The Jerónimos Monastery

Posted on May 30, 2024 by admin

If the Belém Tower and the Monument of the Discoveries were about Portuguese ventures into the world, the nearby Jerónimos Monastery shows one thing they brought back: immense wealth. Taxes needed to be paid on the incoming wealth, of course, and a certain large part of those levies went to build Mosteiro dos Jerónimos. The Hieronymite monks who lived there for a few centuries were tasked to pray for the souls of successive kings of Portugal and to minister to those leaving on ocean-spanning voyages.

Money well spent, I’d say. The monastery is the extraordinary work of a number of hands, beginning with architect Diogo de Boitaca and including a succession of other architects, designers and sculptors. Together with Belém Tower, it is a World Heritage Site.

The outside of the monastery church, Santa Maria.

The monastery grounds include other large museums, such as ones devoted to Portuguese naval history, and an archaeological museum, both of which would surely be worth the time. But we focused, as most visitors do, on the monastery church and the cloister next to it.

These structures are considered class-A examples of Manueline, a style particular to Portugal during the Age of Discovery and with an emphasis on elaborate stonework. Sturdy work, too: the earthquake of ’55 didn’t do a lot of damage to the monastery.

Some Portuguese royals, namely the go-getters of the Aviz dynasty who oversaw worldwide Portuguese expansion, are entombed in both transept chapels. Note the elephants supporting the tombs.

Quite the ceiling.

Vasco da Gama, as mentioned previously, has a tomb near the church’s entrance. Across from him is the Portuguese epic poet Luís Vaz de Camões (d. 1580), whose best known work celebrates the voyages of da Gama.

The poet might not actually be in the tomb. His original resting place was disturbed by the 1755 earthquake, and by the time of his entombment in Santa Maria in the 19th century, finding his remains was a matter of guesswork.

Santa Maria church, I’m glad to say, charged no admission, though I was happy to donate a few euros to its upkeep. All you have to do is wait in line, which took about 20 minutes.

The cloister, on the other hand, sold admissions, though at a fairly reasonable 10 euros. It was busy, but not so crowded that we couldn’t buy admission right then. Anyway, it was entirely worth it.

One is allowed to peer into the courtyard, but not enter it. I believe that that’s actual grass, not Astroturf.

Endless details carved all around.

A large refectory includes the sort of tilework that Portugal is famous for.

Including a depiction of an emotionally distressed horse.

That’s what it looks like to me, at least. Some of the tile artists apparently appreciated the fact that such a horse’s lot is little but work, work, work.

A Lisbon Ramble

Posted on May 24, 2024 by admin

Rain and wind sometimes but sun and warmth other times this week here in northern Illinois. Had breakfast on the deck most of the days since we returned. Lisbon wasn’t quite as warm as expected, with cool evenings – a little below 20° C. – evolving into warmish days, maybe 25° C. or so, followed again by cool evenings. We were rained on only once, more about which later.

Back to posting on Tuesday, in honor of Decoration Day, even though that’s next Thursday. I’m all for three-day weekends, or four or five, but we ought to acknowledge the heart of the occasion.

We arrived tired in the early afternoon of May 14 at the smallish but popular Praça Luís de Camões, emerging from the artificial lighting of the Metro into broad sunlight on the warmest day during our near-week in southern Portugal, just shy of about 30° C as they reckon things.

At once the dulcet sounds of these three gentlemen captured our attention, and we joined the loose ring of those listening. A good thing to do while sitting around getting ready to catch your second wind.

They played their versions of jazz standards and more recent songs. Sweet versions, each of the musicians taking the tunes aloft in distinctive ways. I didn’t see their names posted, even when I got close enough to drop in one euro each, so they’ll just have to be the Musicians of Praça Luís de Camões.

They had an enthusiastic audience member. He danced around on his feet for a while, the lay on the plaza tiles and “danced” around in that position.

We’d have listened longer, but we needed to obey our thirst, to use the ad phase that’s too good just to be that. Facing the square: McDonald’s. We each had a cold drink.

