New Year’s in Old Havana

Note: On June 5, 2019, the Trump administration announced new restrictions on travel to Cuba that are going to make life a lot harder for the Cuban people. However, U.S. citizens can still travel to Cuba under the “support for the Cuban people” category.

The dirty streets of Old Havana are full of people and dog poop, music, heaps of trash, tourists, and energy.  Abandoned buildings with trees growing from windows sit next door to restored mansions with elegant balconies, where the laundry of many families hangs from lines and railings.

One of the main streets of Old Havana, fully restored. Other streets don’t always look as pretty, but are bustling with people and energy. Notice the lack of cars, in the largest city in the Caribbean and Central America. This photo was taken on New Year’s Eve Day, a holiday, and traffic is heavier on  busy weekdays, but overall, traffic was always light.

I landed in Havana at the end of December, carrying a thick ream of cash, because you can’t use ATMs in Cuba, or credit cards. As advised, I brought a money belt to keep my cash pile safe. But after a day or two of wandering around Havana, I realized I didn’t have to worry so much someone stealing my money. Cuba is one of the safest places in the world (albeit with the usual caveat about not doing stupid things like pulling out a wad of bills and waving it in the air).

Except on New Year’s Eve.

On New Year’s Eve in Havana, at the stroke of midnight, Cubans celebrate the New Year by throwing out the old — old water, trash, bottles, and other things.  As we ducked into our casa particulare (a modest bed and breakfast), we heard a cacophony of smashing glass and splashing water.  This was the most dangerous moment of our trip, but we weren’t afraid.

Doing a classic car tour is a staple of visiting Havana, and owners take great care to keep these tourist cars in tip-top shape. But it’s not unusual to see less-polished 1955 Chevys rumbling around, along with ancient Russian Ladas. Cubans know how to use every part of a car — and of an animal, when it comes to food — although there is no official program for recycling bottles, cans, and similar items.

I had been a little anxious about visiting Cuba, and how it would all work out. Legally, U.S. citizens must travel under one of 11 (formerly 12) approved categories. In the past, unless you had family in Cuba, this often meant visiting as part of a cultural or professional exchange group, and these kinds of trips were/are often very expensive.

In 2014, President Obama opened up the possibilities for visiting Cuba, allowing individual travel within the permitted categories.  “Support for the Cuban people” is the box that most travelers now check, because staying in casa particulares or AirBnB apartments, and eating in private restaurants means U.S. citizens are putting money in the pockets of locals, and not the Cuban government. However, in 2017, President Trump reversed this policy, reverting to the previous policy, under which individual travel is not allowed (and then tightened restrictions further in June 2019). However, the reality is that once a door opens, it’s almost impossible to close it. When I learned that JetBlue offers a weekly direct flight from Boston to Havana, I booked our tickets.

Revolution Square, a vast paved over area similar to a stadium parking lot, and surrounded by government buildings, here with an image of Che Guevara. Billboards, walls, and other places are painted with revolutionary slogans and reminders, but no images of Fidel Castro, as he banned public images of himself after this death (except in photographs in museums devoted to history).

To stay within the letter of the law (e.g. group travel), we booked a tour with a small U.S.-based company called KBCuba, which offers biking and “multisport” adventure tours. These trips sound a lot like tourism to me, but the company says these trips are “OFAC approved.” I’m not sure what that means, but after scanning various travel forums and talking to the owner, I decided to go for it, booking the trip through The Clymb.com. We ended up traveling with one other family and a guide, visiting Havana, Cienfuegos, and Trinidad, including plenty of time to explore on our own.

In Havana, the Art Deco Bacardi building, now owned by the Cuban government. The government nationalized and seized the assets of private companies during the early years of the Revolution, which is one reason the US imposed the embargo. The Cuban government still owns the company that produces rum based on the original Bacardi formula, now called Havana Club (and it’s good). The Bacardi family moved to Puerto Rico and continues to make rum there today.

My stay in Cuba was not a relaxing beach vacation, but it was fascinating and much, much easier than I had anticipated, given the facts of cash-only, extremely limited access to wifi, and my rudimentary Spanish.  People are friendly and helpful, and many speak English.  Although all the streets in Havana have been renamed, and you need to make sure you have a map that shows the correct name, it’s easier to navigate the city streets, and to find an address. We also had great tour guides, including an economist-lawyer who lead us on an art tour booked through AirBnB, and our main guide Isis, a young woman who worked for KBTours.

Cuba is rapidly changing, as the government, which once controlled almost all segments of the economy, has now allowed private businesses to operate with more freedom.  Less than 10 years ago, a casa particulare could not even post a sign indicating that it had rooms for rent. Now, signs are posted everywhere, albeit they are official, small state-sanctioned signs.  In 2013, the government made wifi available to its citizens, but at $1 an hour, it’s expensive, given that the average government monthly salary is around $30.  Wifi users must go to a public park to access the government-owned network, ETECSA. In the evening, parks are full of people, most of them young, looking at their laptops or phones.

