of a boulevard, at least as that term is used in North America, with its long, wide median.
Never mind the nomenclature. It’s a grand street with lined with trees and handsome houses. The plaque pictured above says that the Monument Avenue Historic District is a National Historic Landmark, and has been since 1977.

Picturesque as the avenue is, we came to see some of the monuments while they’re still here. However solid they appear now, they might not be in this place too many more years. A time to keep, and a time to cast away. That adds an extra layer of fascination.

The largest and oldest of the monuments, completed in 1890, depicts Robert E. Lee. It’s positioned in a large traffic circle.
Interesting that Lee Monument Association commissioned the work from a Frenchman, Antonin Mercié, who later created statues of Lafayette and Francis Scott Key in this country. The 21-foot bronze rests on a 40-foot granite pedestal designed by another Frenchman, architect Paul Pujot. Guess France was the place to go for this kind of work; it was the Belle Époque, after all.

On all four sides of the massive plinth are signs of our time.
Fortunately, open parallel parking spaces weren’t hard to find on Monument Avenue, so we drove to the northwest a few blocks and parked near another large memorial: Jefferson Davis, created by Richmond sculptor Edward V. Valentine and architect William C. Noland.
To my eye, simply on aesthetic grounds, it isn’t nearly as impressive as Lee’s monument. The general is astride his steed, in a firm pose, perhaps surveying the battlefield. The plinth sports precisely one word: LEE.

By contrast, Davis is standing on a pedestal, arm out, overshadowed by a much taller column topped by an allegory. More columns (13) are behind Davis, symbolizing each state represented in the Confederate Congress. There’s verbiage all over, in English and Latin. It’s a busy bit of business.

Besides being as Lost Cause as a monument can possibly be — Davis’ pedestal says Jefferson Davis/Exponent of/Constitutional Principals/Defender of/the Rights of States — the work is as embarrassingly Victorian as can be, despite being completed in 1907. It was in the works a long time, being delayed by (among other things) the Panic of 1893. I’m not one to reflexively mock Victorians, who invented so much of the world we live in, but sometimes their expressed sentiment is just too damn much.

According to Virginia Places, “the literature created for the statue dedication… reads, ‘Symbolized in the Vindicatrix, which crowns the shaft of the monument… the emblem of Southern womanhood fitly stands, the immortal spirit of her land, shining unquenched within her eyes, and her hand uplifted in an eternal appeal to the God of justice and truth.’ ”

That was enough memorial-spotting for the day, so I turned my attention to the neighborhood. Memorial Avenue features quite a few impressive homes.
Including a Ronald McDonald House. I wasn’t sure I’d ever seen one of those before.

As I walked back to the car — Ann had stayed behind when I went to see the Davis memorial — I came across a cannon on the median.
The plaque says: This cannon marks the spot where in 1861, a large earthwork of the inner line of defense was constructed.

Small and probably not much noticed. It might well last longer than any of the large memorials.

The American Civil War Museum

Posted on October 22, 2019 by admin

I wasn’t in the best frame of mind when we got to the American Civil War Museum in Richmond on October 12. I expected an easy drive from where we parked, near the capitol, to the museum, which is at the site of the former Tredegar Iron Works on the James River.

No such luck. The Richmond Folk Festival had gummed up everything along the river, blocking all vehicular access, so after some time in sluggish traffic, we went back to the same parking lot near the capitol — luckily my receipt was good for the whole day — and walked the half mile or so to the museum. Not a bad walk, but it made me tired ahead of a walk through a museum. Such is the tourist experience, sometimes.

At first I thought the museum was in the multistory brick building.
Wrong again. That building houses the visitors center and a Civil War museum associated with the Richmond National Battlefield Park, a NPS entity that encompasses that part of Tredegar along with a dozen Civil War sites around Richmond.

The new building for the American Civil War Museum — opened just this year — is the modernist structure next to the brick building, though it incorporates some of the other Tredegar ruins. Designed by a local architectural firm, 3North, the museum isn’t overly large, coming in at 28,000 square feet.