That’s my idea of a good souvenir, and I took it as such.

We headed down a busy retail street, R. Garrett, a thoroughfare with the likes of Ale-Hop Rua Garrett, Stradivarius women’s clothing, Gardenia shoe store, bbnails, Happy Socks, Livraria & Cafe, a book store, and the Percassipt quilt shop. A handsome street at spots. And under development.

Basílica de Nossa Senhora dos Mártires, the Basilica of Our Lady of the Martyrs, also rises on the street.

Before 1755 there was a different church on this site. As a Christian site, its roots stem back before Moorish domination of the Iberian peninsula.

Reinaldo Manuel dos Santos designed the current church, and of him Portuguese Wiki says: “Reinaldo Manuel dos Santos (1731-1791). Arquiteto e engenheiro militar português, foi um dos maiores expoentes da arquitetura e do urbanismo pombalinos,” which I believe is clear enough except for that business about pombalinos, a building and design style distinctive to Lisbon after the earthquake.

Now that’s a ceiling for the ages.

At R. do Carmo, a pedestrian street, Yuriko and Ann went to examine a particular clothing and other item store, while I took a wander.

People seemed to be paying attention to something.

They were right to take pictures. Stand just off the street was Elevador de Santa Justa, a Machine Age lift connecting two parts of the city, each at a different elevation.

I’d read about it, but didn’t make a particular plan to see it. But there it was. The work of one Raoul Mesnier du Ponsard, who is known for this structure and others like it. We didn’t get around to taking a ride, since time is short and Lisbon’s destination list is long, whoever compiles it.

Oakton College

Posted on May 8, 2024 by admin

We’re in that rarefied period when neither the heater nor the cooler kicks in much. You could say God is my HVAC. It won’t last.

How many community college campuses have enough outdoor sculpture to qualify as a sculpture garden? Say, a dozen pieces or more. It’s an odd question, but it occurred to me at Oakton College in Des Plaines as we walked around recently, taking in the fine spring day and an assortment of outdoor sculptures on that campus.

That online search didn’t take long. If you wanted to figure out which community colleges have sculpture gardens, looks like the International Directory of Sculpture Parks & Gardens would be your go-to source. For all its insanity, the Internet continues to amaze.

Copses of trees and bushes ring the college’s wide parking lots, giving its small cluster of buildings a semi-suburban feel. A small creek runs through campus, and signs next to a small bridge over it say Turtle Xing, with turtle silhouettes on the yellow traffic signs to remind us to watch out for shelled reptiles in easy-to-smash spots. Not sure I’d ever seen one of those kind of warnings before.

The sculpture isn’t off in some field. A representative is right there in your face at the edge of a parking lot.

A little more subtle, but just as close to the parking lot.

Closer to class buildings.

“Pink Hydrant 15” by musician and sculptor Irwin Hepplewhite.

Never mind, I made that up.

“Silver Oak” by Barry Tinsley (1983). A Chicago artist, still apparently active. Glad to hear it.

I had to puzzle that for a moment. Chi-ca-guo.

Of course, Chicago, “wild onion,” a version of an Algonquin word for the weedy onion marshes where the Chicago River met Lake Michigan, pre-Fort Dearborn.

This was good to learn: a certified wildlife habitat.

I know there’s a nonprofit and good intentions behind that designation, but I can’t help but laugh a little. Where is this certificate posted, anyway? Can animals request a copy?

I know where it must be: in this building.

That’s a show-stopper: The Margaret Burke Lee Science and Health Careers Center, a 2010s addition to campus. Modernist glass blended with Prairie School (?) and I’m too dense to know what else, but there’s some exceptional design skill on display in the structure, which is perched next to the campus’ central pond. Maybe the other buildings, presentable enough but a little ordinary, envy Margaret for her green-tint good looks.

Design by Legat Architects, a regional practice. Nice work, Legat.