In this mural, painted on a wall on Mercaderes Street in Old Havana, artist Andrés Carillo depicts 67 figures from the history and arts in Cuba. The woman depicted here is a famous Cuban poet, but I forget her name. Information appreciated!

In Havana, we explored the city streets, ate great food, rode in classic cars, and visited the Museum of the Revolution, which is located in the former Presidential Palace, home to the one-time dictator Batista, and still pocketed by bullet holes when revolutionaries stormed the building (although I don’t think that Batista was there at the time, as he managed to escape to the Dominican Republic).

The old homeless guy that’s still remember in the streets of Havana. Touching his beard and his hand at the same time is said to bring good luck.

The U.S. still has a trade embargo with Cuba governed by a patchwork of laws, including one that prevents U.S. companies with foreign subsidiaries from operating in Cuba. (So I don’t really understand why U.S. airlines are now flying to Cuba, but I’m not complaining). The embargo stymies the development of the Cuban economy, but, as one person told us, it also provides an excuse for the Cuban government for the many economic problems plaguing the island.

In Cuba, universal education is the norm. Everyone has access to free health care, and the health care is generally good, with similar life expectancy to the United Sates.  Everyone who follows a certain course of study has access to a free university education, although they don’t necessarily get to choose what they study. Right now, Cuba’s biggest export is its trained professionals, such as doctors and engineers. The Cuban government sells their services to other countries, which provides the travelling professional with a bigger paycheck than they would earn at home (albeit the government takes the largest cut).  This pool of highly educated and enterprising people is probably Cuba’s biggest asset for the future.

Years ago, I visited Eastern Europe shortly after the fall of Communism  My general takeaway was that people felt beaten down , and that repressive years of Communist rule had fractured a sense of community, with individuals managing as best they could to make sure their family survived.  But I didn’t get this feeling in Cuba.  Instead, there’s a sort of sense among Cubans that they’ve lived through the ups and downs, the bad and good times, together.  In the 1990s, after the collapse of the Soviet Union, Cuba faced desperate times, with people scrambling to find food, and eating dogs, cats and even old mops.  But they never stopped playing music and cards, making art, and drinking rum together.

Mostly, visiting Cuba made me think a lot. What’s an economy? What’s fair, in distributing the benefits of economic activity? Where’s the balance between encouraging individual incentives and in making sure that everyone’s basic needs, like health care, are met? Finally, why does the Cuban government continue to believe that limiting freedoms will benefit the country and economy? Why does the U.S. government (especially now) believe that a strategy based on starving the Cuban people will make the regime change its ways?

Despite all, I’m optimistic for Cuba, which is bursting with educated young people who want to make things happen.  I can’t wait to see what they have accomplished on my next visit.

Fantastical shapes and colors of Fusterlandia

Exploring the home/studio of José Fuster in Fusterlandia, a neighborhood brought to life by art during the grim times of the 1990s, and now a popular tourist destination, thanks to Fuster’s pioneering vision of the power of the creative economy.

Notes and resources:

While in Cuba, I kept a brief journal listing daily activities and contact with people (by first name) so that if required, I could provide evidence of both a “full schedule” and activities supporting the Cuban people.

People to people vs. support for the Cuban people.” ViaHero. Updated June 5, 2019.

Treasury and Commerce Implement Changes to Cuba Sanctions Rules.” Press release, U.S. Department of Treasury, June 4, 2019. Also include links to additional information about travel to Cuba. https://home.treasury.gov/news/press-releases/sm700

 

Ten tips from 12 days of Spain

Bargain airfares, a favorable exchange rate, and a niece studying abroad pulled me to Spain this spring, my first trip to Europe in many years. Here’s my general spin on 12 days in Spain, with more detailed posts to follow.

#1: In Barcelona, you can never see too much Gaudí. But in Madrid, once you’ve seen 10 portraits of the slack-jawed 18th century monarch Charles III, you’ve seen enough.

Dragon sculpture, designed by Modernist architect Anton Gaudí, at Park Güell, originally planned as an early 20th century luxury home development, but now a much-loved public park in Barcelona.

#2: Remember the rooftops on hot Spanish evenings, especially in Madrid. Also, if you are staying in Madrid from June to September, spring for a hotel or AirBnB with a pool, to while away the hours of afternoon siesta when it is really too hot to be sightseeing (we didn’t and wish that we had done so).

A June sunset, from the 9th floor rooftop at El Cortes Ingles department store in Madrid, where we enjoyed Mexican food and margaritas. After sunset, browse the gourmet market, a great spot for picking up foodie gifts.

#3: Ditch the car and ride the rails. Taking a cue from Japan, Spain is building a network of high-speed rail that currently connects most major destinations, including Barcelona, Seville, and Malaga, to Madrid. If you are planning on multiple legs, buy a RENFE Spain pass. The so-called AVE train zips passengers from Madrid to Barcelona in three hours, and from Barcelona to Paris in five.

