Murray Christmas!

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“ ‘I think the Christmas card was one of my best inventions,’ [the Devil] said. ‘Yes, I think the Christmas card has done as much to put Christmas to the bad as any other single thing. And I began it so cleverly; just a few pretty Victorian printed greetings, and then – well, you know what it is today.”

Robertson Davies
When Satan Goes Home for Christmas

Lute Lady

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My mother died 19 years ago tonight, far from her Chicago home. At about the time she died, my sisters and I discovered a nifty way to memorialize her in her old North Side neighbourhood.

The Mid-North Association, a Lincoln Park area civic group, began selling personalized bricks with which to repave a park known variously as Mid-North Park and the Belden Triangle, and to rehabilitate it somewhat. For U.S.$60, we had two lines engraved that said, simply, “Maggie Murray” and “I Miss Chicago.”

On my next trips to Chicago after ordering our brick, I would visit Mid-North Park to see whether it had been installed yet. I finally found it – quite near bricks bought by local businesses she used to patronize, as well as Bill Kurtis, the TV newsman she so admired.

Whenever I’m in Chicago, I still make a little pilgrimage to that park.

But in the intervening years, the park has changed. At the time of the brick-laying, it featured a beautiful sculpture of a veiled woman playing the lute, with two children on either side of her. A few years ago, I noticed that the sculpture was gone – replaced by a (forgive me) rather uninspiring fountain. It was installed as part of a beautification project to renovate or construct 18 fountains in parks, triangles formed by some of the city’s weird intersections of three streets, plazas and other open spaces.

I think Mid-North Park/Belden Triangle got one of the more pedestrian fountains. But I always wondered what happened to the sculpture.

I decided to seize the moment, probably prompted by the anniversary of my mother’s death, and contacted Chicago Park District (CPD) historian Julia Bachrach. She directed the years of research that resulted in the Chicago Park District Guide to Fountains, Monuments and Sculptures, an impressive online resource providing the histories of those features in CPD parks.

Julia told me that the sculpture I was interested in, known as “Lute Lady” or “Seated Woman With Children,” was originally part of a bandstand in Lincoln Park designed by Chicago architects Pond & Pond, and sculpted by Lorado Taft in 1915.

The Lute Lady has had a rough ride. In 1983, she and other sculptures were found along Lake Michigan, north of 39th Street, where they were waiting to be used as landfill! Julia sent me a story from the Chicago Tribune (6 May 1983) describing the find, which included columns from the city’s old federal courthouse building and the bas relief backdrop to “The Spirit of Music,” a memorial to Theodore Thomas, founder of the Chicago Symphony Orchestra.

The Trib article quoted Ben Bentley, then the CPD’s director of public information, saying that the CPD warehouse had become too crowded with materials that no one had asked about. The sculptures were going to be used as part of a landfill to help retard lakefront erosion.

“What we have done is a perfectly legitimate thing,” Bentley is reported to have said at the time.

Since then, the Federal Building columns and the conserved “Spirit of Music” have been installed in Grant Park, Julia said.

And what of the Lute Lady and her children? “They are currently in storage, which is probably a good thing, because they are marble and really shouldn’t be outside in the Chicago climate,” she added. “We really need to find a good indoor location for the Lute Lady.”

As to the photos in this post: I’m not sure whether they’re mine or were taken by my sister Roxe Murray. We shared our prints back then – at least the ones relating to our mother’s memorial and family history. Somewhere in my cluttered home office, I have a full photographic study of the Lute Lady, shot from a variety of angles. I’d like to think I was prescient when I took those photographs, but I probably just wanted to fully document my mother’s memorial. When I find those prints, I’ll scan and post them.

South High School, Denver

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Toronto’s Bishop Strachan High School is not alone in not knowing why there are certain sculptures (in this case, chimps) on its building. As I discovered in researching the stories behind many of Toronto’s architectural faces, that information is lost for a lot of buildings – but I was left with no doubt that architects and stone carvers had specific people or ideas in mind when they created those faces.

One school that has an elaborate sculpture programme and has kept the stories behind it alive in its yearbooks and on its website is South High School in Denver. My friend Kathy Lingo, one of the principals in Avenue L Architects, took me on a tour of the school (designated as a National Historic Landmark in 1992) when I visited Denver a few years ago. CORRECTION: Kathy Lingo has informed me that contrary to its claim, South H.S. is not a National Historic Landmark and not listed on the National Register. It is, however, a Denver Historic Landmark. (Thanks, Kathy!)

The Romanesque building, designed by the architectural firm of Fisher & Fisher (actually a whole family of architects, which you can read about in this PDF), was completed in 1924. The Fishers, originally Canadian, became a force in Denver architecture.

Apparently, Arthur A. Fisher was a proponent of using painting and sculpture in Denver public buildings, and influenced the use of the sculptures adorning South High.

The most prominent exterior sculpture is the slightly more than one metre tall gargoyle on the roof, the “symbolic protector of South,” according to the school’s website. Created by sculptor Robert Garrison, it is said to have been inspired by one on Italy’s Spoleto Cathedral.

Striped poles flank the front entrance. They are topped by figures said to be faculty members holding creatures representing final exams. The creatures seem ready to devour students whose heads are on piles of books in front of them (see right).