Thorncrown Chapel

Posted on April 22, 2024 by admin

My bourgeois householder impulses kicked in today and I mowed the lawn, which, happily, is sporting a nice crop of dandelions. I’m actually fond of dandelions, so I suppose my lawncare impulses aren’t entirely conventional. I gave up raking leaves years ago, too, and don’t regret it. I look at my lawn in the spring and think, where did all those leaves go? To nourish the soil, of course.

On April 7, we left Harrison, Arkansas, where we’d spent the night, and headed for Dallas by not quite the most direct route. Soon we passed through Eureka Springs. We wanted to amble around town a bit, but parking was hard to find and – this rankles on a Sunday – costs money. So on we went, west on U.S. 62. Moments out of town, I spotted the sign for Thorncrown Chapel.

The chapel rises gracefully on its Arkansas hillside, whose trees at that moment were budding, but not obscuring the view. Good timing for a visit.

Wood and glass and light and – air. So light you’d think it’s going to float away, despite however many pounds of wood it represents.

“Thorncrown Chapel… is the most celebrated piece of architecture built in Arkansas,” says the Encyclopedia of Arkansas, which is a tall statement. But that opinion seems to have some weight, considering the structure’s honors and spots on architecture lists, besides the acclaim accorded architect E. Fay Jones.

“Eighteen wood columns line each of the long sides,” the article notes. “The columns are connected overhead by a latticelike diagonal web of light wood pieces, creating the building’s most important visual feature. This interior bracing is Jones’s inspired inversion of Gothic architecture’s transfer of the loads of a building to “flying buttresses” that brace the walls from the outside.”

The Mildred B. Cooper Memorial Chapel, also by Jones, has similar charms, but I’d say Thorncrown kicked things up a notch in design.

We happened to be in time for the Sunday nondenominational service, so we sat in for a while. No admission, but we were happy to make a donation.

Much better images are here. Seems that the muse was with E. Fay Jones when he designed the chapel for a couple who happened to own the land, Jim and Dell Reed, and who had this built instead of a retirement home, tapping Jones, a one-time student of Frank Lloyd Wright, for the job; and ultimately seeing it completed in 1980, after divine intervention was said to be a factor in the financing.

One of the speakers at the service – I can’t call it the sermon or homily, just a chat – who looked my age or a little more, was their son, Doug Reed, I think. Maybe he sees chapel every day, or often enough, but somehow a sense of awe came through as he described how the Thorncrown came to be. That didn’t make an impression on me in the moment, but the more I think about it, the more impressive it is, how familiarity hasn’t effaced awe for him.

Potosi, Missouri

Posted on April 19, 2024 by admin

Sometime in late 18th century, Frenchmen came to a spot in the wilds of North America, which in later years would be southeastern Missouri, and began digging for lead in a place they called Mine Au Breton – Mine of the Breton, for Brittany native Francis Azor, who pioneered the effort in the area to extract the element. The name didn’t last, however. Since early U.S. sovereignty, it’s been Potosi, Missouri.

Still, the earlier name lingers in a small park in Potosi, which we visited on the morning of April 6 after leaving where we’d spent the night, Farmington.

A nice little park, a block from the town’s main thoroughfare, High Street. Mine a Breton Creek runs through it.

A small bridge crosses the creek at one point. You wouldn’t think such a bridge would merit a name, but the people of Potosi (pop. 2,500) clearly disagree.

Red Bridge. It even has a former name: Steel Wagon Bridge. Maybe more minor bridges should have names. Adds a little character to localities. Of course, if that caught on, most of them would be named after minor local politicos.

After the Louisiana Purchase was a done deal, Americans came to the area, but Moses Austin was already there, having cut a deal with the Spanish to mine there. Texas schoolchildren learn who he was, or at least they did 50+ years ago, when I was such a schoolchild. He’s the father of Stephen F. Austin, who was the Father of Texas. So maybe Moses is the Grandpa of Texas. My brother Jay suggested that we visit Potosi to see his grave, and since it was only a few miles out of the way, we did.