#4: If you rent a car, be prepared to drive a stick shift and don’t skimp on paying for the Garmin. I did skimp, and the $20 savings decreased my life span by at least a couple of months on an otherwise lovely day trip to the medieval village of La Alberca, about an hour’s drive from Salamanca. The village is easy to find, but getting in and out of Salamanca, even with a map, was challenging without a navigation aid.

The main plaza in the mountain village of La Alberca, a National Historic Site, with homes preserved in the medieval style. Note the crucifix dominating the square. The village is popular with local day trippers and with hikers seeking to exploring the surrounding Sierra de Francia trails.

#5: Spend at least a couple of nights in a lesser-known or off-the-beaten path destination. We spent four nights in Salamanca, where my niece was studying and which is home Europe’s first university, founded in the 12th century. Initially, I thought it might be a stretch to fill four days in Salamanca, but as it turned out, we could have spent more time there.  I loved the city’s lively Plaza Mayor and its cobbled medieval streets packed with history, cafés, and singing students. Who can’t love a town that boasts a public library housed in a 13th century building designed by Moorish architects?

My favorite elephant, a popular meet-up spot at Salamanca’s Plaza Mayor, the largest in Spain.

#6: Throughout Spain, reduce your expectations of a foodie paradise. You will eat some very good food, but it’s also likely that you’ll eat meals that are just plain terrible.  Generally speaking, you’ll find the best food at small neighborhood restaurants (especially in Barcelona), and the worst at places that cater to tourists: rubbery calamari, lukewarm microwaved paella, and salads drenched in mayonnaise-based dressings.

Even TripAdvisor let me down with its #2 recommendation in Salamanca, the Cuzco Tapas Bar. It was okay, for a bite of solid if not memorable tapas, but the menu was limited and offered nothing unique. The fact that this pedestrian spot earned the #2 rating illustrates the challenge of find the places frequented by locals. While walking around the city, we stumbled upon the excellent El Laurel vegetarian restaurant, which was packed with locals at lunch, and couldn’t seat us. We returned later that evening for a lovely and reasonably-priced dinner, albeit not a very Spanish one (except for the wine).

#7: Speaking of wine,when in Spain, plan on drinking a lot of wine, sangria, and tinto de verana (a refreshing blend of seltzer and red wine). It’s Spain, and you have plenty of time for a siesta. Consider visiting a winery for a wine-tasting, such as those offered at Oller del Mas Cellar by Castlexperience in Barcelona. Just outside of Salamanca, we spent a lovely evening at the winery-hotel, Hacienda Zorita, where we enjoyed a wine tasting and farm-to-table dinner.

Enjoying a pre-dinner glass of wine on the grounds of Hacienda Zorita, near Salamanca.

#8: If  you have time for only one adventure in Madrid, do a food tour, such as those offered by Devour Madrid.  On our four-hour tour (mostly walking and standing until the last hour, when we sat down to a tapas meal), we enjoyed the best traditional tapas Spanish of our trip.

Our Devour Madrid tapas tour took us to the narrow streets of old Madrid, where each tapas bar has a signature dish, such as the garlic shrimp offered here along with a glass of sweet Spanish vermouth. We never would have found these places without a great deal of time and research.

#9: Live like a local: ride the Metro and city buses. Both Madrid and Barcelona have efficient, easy-to-navigate Metro systems, along with route-finding apps that work without wifi. But heed the warnings about pickpockets, especially on the Metro. A very polished, well-dressed lady carrying a large coat almost managed to snag my wallet.

In the summer, locals flock to Barcelona’s Plaça D’Espanya for the fountain show, street entertainment, and evening breezes.

 

#10: Plan ahead, but discover day-to-day.  In Barcelona, we loved the bike tour that we discovered. We planned ahead for the recommended hop-on hop-off bus, which was just okay (a lot of time on the bus). However, the bus helped us discover Òleum, the formal restaurant at the Catalan Art Museum on Mount Juic, and we returned for dinner with a view of the fountain show at Plaça D’Espanya.

The unexpected surprise of mountain goats wandering the around the 15th century monastery at the 5,682-foot summit of Peña del Francia, outside of La Alberca. Another surprise on the almost-deserted mountain: good coffee and drinks in a summit café.

Sources and resources

For more ideas on rooftop lounging, see “Madrid’s Best Rooftop Bars“.

For more information on La Alberca in the autonomous Castilla y Leon province, see the town website. The village is a popular weekend day trip for Spaniards and also for hikers who want to explore the many trails of the Sierra de Francia. On our visit, we drove to the summit of Peña de Francia to visit a 15th century monastery, now abandoned, although we did find a café in the understory of the modest conference center complex. The summit (pictured in the post header) is a destination for pilgrims. During the summer months, Mass is celebrated on a regular basis in the mountaintop church.