We spent a couple of hours at the museum. Though a little frazzled when I got there, I soon got into the groove of the place and mostly enjoyed my time there. Ann did too. The permanent exhibits wind through the first floor, featuring things you’d expect in a museum devoted to the history of a war: military and civilian artifacts, photos, maps (though not enough), things to read, a few interactive kiosks, audio narratives and videos and so on.

Perhaps the most striking features are the large-scale photographic images placed on various walls or hanging over display cases. They are images of people alive during the conflict, and are all colorized. Only a few years ago, the colorization might have bothered me, but since seeing They Shall Not Grow Old, I appreciate artful colorization, which the museum manages to do.

Some of the artifacts were particularly intriguing, such as the carvings that prisoners of war made from whatever material they had at hand, some of them exceptionally fine — that they then traded for food or tobacco or whatever else they badly needed. Other artifacts edged into the realm of oddities, such as a fossilized biscuit from the siege of Vicksburg and a luckless soldier’s a pocket journal, split by the bullet that killed him.

As at a number of other museums I’ve seen focusing on the 19th century, the most unnerving artifacts are the medical tools. The American Civil War Museum has a collection on display, along with a some poor bastard’s primitive prosthetic arm.

I also encountered some incidents and stories about the war that I’d never heard. Of course, the Civil War is a sprawling subject, with countless untold or undertold narratives. The museum has a knack for illustrating some of them. For instance, the New York Draft Riot is covered in some detail. No surprise there. But so is the lesser-known Richmond Bread Riot of 1863. Always good to learn about something like that.

As interesting and informative as the museum was, I came away feeling a little unsatisfied. I wasn’t sure why. On later reflection, I worked it out. It isn’t that the museum eschews glorifying the Lost Cause, which I’m sure bothers some people. I wouldn’t have expected anything else from a museum created by serious historians.

Rather, I missed the generals ‘n’ battles approach to the story of the war. Though not as pernicious as the Lost Cause, modern historians usually shy away from that too.

The museum mentions many of the military engagements of the war, sometimes in some detail, but that isn’t the thrust of most of the exhibits. Rather, the American Civil War Museum takes an almost sociological approach to the war.

That is, how the war affected all of 19th-century American society. Soldiers, naturally, but also white civilians, male and female, blacks, free and enslaved, immigrants and others. Is that a good way to organize a civil war museum? Probably yes. Still —

That I felt the absence of generals ‘n’ battles says more about me, and how I’ve conditioned myself with the books I’ve read and the movies I’ve watched and the battlefields I’ve visited over the years, than it does any historic study of the period. Even so, that’s how I felt.

The Richmond National Battlefield Park facility next door, which we also visited (though for a much shorter time), seemed more traditional in that regard, if only because it focuses on the fighting around Richmond. There you can see large maps depicting the movements of armies, for instance.

I can’t be the only one who feels this way. Oddly enough, the American Civil War Museum acknowledges that, perhaps unconsciously, in its gift shop. Generals ‘n’ battles is alive and well there.

In the form of Lee and Grant bobbleheads, for one thing.

Models of the submarine boat Hunley and the ironclad Virginia.
Generals of the Civil War playing cards, but also Joshua Chamberlain playing cards.
The Chamberlain cards struck me as oddly specific. Wonder if the same card maker has a line of, say, Jubal Early playing cards?

The shop also had a nice collection of flags. Such as this one, which you don’t see too often. I had to look it up.
The Battle Flag of the First Corps, Army of Tennessee.

The Virginia State Capitol

Posted on October 21, 2019 by admin

The Commonwealth of Virginia certainly doesn’t care what I think, but I’m going to offer it my opinion anyway, about what it calls part of its legislature. The modern name for the lower chamber of the Virginia legislature is the House of Delegates — modern, as in after 1776. Nice, but a little blah.

Before that, the chamber was the House of Burgesses. That’s a spiffier name. Virginia’s lower house ought to go back to using it. The House of Burgesses had a long and honorable history before the change. “Burgesses” must have been trashed in a fit of revolutionary ardor for new names, but that was more than two centuries ago. Even better, no other state uses it. By contrast, Maryland and West Virginia both use “House of Delegates.”

State legislature names are mostly uninspired anyway, except maybe for the formal title of the Massachusetts legislature, which is the Great and General Court of the Commonwealth of Massachusetts. Nearby, there’s also the the General Court of New Hampshire, which (incidentally) Ballotpedia tells us is the fourth-largest English-speaking legislative body in the world (at 424 members), behind only the Parliament of the UK, the US Congress, and the Parliament of India.