The grave itself isn’t one of the better-looking ones I’ve ever seen: a white, virtually unadorned slab under an uninspired protective shelter.

His wife Mary Brown Austin, daughter of an iron mine owner and mother of Stephen F., is there as well. We didn’t hear that much about her in school.

Moses Austin came to the area to mine lead – and escape debt back in Virginia — and apparently had a good go of it in the 1810s, though I suspect life wasn’t as good for the slaves that did the actual digging. Austin is credited with renaming the town Potosi, after the place in Bolivia, a silver mining center known as the location Spanish colonial mint, producer of countless Spanish dollars. Educated miners like Austin would have known it, anyway, and maybe he was thinking big. As in, dreams of silver. But lead would have to do.

Quite the go-getter, Moses Austin. “He & his 40 to 50 slaves & employees built bridges, roads, a store, a blacksmith shop, a flour mill, a saw mill, a shot tower, and turned out the first sheet lead & cannonballs made in Missouri,” the informative Carroll’s Corner posted.

Austin suffered reversals and ultimately lost his fortune in the Panic of 1819, and so schemed to take settlers to the underpopulated wilds of Texas, then part of New Spain — to escape his debts, among other things. He received a land grant from the Spanish Crown (that’s quite a story), and was set to go when death came calling, leaving the task to his son – who had to deal with newly independent Mexico for his grant. That’s another story, one far from modern Potosi.

Google Maps calls the cemetery along High Street, with the Austins’ grave, City Cemetery. A sign at the site says: Potosi Presbyterian Cemetery, Est. 1833.

It’s a mid-sized, old-style cemetery with some charm.

With memorials broken and worn.

And others still waiting for that wear to happen. It will.

High Street is the location of a handsome county courthouse (Washington County), the third on the site and a 1908 design by one Henry Hohenschild, a Missouri architect who did a number of public buildings. Remarkably, the same document tells us that Moses Austin (probably) designed the county’s first courthouse. Moses was one busy guy.

There are a number of antique stores on High Street, and while Yuriko was off exploring them, I was buttonholed by two Jehovah’s Witnesses sitting with their material across the road from the courthouse. Or rather, I allowed myself to be buttonholed, so I could talk a little religion. Just like I did in Salt Lake City. Or religion-adjacent. I think the ladies, Mary and Kay I believe it was, were surprised that I knew about the sale of the JW HQ property in Brooklyn some years ago.

Chicago Riverside Stroll

Posted on April 2, 2024 by admin

Intense periods of rain marked the day and into the night, with snow ahead. A nonsticking April sort of snow, but still carried by stiff unpleasant winds. A rearguard winter wind, and winter winds blow only in one direction. In your face.

It was merely chilly Saturday before last when we strolled down Wacker Drive and Michigan Avenue in the evening in downtown Chicago, partly along the Chicago River. Some old favorites rise in that area, such as Marina City.

Idly curious, I looked up some listings for condos in the building. For less than $300,000, one can buy a 500-square foot unit, listed as zero beds, one bath. I wonder what that means in context: a Murphy bed? Not like some utilitarian job you might have found in the Kramdens’ apartment, but maybe something a little more upmarket. Are there upscale Murphy beds? Of course there are.

At more than 60 years old, Marina City doesn’t count as the newest and poshest, but it has historic appeal, and has any other residential complex seen a fast-moving auto pitched out of its parking garage into a river? Such happened for The Hunter (1980), the last Steve McQueen movie. A bad guy’s fate, if I remember right.

The Wrigley Building, legacy of a chewing gum fortune. What more to say about the masterpiece on the Chicago, open now these last 100 years?

The courtyard north of the building is formally the Plaza of the Americas, which I’m sure only tour guides call it. On windy days the flags of the OAS fly over the plaza. Does the actual flag of the OAS also? Its design: Let’s wheel all the national flags together. It’s a recognized way to organize flags, but on a flag?

At the west end of the plaza is a bronze Benito Juárez, a gift of Mexico to the city of Chicago in 1999, with one Julian Martinez listed as the artist (not this artist). At night, Juárez doesn’t catch the light very well.