 

 

 

Inventing Nature at Acadia National Park

I love the barren open summits of Acadia National Park on Mount Desert Island, Maine.  On Memorial Day, we set out from the Jordan Pond House and completed the 6-mile-ish out-and-back hike to Penobscot and Sargent Mountains.

We started hiking beneath gray skies, just after a shower, but by the time we climbed out of the trees onto the ridge of Penobscot Mountain, the clouds were clearing and the view expanding with each upward step. When we reached the 1,373-foot summit of Sargent Mountain, we breathed in 360-views of a vast panorama:  Frenchman’s Bay, the Cranberry Islands, Cadillac Mountain, Eagle Lake, Somes Sound.  Black files buzzed around our heads, but couldn’t detract from the awesome experience of these natural vistas. (Below, the view of Jordan Pond on our ascent down Penobscot).

Samuel de Champlain made this map of the northeastern coast of American on his 1604 voyage.

Mount Desert Island, in this cropped version of Samuel de Champlain’s 1604 map of the northeastern coast of America. (See link at bottom of post to access view of entire map).

However, when explorer Samuel de Champlain “discovered” Mount Desert Island in 1604, he both saw and didn’t see what we see today.

The mountains he described still dominate the view from the bay, but de Champlain was exploring a dark wilderness, full of hidden rock ledges, unknown beasts, and potentially dangerous people.  His ship ran aground on a rock that ripped a hole in the keel.  Where we see beautiful open summits, de Champlain saw lots of rock, a barren inhospitable desert.

In his description of the island, he wrote, “It is very high, and notched in places, so that there is the appearance to one at sea, as of seven or eight mountains extending along near each other. The summit of the most of them is destitute of trees, as there are only rocks on them. The woods consist of pines, firs, and birches only. I named it Isle des Monts Déserts.”

For the first 18th century European settlers, Mount Desert Island was a desert, an isolated place where hardy families eked out a living from fishing and small farms.  But at some point, perspectives changed.  The rocky desert became an Arcadia, a version of the ancient Greek district whose name contains layers of meaning, including “idyllic place” and “refuge.”

Mount Desert Island did not change.  But our ideas about nature did, largely due to the work of artists who transformed the island from a rocky outpost to a place of inspiration and wonder in which mind, body, and soul could be rejuvenated.

The first to arrive was artist Thomas Cole, the founder of the Hudson River School of landscape painting, who came to Mount Desert Island in 1844, and created several paintings that were widely exhibited in the years to follow.  Cole’s pupil Frederic Church followed in his footsteps, making his first trip to the island in 1850, where he sketched and made notes for future paintings.  Other artists followed.

Thomas Cole's "View Across Frenchman's Bay after a Squall" (1845).  Cincinnati Art Museum.

Thomas Cole’s “View Across Frenchman’s Bay after a Squall” (1845). Cincinnati Art Museum.

Collectively, at Mount Desert and in other places in the northeastern United States, the Hudson River School of artists invented a new and more romantic concept of nature as a place of beauty, a source of mental sustenance and renewal in the industrial age.

The skies might darken with clouds or twilight, but no longer was the dark a source of uncertainty and fear  Instead, the interplay of darkness and light offered another way to view the world’s grandeur.  Dangerous surf and forbidding rocks became a source of “the sublime” — that combination of beauty and terror generated by the sight, sound, and feel of a massive wall of water crashing against a cliff.

"Sunset, Bar Harbor," by Frederic Church (1854)

“Sunset, Bar Harbor,” by Frederic Church (1854). Possibly influenced by writer Henry Thoreau’s essays about travels in the Maine woods, Church returned to Maine to visit the North Woods. He eventually bought property in the Millinocket area, where he painted Mount Katahdin and other landscapes. But that’s a blog post for another day.

Although marketing was not their intention, in reinventing “Nature,” the Hudson River painters who visited Mount Desert created a place that many wanted to visit. In the mid-19th century, newly middle-class “rusticators” began to come to the island. They boarded in locals’ homes, took long walks and hikes, and breathed in the smell of the Atlantic.

Then, during the Gilded Age, the super-wealthy discovered the island, built massive summer homes, and transformed the rocky desert to a high society destination.  Eventually, some of those people, led by George Dorr and John D. Rockefeller, Jr., donated large chunks of land so that this natural wonderland could be enjoyed by all Americans and not just a wealthy few.  The Park was established in 1919, thanks in large part to Dorr, Rockefeller, and others. But the idea of nature as being worthy of preservation was the creation of 19th century artistic visionaries–the painters, but also writers like Henry Thoreau and John Muir, and photographers like Yellowstone’s William Henry Jackson—who transformed the way we think about nature.

Noted maritime artist Fitz Henry Lane, of Gloucester, Massachusetts, travelled to Mount Desert and to paint this scene, titled "Off Mount Desert," in 1856.  (Brooklyn Museum).

Noted maritime artist Fitz Henry Lane, of Gloucester, Massachusetts, travelled to Mount Desert and to paint this scene, titled “Off Mount Desert,” in 1856. (Brooklyn Museum).