On the morning of October 12, Ann and I made our way to Capitol Square in Richmond. The Thomas Jefferson-designed state capitol is its handsome centerpiece.

The capitol has a distinctive look among those of the several states, taking its inspiration from a Roman temple in France, the Maison Carrée.

Just outside the capitol building is an embedded Virginia seal, with Tyranny lying slain beneath the foot of Virtus.
I told Ann what the Latin meant, and she seemed amused that a state would put something so badass on its formal seal. Compared to the anodyne figures on most state seals, she has a point.

It looks like you walk up the hillside steps to enter the capitol, but in fact you walk down them. Since a redevelopment in the early years of this century, visitors enter the Virginia State Capitol via an underground passage that runs underneath the hillside steps.
We took a guided tour starting there. One of the first things you see in the underground annex — and it’s a large space, at 27,000 square feet — is the architect himself in bronze.
“The statue represents Jefferson around the age of 42 — about the time he was designing the building — and he is holding an architectural drawing of the Capitol,” says the Richmond Times-Dispatch…

“Ivan Schwartz, co-founder of StudioEIS, created the statue… The statue weighs 800 pounds and stands nearly 8 feet tall, representing a larger-than-life Jefferson. Its pedestal is made of EW Gold, a dolomitic limestone quarried in Missouri.”

The passage leads to the capitol proper. Though there’s no exterior dome, there is an interior one. Underneath it is another figure of the Revolution in stone. The figure of the Revolution.
Tracy L. Kamerer and Scott W. Nolley, writing for the Colonial Williamsburg Foundation, praise it highly: “In Richmond stands a marble statue of George Washington that is among the most notable pieces of eighteenth-century art, one of the most important works in the nation, and, some think, the truest likeness of perhaps the first American to become himself an icon.

“A life-sized representation sculpted by France’s Jean-Antoine Houdon between 1785 and 1791 on a commission from Virginia’s legislature, it was raised in the capitol rotunda in 1796…

“Houdon’s careful recording of Washington’s image and personality yielded a sensitive and lifelike portrait. When the Marquis de Lafayette, Washington’s friend and compatriot, saw the statue for the first time, he said: ‘That is the man himself. I can almost realize he is going to move.’ ”

The Houdon Washington spawned many copies in the 19th and 20th centuries, some of which are in other state capitols and cities, and one that I’ve seen that stands in Chicago City Hall. Others are as far away as the UK and Peru.

Jefferson and Washington are only the beginning of the statuary in the Virginia State Capitol. In alcoves surrounding the Houdon Washington are busts of the other U.S. presidents born in Virginia — Jefferson, Madison, Monroe, William Henry Harrison, Tyler, Taylor, and Wilson — along with Lafayette, who’s there until there’s another president from Virginia, the guide said.

The Old House Chamber, whose entrance is behind Washington’s back, has been restored to look the part of a 19th-century legislative chamber, but also to be a repository of sculpture. It’s replete with marble and bronze busts and statues, representing various Virginians, including George Mason, Richard Henry Lee, Patrick Henry, George Wythe and Meriwether Lewis. Non-Virginians have their place, too: namely Jefferson Davis and Alexander H. Stephens.

CSA generals include Stonewall Jackson, J.E.B. Stuart, Joseph E. Johnston, Fitzhugh Lee, and of course Robert E. Lee looking pretty much like Robert E. Lee.

It wouldn’t be the last representation of Lee we’d see in Richmond. This particular bronze was created by Rudulph Evans in 1931 and erected where Lee stood on April 23, 1861, when he accepted command of the military forces of Virginia.

That wasn’t the only event associated with the Old House. In December 1791, the House voted to ratify the proposed U.S. Bill of Rights in the room. In 1807, Aaron Burr was acquitted of treason in the room in a Federal Circuit Court trial presided over by John Marshall. Various Virginia constitutional conventions met in the room, and so did the Virginia Secession Convention of 1861. The entire Virginia State Capitol soon became the Confederate Capitol as well.