These golden wings are a newer addition to the plaza, 2022, and supposedly temporary. Another of the pairs of wings that have sprouted worldwide, though these are sculpted, not painted.

“Wings of Mexico” by Jorge Marin. A little digging around, and I see that he did “El Ángel de la Seguridad Social,” which we spotted in Mexico City.

Queen of All Saints Basilica

Posted on March 4, 2024 by admin

The latest run of warm days is now ending, with rain moving through northern Illinois. In its wake, more seasonable temps for early March. Sunday wasn’t seasonable at all, with the air heated to a pleasant low 70s F.

On Sunday afternoon I headed for the the northwest side of Chicago. You’d think that would be straightforward, considering that I was coming from the northwest suburbs, but no: O’Hare takes up a sizable chunk of real estate between those two areas, and there’s no going under it like in Los Angeles. One goes around.

I was sure I didn’t need to consult a map, either. Go more-or-less east on a major road (Irving Park) that curls along the southern edge of the airport; go north on another major road that is just east of the airport (Mannheim); and then connect with the east-west road (Devon) that would take me to the part of the city I wanted to visit.

Easy, especially since I knew the first part of the route well. I often take those first two roads to the airport entrance. True, I had to go a little further north on Mannheim into less familiar territory to connect with Devon, but all I’d have to do is watch for Devon. So I did.

No, that wasn’t it, but it’ll be soon. No, that’s not it either, maybe the next major light. No, not that one. Maybe one more. No. We’ve all done this: expect something while driving, sure that it will come up soon, and it doesn’t. So I pulled over to check my map, finally, and I was some distance north of where I want to be. Mannheim doesn’t actually connect to Devon. The next major north-south street east of Mannheim, which is River Road, does. Oops.

Use the GPS, you say. I still say no. I wasn’t going to be late for anything that needed my punctuality, for one thing, but more important, I passed through a stretch of relatively unfamiliar and interesting territory as I navigated my way southeast to Devon. Metro Chicago is so large that that’s possible even after living here for decades.

Had I not been “lost” I would never have noticed this along the road.

I’d happened across Queen of All Saints Basilica in the Sauganash neighborhood of Chicago, one of the three minor basilicas in the city. I might have seen it on a list of local Catholic sights some time, but I didn’t remember it and didn’t set out to see it. But see it I did, though it was already closed. The exterior had to do.

Completed in 1960, so I’m surprised it isn’t more modernist. But I suppose the diocese wanted neo-Gothic, and that’s what architects Meyer & Cook provided. That firm seems to be better known for the art deco Laramie State Bank Building, also on the western edge of Chicago. While Queen of All Saints is certainly impressive, what if the diocese had asked for an art deco church?

Waukegan Ramble

Posted on February 19, 2024 by admin

I spent part of Sunday afternoon in Waukegan, a sizable far north Chicago suburb and in fact county seat of Lake County, Illinois. Not my first visit, but a bit out my usual orbit, halfway through that county on the way to Wisconsin and along the shore of Lake Michigan. The day was chilly, but not bad for February, so I set out on foot downtown for a few minutes.

The Lake County Courthouse & Administrative Building isn’t from the classic period of courthouse development, which would be more than 100 years ago now. It’s from the classic period of brutalism (1969), at least in this country.

The Civil War memorial in front (?) is an echo from an earlier time.

I took a drive too, looking for steeples. I knew most any church would be closed already, so I went looking for beautiful or interesting exteriors, and I found one tucked away in a neighborhood not far from downtown. While beauty isn’t quite the word for it, it certainly caught and held my attention.

Completed in 1964 as St. Anastasia Church, since 2020 the building has been home to St. Anastasia and St. Dismas Church, which combined are known as Little Flower Catholic Parish – part of the wave of ecclesiastical consolidation in our time.

The unusual design – at least, I’d never see the likes of it – was by mid-century modernist I.W. Colburn (d. 1992).