Today students who study the arts (in all of its forms) often have to endure questions about the value of what they are doing.  How they will support themselves?  When will they stop dreaming and get a real job?  After all, the arts are “decoration,” nice if you have the time to dabble, but not essential.

These questions about the value of art are not a new phenomenon.  And of course, it is difficult to make a living an artist.  But artists and writers, as much or more so than scientists and engineers, are inventing the future as they shape and create ideas.

What ideas are artists, writers, and musicians transforming today?

Note: Take a peek below for examples of how artists continue to follow in the footsteps of Cole, Church, Lane and others today. For more information on another great hike in Acadia, see my paragraph about Mount Dorr via the Homans Path in Five Great Family Hikes in Maine.

Mount Desert III, 1996, by Richard Estes.  The Portland Museum of Art is exhibiting a major retrospective collection of Estes' work this summer (2014).

Mount Desert III, 1996, by photorealist painter Richard Estes. The Portland Museum of Art, in partnership with the Smithsonian Museum of American Art, is exhibiting a major retrospective collection of Estes’ work this summer (2014).

For more on the Estes exhibit, see the Portland Museum of Art website.

Contemporary artist Philip Koch pays tribute to Thomas Cole and other 19th century landscape painters in his painting, "Frenchman's Bay." (See resources below for links to Koch's website).

Artist Philip Koch pays tribute to Thomas Cole and other 19th century landscape painters in his painting, “Frenchman’s Bay.”

To learn more about Philip Koch, see his blog.

Head of Somes Sound, by Ernest McMullen.

Head of Somes Sound, by Ernest McMullen.

For more on artist Ernest McMullen, see The Gallery at Somes Sound.

Additional sources and resources:

Entire de Champlain map of northeastern coast of America, from his 1604 voyage. Champlain quote from Memoir of Samuel de Champlain, Volume II, 1604-1610, Chapter 5.

For more on Frederic Turner’s paintings in Maine (including many in the Millinocket region), see John Wilmerding’s Maine Sublime: Frederic Edwin Church’s Landscapes of Mount Desert and Mount Katahdin. Ithaca, NY: Cornell University Press, 2012.

“Mount Desert Island and Isle au Haut (Modern Acadia National Park, ME)”.  National Park Service Archeology Programs.

Mount Desert Island: Shaped by Nature.  Maine Memory Network.

 

Tiny travel, big world at the Peabody Essex Museum

I call this blog The Maniacal Traveler because I have a mania for travel in all its forms.  Visiting museums, wherever they are, is a sort of super-condensed travel, or tiny travel. The Peabody Essex Museum – established by the sea captains of Salem, Massachusetts in 1799, before the notion of a museum even existed — is a tiny travel dream because of its rich history, its amazing collection, and its innovative and quirky special exhibits.

Case in point: Recently, I pulled The Seal out of school to travel to a world of guitar-playing zebra finches in the special exhibit, from here to ear, by French artist Céleste Boursier-Mougenot.

In the exhibit, 70 or so zebra finches fly and flit around a large space and land on various Gibson Les Paul and Thunderbird bass guitars set on posts about three and a half feet off the ground.  When the finches perch and peck on the guitar strings, they make music, of a sort, in a fascinating display of human-animal collaboration.

When we visited, the birds were landing on guitars in singles and the occasional pair, and not in a flock as pictured here.  A museum staffer told us they are unpredictable in their behavior, but tend to be the most active when just a few people are in the room (photo from PEM website).

This museum photo shows the birds gathering on the guitar. When we visited, the finches landed in ones or twos on the various guitars, producing some interesting twangs. At one point, a bird pecked at a string, producing something akin to a song. A museum staff member explained that sometimes the birds are more interested in perching and pecking than other times, but what they choose to do is very random (photo from PEM website).

This exhibit, a perfect hook for getting a teenager into the PEM, was pure delight.  After a 30-minute wait, we were led into the aviary-like space where the zebra finches flit about, hang out in their small basket condos, or hop around on the floor.  At times I had to be careful not to step on a bird, although I’m guessing that the finches are adept at avoiding feet.

Finches flew so close to my head that I could feel the wind generated by their flight on my cheek.  At one point, a female pecked at my leather shoes and, finding them hospitable, hopped onto the top of my foot, and began to groom herself.  She hung out there for about five minutes, while a group of males clustered below and chirped for her attention.

No filming or photos of the exhibit are permitted, but this clip from a similar exhibit that Boursier-Mougenot mounted at the Barbican Centre in London shows the birds in their most active mode:

I’m sorry to say that this special exhibit ends on April 13 (and the free-but-timed tickets have been sold out on weekends for a long time), but I will look for Celeste Boursier-Mougenot  and birds in the future, wherever they may land.

I especially liked how the exhibit challenges our ideas about “art.” We often say that we want “out-of-the-box thinking” to build things and solve problems, but when we encounter  such thinking in the world of art, we often dismiss it as gimmick or nonsense. Kudos to Boursier-Mougenot  and his birds for their playful work in breaking the boundaries of artistic boxes.