One of two friezes above the main door (pictured below) is known as “Faculty Row,” and shows the principal in the centre of a line of the entire faculty. To his right is the assistant principal; on his left is the dean of girls (no longer a position at South). The second frieze, called “Animal Spirits” and not shown here, has figures the symbolize unscholarly behaviour such as rubber-band shooting and gum chewing. (To think that those were the big behaviour problems in classrooms as recently as 10 years ago; now it’s students using cell phones and iPods in class.)

Above another door is a frieze showing children going to school – some eagerly, others less so. The less enthusiastic children tend to be toward the back of the line, like this one seen here in close-up:

Chimps in chains, update

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I’ve just heard from Sue Dutton, the archivist for Bishop Strachan School, and she has no information about why a pair of chimps appears on the school building.

” We also have a dragon and a lion, but I have never seen any documentation that explains these decorative choices,” she wrote in an e-mail. “The oldest wing of the current school building was built in 1913-1915. Although the BSS Prospectus for the 1915-1916 school year goes to great lengths to describe the style of the new building, Collegiate Gothic, and many modern features such as hot-water heating and sound-proof music rooms, it does not mention these sculptures. I believe it can be assumed they were simply added as whimsical decorations that the girls attending the school would enjoy.”

I’ve read similar articles in architectural journal that frustratingly, elaborate the innards of buildings but either never mention the outside (beyond a simple description, such as “Collegiate Gothic”) or refer only vaguely to sculptural details, but not in detail.

But I am convinced that architects didn’t and don’t stick any old animals or bearded figures on their buildings for the hell of it. There’s a reason, although it may have been lost.

South High School in Denver has an extensive sculptural programme – and the background information explaining the architects’ choices is contained in the school’s yearbook. Stay tuned for a forthcoming post featuring pictures from that school.

Why are there two chimps on a girls’ school?

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The main façade of Bishop Strachan School, the private girls’ school in Toronto’s tony Forest Hill neighbourhood, sports two stone chimps, each clutching although not apparently restrained by a ball and chain.

Why?

I’ve searched the internet, called the school, checked a few architectural journal articles from 1916 when Sproatt and Rolph designed the building, and not found the answer.

Does anyone out there know, with a reference? Or have any ideas?

Stay tuned – I haven’t given up finding the answer.

Happy Thanksgiving to our U.S. friends

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Happy Thanksgiving (a few days early) to our American friends!

It seems especially appropriate this year that the symbol of Thanksgiving is a flightless bird, as we wait to see how many travellers are grounded for refusing to submit to security screening “pat-downs.”

Turkey-and-corn relief is from the Fairmont Hotel Vancouver.

The last of Vancouver

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I’ve already posted most of the faces that I found on the Hotel Vancouver (sorry, The Fairmont Hotel Vancouver) – here and here.

But after posting the sculpture of George Vancouver’s ship Discovery yesterday, I had to finish off with this sculpture from the Georgia Street entrance of the hotel. (Actually, this is the third Hotel Vancouver on this site, at Georgia and Burrard. The Architects were John S. Archibald and John Schofield who began construction in 1928, and finished 11 years later, in time for the first Canadian visit of King George VI and Queen Elizabeth.)

Above it is Hermes, the Greek messenger god who was also the god of commerce. (His Roman counterpart is Mercury.)

And here ends the faces I bagged while in Vancouver. There are more, but there is only so much hunting I can do when I’m travelling for the Day Job.

Marine Building, Vancouver (part 2)

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The Marine Building, at Hastings and Burrard, is one of Canada’s great art deco masterpieces. Construction began in 1929 and almost immediately upon completion in 1930, became a victim of the Great Depression. Its owners had trouble attracting tenants and by 1933, sold the building which had cost $2.3 million (more than $1 million over budget) for a paltry $900,000.

The Marine Building has an interesting history, but I’m keen to get back to the decoration. The Burrard Street entrance (above), features a ship’s prow sailing out of the sunset, with Canada geese flying across the rays.

Along the inside of the archway at the entrance are terra cotta reliefs of ships that are significant in Vancouver history — including, of course, Captain George Vancouver’s ship, HMS Discovery, with which he explored the coasts of British Columbia in 1792.

As for faces on the Marine building (apart from the faces of the sealife that appear everywhere), there are two images of Neptune. You can glimpse one of them in the picture of the top six or seven storeys in the previous post. Here’s a close-up, in which you can clearly see the Roman god of the sea clutching his trident.

Neptune also appears as the figurehead on a ship on a two-storey-long sculptural work on another corner of the building. The detail here also gives a nice close-up (if I do say so myself) of a seahorse:

Marine Building, Vancouver (part 1)

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Another McCarter & Nairne work in Vancouver (see article on the Nurses of Vancouver below) is the Marine Building.

I’m interested primarily in buildings with faces, and while the Marine Building has a few of those, it’s a riot of sculptural decoration. The exterior is covered with, among other things, terra cotta representations of 1920s-vintage modes of transport.

True to its maritime name, many of these are seagoing vessels, such as a naval ship,

a Viking-type ship,

and a submarine.

There are also a biplane,

a Zeppelin

and a steam locomotive.

More about the history of the building and its faces tomorrow.