“This church… is a simple brick rectangle with arch motifs embracing in a succession of domed tiers on the corners and sides of the building,” reported the Chicago Tribune in 2016. “There are two larger versions of this form extended above the flat roof, which appear as towers. The rear domed tier rises over the main alter and carries an enormous cross on its crown.

“The walls of the building have a patterned surface due to the fact that some of the bricks protrude one half of their length from the flat wall. A portion of the wall is constructed of multicolored glass bricks and is most noticeable from the interior when the sun’s light shines through them filling the church with radiant color. The light thus becomes part of the service.”

Closed, as I thought, but maybe during a future Waukegan Tour of Homes, it will be open. Here’s a picture of the interior, decked out for Christmas.

“The interior repeats the motif of the exterior arches,” according to the Tribune. “The red brick, slate floor, glass and wood, mosaics representing the Stations of the Cross, illuminating skylight, and bronze crucifix over the altar give the worshipper the feeling of having entered a medieval monastery.”

My wanderings took me to a few other Waukegan churches, such as an older Catholic church on the edge of downtown. It says Church of the Immaculate Conception, carved over the entrance in stone, but these days it’s Most Blessed Trinity Catholic Church, the creation of a consolidation of six historic parishes.

Christ Episcopal Church, completed in 1888 and designed by Willoughby Edbrooke and Franklin Burnham of Chicago, who also did the Georgia State Capitol and the Milwaukee Federal Building.

Redeemer Lutheran Church.

The was enough churches for the day. The sun was going down, for one thing, but also once you’ve seen the Alpha and Omega, that’s enough for any day.

Main Street, Louisville, But Not the World’s Largest Baseball Bat

Posted on January 16, 2024 by admin

Deep cold these last few days, so we passed the time, including the MLK holiday, in 21st-century central heated space, that is, home. Filed papers, hauled my boxes of postcards out of the closet for a look and a touch of reorganization – not to the point of being highly organized, though – and removed ornaments and lights from the Christmas tree and in one brief expedition into the frozen waste of our back yard, deposited the tree out there.

Should I burn it? Makes a glorious flame, if only for a few seconds. We shall see.

Wonder when the owner of this vehicle removed the Nativity.

Whenever that was, I have to say that I’d never seen that familiar display in this unusual location. For all I know, however, it could be the next big thing in honoring the First Christmas.

We spotted Bethlehem on wheels in east Louisville on the evening of December 29. The next morning we made our way to Main Street in downtown Louisville; and we returned to the area just before we left town on the morning of New Year’s Eve. Some blocks are exceptionally handsome.

The valuable facades of these pre-Great War vintage buildings look to be, in some cases, saved for later development behind them. Maybe mixed-use, largely residential but also specialty retail. I could imagine that outcome.

Not all of the street features refurbished leftovers from the late 19th century. Rising at W. Main and 5th Street is a behemoth occupied by a for-profit healthcare behemoth, the Humana Building. Designed by Michael Graves in 1985. Look up postmodern and I think you’d see an image of this building.

The structure is such a behemoth that it was impossible to get the building all within a shot, standing across the street from it. Still — something of a bird of prey vibe, seems like. Mecha-Owl?

It stands on the site of the Kenyon Building, pictured here in 1927.

The Kenyon itself no doubt replaced earlier, smaller structures. Louisville emerged as a city with rapidity in the early 19th century, with Main its first focus.

“West Main Street was the first street in the city,” Louisvilleky.gov notes. “The first businesses to line West Main Street included an attorney, grocer, boardinghouse, auctioneer, merchant, carpenter, tailor, shoemaker, tobacco inspector, blacksmith, engineer, physician, hatter, tallow chandler, barber, painter, upholsterer, insurance company, plasterer, druggist, and brewer.”

How many of those professions remain on Main Street? I’m not going to do anything like work to find out, but my guess would be attorneys and insurance companies, certainly, maybe an engineer or two, some physicians, and merchants, depending on how you define that. Very likely no blacksmiths, hatters or tallow chandlers.