A related exhibit, “Beyond Human: Artist-Animal Collaborations,” remains open through September. This exhibit features the work of photographer William Wegman, well-known for his whimsical photos of his Weimaraner dogs with costumes and props, as well as that of more obscure artists who do things like work with hissing cockroaches that “paint pictures” or play a Japanese flute in harmony with howling wolfs.  (The artists adhere to specific ethical guidelines in working with their animal collaborators).

William Wegman's "Platform Shoes", 2008, (PEM website).

William Wegman’s “Platform Shoes”, 2008 (PEM website).

My favorite here was German artist Corinna Schnitt’s short video of a floor-level view of animals mingling in the her living room: cows, goats, a donkey, ducks, a parakeet, a cockatoo, a rabbit, and the family cat.  In the background, a llama seemed to be raiding the kitchen.  The exhibition note explained the video might stimulate us to think about our own interactions in similar spaces.

I’m not sure if the film made me think more deeply about mingling at a cocktail party, but it sure was fun.  The ducks seemed like little busybodies, butting into the business of the goats and disturbing the zen of the rabbit.  The cow, frankly, seemed out of her element, especially when she tried to horn in on a conversation between two goats.  The cat calmly sat on a chair, perhaps observing the behavior of her fellow creatures, or perhaps wishing they would all go home.  Now that I think about it, I have been to a few parties like that.

The collections at the PEM originally were generated by the 18th and 19th century world travels of Salem’s sea captains, and include art and artifacts the Far East, the South Pacific, and the Alaskan coast that were preserved and cataloged long before any other Western institution recognized these items as art.

Sir William Pepperrell, painted by John Smibert (sometimes Smybert) in 1746.

Sir William Pepperrell, painted by John Smibert (sometimes Smybert) in 1746.

For me, there’s something amazing and wonderful about looking at art or objects that connect me to the distant past. (I wish I could touch them, but understand why I can’t). In the first floor American Art gallery, the massive 1746 John Smibert portrait of Sir William Pepperrell, the hero of 1745 siege of Louisbourg and  a one-time “king of Kittery,” took my breath away, even if the gallery security guards drew a blank when I asked where his portrait was located. William who?

William had stood for this portrait, had looked at it, had touched it.  At one point, the portrait had hung (I think) in his home–just down the road from my house! And now I was meeting it, in the flesh (in a manner of speaking).

The Yin Yu Tang Chinese house at the PEM deserves its own post, but I will mention it here.  Almost by happenstance, in the late 1990s, when the Museum had an unusual  opportunity to purchase, transport, and rebuild a 200-year-old traditional village merchant’s house, they grabbed it, as part of an ongoing effort to facilitate cultural understanding of China.

In the late 18th century, the house had been carefully assembled in a very complex Lego-like fashion, with each piece carefully labelled.  In 1997-98, museum staffers and their Chinese collaborators carefully disassembled the house down to the last timber, tile, and brick, then transported it in 19 containers to Japan, then to New York, and then by truck to Salem, where it was rebuilt (over several years time) on the Museum grounds. It opened to the public in 2003.

Yin Yu Tang reflects 200 turbulent years of Chinese history, right down to a circa 1960s small speaker that was installed by the government in one of the main rooms to broadcast news and propaganda to the occupants several times a day.

Two lion carvings on the front of the house, intended to ward off evil spirits, were deliberately defaced by the owners during the Cultural Revolution of the late 1960s so as not to attract the attention of authorities who had outlawed such carvings as superstitious.

A wealthy and unloved relative who had taken over certain rooms as payment for a debt was relegated to the second floor after the Communists gave his rooms to two peasant families.  This man, disliked by his relatives for his mean-spirited personality and castigated as an evil “landlord” by the Communists, died of hunger in the house during the famine of 1960.

The website devoted to Yin Yu Tang offers a great preview as well as detailed information about the house, its inhabitants, and the disassembly/reconstruction process.

Thus, in one day, I traveled to a world of esoteric music and animal art, to colonial Kittery, and to China, and even made a quick stop in California circa 1920-1965, to an exhibit on the art and influence of California design.  I spent two hours (roundtrip) in my car, and, thanks to my library pass, $10 on admission fees (kids under 16 are free).  A big world for tiny travel and a good day’s of journey for a maniacal traveler.

Art amidst the mills of North Adams

November December 2013 104

Fall leaves and outdoor swimming go great together!

A decaying mill town on a gray November weekend in an isolated corner of Massachusetts might seem an unlikely destination, but North Adams had been on my radar for a while.

The  Massachusetts Museum of Modern Art (Mass MoCA) offered intriguing, colorful and large-scale modern art likely to engage a 12-year-old non-artsy boy.  The Porches Inn provided a 24-hour outdoor heated pool and hot tub.  And Spruce Hill, just outside of town, is listed in Jeffrey Romano’s book, 100 Classic Hikes in New England.  Plus, right above town, we could experience the hair-pin turn on Route 2.  Why go to Disney World when North Adams awaits?