We also visited the modern Senate chamber — the modern House of Delegates was closed — and it looks the part of a well-appointed working legislative chamber, without a surfeit of statues.

The Old Senate chamber sports paintings depicting the first arrival of Englishmen in Virginia, John Smith, Pocahontas, and a scene at the Battle of Yorktown. In the Jefferson Room is a scale model of the capitol that Jefferson had commissioned in France to guide the builders in Virginia, since he wouldn’t be there to supervise things personally.

We spent time on the capitol grounds as well. The most imposing among a number of memorials near the capitol is the George Washington equestrian — formally the Virginia Washington Memorial, by Thomas Crawford — which is surrounded by other colonial Virginians of note and allegories.

The CSA was represented on the grounds as well, as you’d expect, including a Stonewall Jackson bronze. Other memorials are closer to our own time. This is part of the Virginia Civil Rights Memorial, created by Stanley Bleifeld and dedicated in 2008.

A memorial dedicated to Virginia women, a collection of bronzes, was still under wraps when we looked it — but slated for dedication only two days later, on October 14.

There was even more to see, but eventually hunger took us away from Capitol Square to a nearby hipster waffle house — the Capitol Waffle Shop — for lunch. I had my waffles with egg and sausage on top, a combination that worked very well. Also good: hipster food prices in a town like Richmond are less than in places like Brooklyn, just like prices for everything else.

Virginia ’19

Posted on October 20, 2019 by admin

Some time ago, I noticed that Ann not only had October 14 off — for Columbus Day, that barely there school and post office holiday — but the next day as well, one of those days on which the teachers come to school, but students don’t. According to the way I think, that meant an opportunity to go somewhere.

So on Friday, October 11, Ann and I flew to Richmond, Virginia, returning on the 15th, for what amounted to a U.S. history trip. Fitting for her especially, since she’s in an AP U.S. history class this year. Fitting for me, since the trip included destinations that I’ve wanted to visit for a long time, but never gotten around to.

On Saturday, we spent the day in Richmond — partly downtown, at Capitol Square, where we toured the Jefferson-designed capitol, and at the newly opened American Civil War Museum, which includes part of the ruins of the Tredeger Iron Works, cannon and locomotive maker of the Confederacy.

Navigating downtown Richmond in a car proved to be pain in the ass, with its high volume of traffic, limited parking and numerous one-way streets. Every other street seemed partially blocked by construction, either of buildings or the street itself. Also, the Richmond Folk Festival was that weekend — and a lot of folks showed up for it, crowding the area near the riverfront, where the American Civil War Museum happens to be.

Downtown, as seen from the steep banks of the James River.

Despite traffic snarls, Richmond struck me as an interesting city, full of life in the present and echoes of its storied past. A day wasn’t nearly enough, but there were other places we wanted to see in Virginia.

On Sunday, we drove to Charlottesville, with Monticello as the main destination. For Ann, a completely new experience. For me, a second visit. But the first time was in 1988, so I’d forgotten a lot. And some things have changed there.

We also visited the University of Virginia that day, which I didn’t do more than 30 years ago (not sure why not). See one famed Jefferson site, best to see another close by. Closer than I realized: from Monticello you can just see the white dome of the Rotunda, the school’s most famous structure.

On the third day, technically Columbus Day Observed, we drove the other direction from Richmond to Williamsburg. More specifically, Colonial Williamsburg, the open-air museum of large scale and ambition, an odd amalgam of past and present.

There’s a lot to Colonial Williamsburg, including structures and displays and artifacts and craft demonstrations, but also programs by reenactors. The high point of the visit was one such, held at a reconstructed 18th-century tavern and featuring the Marquis de Lafayette and James Armistead Lafayette.

Afterward, they were willing to pose for pictures.
On October 15, we flew home in the afternoon. In the morning, I drove by myself to a place I’ve wanted to visit for years, the Hollywood Cemetery in Richmond, a stunningly beautiful cemetery perched on a hillside above the James River, populated by numerous historic figures.

After Ann woke up and we checked out of our room, we visited one last spot in Richmond: the Edgar Allan Poe Museum, small but compelling, managing to convey the misery of his life and the legacy of his art.

Been There, Seen That

By Dees Stribling

Monthly Archives: October 2019