In our time, Main is also a street of some curiosities. Such as Jane Fonda in microgravity.

Nightspot Barbarella apparently didn’t survive the pandemic. This is the entirety of the last note from Barbarella on Facebook (October 5, 2021): “Permanently closed bitches!!! Loved y’all. It was a wild ride. But the roller coaster has come to an end!”

That last image is the Metropolitan Sewer District 4th Street Flood Pump Station, since 2022 adorned with a mural called “Hope Springs – The Wishing Well” by local artist Whitney Olsen. The linked press release also makes mention of the recently completed, fully invisible tunnel under the city — the Waterway Protection Tunnel, four miles long and 18 stories below ground, to capture surges of storm water. I’m no engineer, but that sounds pretty impressive

A more-or-less empty plaza, formally called Riverfront Plaza/Belvedere, extends from Main to a view of the Ohio. Part of the plaza is built over I-64.

Off in the distance an outline of a statue is just barely visible from Main. I imagined that the statue honored Muhammad Ali. As long ago as 1978, the city renamed a major downtown street after him, though not without resistance that’s completely unimaginable now; and the sizable Muhammad Ali Center is also downtown.

But no: the 1973 work is much more traditional, honoring Louisville founder George Rogers Clark, who has, of course, a larger memorial elsewhere. (The Ali Center is in the distance behind him in my image.)

Felix de Weldon did the statue. He’s better known for the Marine Corps War Memorial (Iwo Jima Memorial) at Arlington National Cemetery and, interestingly, he also did the Malaysian National Monument (Tugu Negara) in Kuala Lumpur. I have a vague memory of seeing that, in wilting tropical heat. Weldon did much more over a long life. His partial listing of public sculpture on Wiki begins with King George V in 1935 and ends with another sort of king, Elvis Presley, in 1995.

The George Rogers Clark bronze dates from 1973, but there is another more recent statue on the plaza: York, the only black member of Lewis and Clark’s expedition and as such the first African-American known to cross the continent, in a 2003 work by Ed Hamilton.

Coming to the Corps of Discovery as Clark’s personal slave, York has quite a story, and an especially awful one after the expedition returned, only much recognized in recent decades (see 37:23 and after in this lecture). No doubt York would have preferred freedom after the trek to the Pacific and back was over, instead of honors 200 years later, but the former isn’t in anyone’s power these days, while the latter is.

The plaza also offers nice views of the Louisville skyline. The Galt House hotel is a whopper: at 1,310 rooms, reportedly the largest in Kentucky, plus 130,000 square feet of meeting space and six restaurants. Developed in the 1970s, the hotel bears a name that’s an homage to a series of earlier hotels called Galt, one with a particularly colorful history that was the site, in ’62, where one Union general offed another Union general with a pistol shot at close range.

THE MURDER OF GEN. NELSON. ON page 669 we publish an illustration of the ASSASSINATION OF GENERAL NELSON BY GENERAL J. C. DAVIS, which took place ten days since at Louisville. Our picture is from a sketch by our artist, Mr. Mosler, who visited the spot immediately after the affair.

Even more remarkably, the Galt is owned by a single family, not an transnational. A single, sometimes quarreling family, but there isn’t so much remarkable about that.

The 35-story 400 Market, with the domed top, is the tallest building in Louisville.

Look the other direction and spy the mighty Ohio.

Stairs lead from the plaza down to a riverfront park developed in the 1990s, but late December wasn’t a good time for such a stroll, even though the drizzle had abated by the last day of the year. Some other warmer time, perhaps. Whatever the merits of that park, I doubt that it can erase the fact that the Robert Moses gash that is I-64 largely cuts downtown Louisville off from the river – the very reason there is a city in the first place.

Main Street plaques, along with metal bats, honor baseball players along the way.