North Adams is a classic New England mill town, with acres and acres of massive red-brick empty mill buildings. Manufacturing in North Adams dates back to the Revolution, but now industry is all but dead, the final nail in the coffin coming with the 1985 closure of the Sprague Electric Company plant on Marshall Street (previously the home of the country’s largest textile print mill).  The Sprague plant was much more than a small-town components factory; it had state-of-the-art equipment and served as the company’s research and development center.  Employees included physicists and electrical engineers as well as line workers making electrical components.  At its peak in the 1960s, the company employed more than 4,000 workers.  The 1985 closure struck a massive blow to the community.

In the 19th century, sheep farmers in the hills around North Adams abandoned their fields for the relative comforts offered by row houses in the town.

In the 19th century, sheep farmers in the hills around North Adams abandoned their farms for jobs in the mills and the comforts offered by the row houses in town (on the Spruce Hill hike).

Soon after plant’s closure, town officials set their sights on reviving the town. In 1999, Mass MoCA opened at the sprawling Sprague complex to become the world’s largest contemporary art museum.  Although it’s unlikely that art will ever replace Sprague’s 4,000 jobs (plus the related jobs in other businesses), Mass MOCA has served as the cornerstone of the town’s revival, with other art galleries opening in its wake, along with restaurants, shops, and The Porches Inn.

Mass MoCA is fun – the perfect art outing for families with tweens or teens (and many were wandering around the place). Kids who might be bored with the portrait galleries of the Museum of Fine Arts will find much here to intrigue them.  The exhibits are constantly changing.

When we visited, Jason Middlebrook’s monumental hanging water fountain sculpture, Falling Water, packed a big “wow” factor. Mark Dion’s Octagon Room offered an intriguing bunker-like space to explore.  The colorful patterned paintings of Sol Lewitt (more or less on permanent exhibit) provide hope to non-artists that they too can create something beautiful, as Lewitt allows others to use his patterns to recreate his art.

The marble bridge, unique in North America, offers another sort of sculpture at Natural Bridge State Park, just outside of town.

The marble bridge, unique in North America, offers another sort of sculpture at Natural Bridge State Park, just outside of town.

European sculptor Joseph Beuys’s three-dimensional montage, Lightening with Stag in Its Glare, intends, per the catalog, to evoke “the spiritual power of animals and nature” while celebrating “the victory of socialist warmth and self-determination over materialist greed and alienation.”  For kids, however, the most interesting question is whether the irregularly shaped brown objects lying on the floor are lacquered turds or primordial worms (or perhaps both).

November December 2013 051

 

 

Just getting up to see Michael Oatman’s Airstream trailer repurposed as some kind of exotic aircraft (titled “The Shining”) is a unique museum adventure.  Visitors have to climb a few flights of stairs past old boilers and pipes to reach the outdoor platform where the trailer is perched.  The rusted pipes and equipment, which probably clanked and boiled well into the 1980s, now seem ancient.

A chilly November dawn in North Adams.

A chilly November dawn in North Adams.

Across the street from MASS MoCA, the Porches Inn is laid back and easy-going, with 24/7 access to the hot tub, sauna and pool. Visitors can order happy hour drinks at the small bar and sip them in the living room.  We decided to catch the sunrise each morning from the hot tub, although we kept forgetting to get up early enough due to the recent “fall back” switch to Eastern Standard Time.  Although we missed the official moment of the sun rising, we enjoyed sitting in the hot tub sipping fresh coffee and watching the pink sky.

The 3.5-mile loop hike up to Spruce Hill provided a good opportunity for leg-stretching and views of North Adams and Mount Greylock.  The loop trail through the forest took us along a massive beaver swamp, with many freshly chewed trees. The beavers remained hidden.

View from the summit of Spruce Hill, with Mount Greylock in the background.

View from the summit of Spruce Hill, with Mount Greylock in the background. The ledge was slippery, with a steep drop-off on one side. I lost my footing and fell hard on my behind, but at least I was on the right of the ledge!

In Mass MoCA, I took plenty of photos of the art, but I can’t publish those shots online. So when I was in North Adams, I tried to make my own art by shooting artsy photos. If you don’t know what they are, then I guess I have succeeded in creating modern abstractions (see below).

By the way, last year, on this same November weekend, we made our first-ever trip to Orlando to visit Harry Potter world at Universal Studios.  Jeremy rated that trip as a five-star adventure.  Our weekend in North Adams:  4.5 stars.  A pretty good rating, I’d say, for a place that exemplifies “November” in New England (i.e. gray, barren, and chilly).  Chamber of Commerce, take note:  with the right spin, marketing North Adams as the alternative destination for families weary of roller coasters just might work.

What kind of monster beavers can fell a tree this thick?