Roberto Clemente is one of 60 honorees in the Louisville Slugger Walk of Fame, which stretches on sidewalks from the Louisville Slugger Museum & Factory on Main St. to Louisville Slugger Field a little more than a mile away. We decided not to visit the baseball bat factory itself, which includes the world’s largest baseball bat (bigger than “Batcolumn in Chicago? Yes, by 19 feet.). Still, we walked by a few other bronze bats and home plates embedded in the sidewalk.

Is Chico Escuela is among the honored? I have to wonder. He should be. Considering that he’s fictional, the plaque wouldn’t have to bother with tedious stats. All it would have to say (naturally) is, “Baseball been barra, barra good to me!”

Rialto Square Theatre

Posted on December 20, 2023 by admin

Years ago, as I crossed a pedestrian bridge in Shanghai, a young man with construction paper and scissors paralleled me across. Out of the corner of my eye, I could see he was trimming the paper quickly as we walked, and toward the end of the bridge, he showed me the result, which he probably wanted to sell me: my silhouette in black paper.

I only glanced at it for a moment before brushing him off. Yuriko saw it too, and not long after, she said, “That was pretty good.” I agreed, he’d captured my outline during those seconds on foot in a moderate crowd of other people. I should have bought it, I realized, since it would have made an absolutely unique souvenir. Unless of course Shanghai is a hotbed of silhouette artists with roots in Ming dynasty aesthetics or some such, but somehow I doubt it.

No, I think it was just that talented guy. He came to mind when we spotted a couple of silhouettes in metal next to the street in Joliet, not far from the Rialto Square Theatre.

I didn’t need a sign to tell me that was Groucho Marx leading the way, and a few second’s examination told me that Harpo followed. Groucho has, or had for earlier generations, a famed silhouette. How many famed silhouettes are there, anyway? More than I probably realize.

A nearby sign said that the Marx Brothers had played the Rialto when it was new in the 1920s. I don’t doubt it for a minute, but wait – where’s Chico? Did the city not have the budget for a complete complement of Marxes? (Zeppo could have been left out, however.)

I had Ann pose in place of Chico.

Sure, Chico’s silhouette might not be as distinctive, though his hat might be. But so what? Those in the know would spot Chico right away, considering the context. There’s no excuse for no Chico. As Chico would have said, “That’s-a no good.”

We’d come to town to see the majorly entertaining Christmas movie Elf at the Rialto.

I knew it was a grand old movie palace. I’d known that for years, but never got around to stepping inside. Just how much of a grand old movie palace we didn’t find out until we entered.

One minute we were in Joliet; the next we stepped into a piece of Versailles, adapted to the needs of early mass entertainment in my grandparents’ time.

“Joliet, Illinois, having a published population of 38,400, today has what is unquestionably the finest motion picture theatre for a city of this size in the country,” crowed the Exhibitors Herald on June 12, 1926. “In fact, the new Rialto Square theatre… is a playhouse which it takes no stretch of the imagination to place on a par with any of the picture palaces of Chicago or New York.

“Further, the Rialto was designed by C. W. & Geo. L. Rapp which makes it a foregone conclusion that it can lack nothing in beauty of appointment or modern comfort.”

The ’20s was a time of boosterism and its prose, but I’m going along with the Exhibitors Herald on this one.

“At the west end of the inner lobby is an arch of mirrors and along the walls between marble pilasters are huge mirrors, eight feet wide and 20 feet high, three on each side. The vaulted ceiling, 45 feet in height, is paneled with figures cast in plaster from clay models made by Gene Romeo, a sculptor.”

The theater itself is certainly grand, too, but not quite like the inner lobby.

Over the stage, gilded myth.

A theater organist expertly ran through a Christmas song medley in the minutes before the screening.

When the time came, the organ and organist slowly disappeared, as a mechanism lowered them past sight of the audience, level with the orchestra pit. Nice organ. Aural icing on the lavish visual cake of the theater.

I couldn’t find a fitting Chico quote to laud the Rialto, so I’m making one up: “Atsa-some theater, eh boss?”

Been There, Seen That

By Dees Stribling

Category Archives: Architecture