What kind of monster beavers can fell a tree this thick?

 

Stream in fall.

Stream in fall.

 

Modern art in the forest: the exposed veins of a tree.

Modern art in the forest: the exposed veins of a tree.

The Ghost of a Pepperrell Lady

John Singleton Copley rarely painted children, but likely couldn't refuse the commission from Isaac Royall for the portrait of his two daughter.  The Royall family amassed a fortune trading slaves and merchandise. By the 1750s, Isaac Royall was one of the wealthiest men in New England.

John Singleton Copley rarely painted children, but likely couldn’t refuse the commission from Isaac Royall Junior for the portrait of his two daughters. The portrait is owned by the Boston Museum of Fine Arts. Click portrait for larger view.

Elizabeth Royall was a royal – a member of New England’s informal royalty.  When she was a tween girl, she and her older sister Mary sat for a young John Singleton Copley when he came to their Medford, Massachusetts house to paint their portrait in 1758.

New England royalty differed from British royalty in that most of the region’s wealthiest families had earned their royal status via a combination of education, commerce and the luck of having arrived first.  Once having attained their status, New England’s royal families maintained it with strategic marriages, lots of social networking, and visits to England to establish and nurture helpful contacts.

Elizabeth’s grandfather Isaac Royall, born to a family of modest means in colonial Maine, kickstarted the family fortune as a merchant mariner who eventually amassed a fortune trading in rum, sugar and slaves. By the 1750s, Elizabeth’s father had inherited the family’s elegant home and farm in Medford and freely enjoyed the fruits of his wealth while continuing to add to his immense fortune.  The Royall family was the largest slaveholder in New England, and the 20-27 slaves they owned (at various periods) supported the Royall lifestyle with their labors in the house and on the farm.

This portrait of Elizabeth and her older sister Mary, according to the Museum of Fine Arts, is designed to show off the family’s wealth and status through both the silk dresses and laces worn by the girls, and the inclusion of their pet dog, a King Charles spaniel then fashionable with English royalty.

Elizabeth and Mary grew up in this Georgian-style mansion that their grandfather had built around a brick farmhouse on the site that originally was owned by colonial Governor John Winthrop. Their father, Isaac Jr., had to flee from Boston during the Revolution and the property was confiscated by the state. During the first months of the war, it was used by Generals Lee, Stark and Sullivan and visited by George Washington.

Elizabeth and Mary grew up in this Georgian-style mansion that their grandfather had built around a brick farmhouse on the site that originally was owned by colonial Governor John Winthrop. Their father, Isaac Jr., had to flee  Boston during the Revolution and the property was confiscated by the state. During the first months of the war, it was used by Generals Lee, Stark and Sullivan and visited by George Washington.

A few years after sitting for the portrait, Elizabeth caught the eye of fellow New England aristocrat, William Pepperrell.  Young William, from Kittery Point, Maine, was the great-grandson of a Welsh orphan who had parlayed a fishing sloop at the Isles of Shoals into a small fortune that was further expanded by the commercial dealings and real estate investments of his son, William Pepperrell, who later achieved fame as the commander of a colonial militia that succeeded in taking the fort at Louisbourg, Nova Scotia, from the French in 1745, service for which King George II awarded him a baronetcy. (The fort, however, was returned to France as part of a post-war territory swap).  Pepperrell’s only son died at age 24. Eventually, Sir William named his grandson William Sparhawk as his heir, on the condition that he change his surname to Pepperrell.

After graduating from Harvard in 1766, young William began to prepare for his role as keeper (and expander) of the family fortune. Exactly how Elizabeth and William met is not known, but as “royal” young people of similar ages, they would have readily crossed paths in the Boston social scene in which both were active. Even though William hailed from Maine, his grandmother Mary Hirst Pepperrell was a Bostonian. In addition to his time at Harvard, it’s likely that as William grew up, he and his siblings spent extended periods of time visiting relatives and friends in the city.

The pair met and fell in love.  Then and now, people tend to end up marrying others of similar social backgrounds, but that didn’t mean that these two young people didn’t feel a spark.  William was 21 when they married in Boston’s Anglican Christ Church on October 24, 1767 (some sources list the date as November 12).  Elizabeth was probably around the same age.   A year later, in the fall of 1768, William left a newly-pregnant Elizabeth and headed off to England to polish and secure connections that could enable the family’s fortunes to thrive.  He stayed aboard for almost two years, missing the July 1769 birth of his daughter Elizabeth, although he was quite thrilled when he finally got to meet her. “I found my little girl finely grown she stands very well & just beings to speak & tho’ I am a very young Papa,” he wrote to Lord Edgecumbe. “I find myself a very fond one.”

Elizabeth wrote him many letters while he was in England.  She didn’t hold back on sharing her feelings.  She missed him.  She felt that the Sparhawk family in Kittery Point, especially her mother-in-law, didn’t like her.  She filled him in on all the royal gossip, such as New Hampshire Governor John Wentworth’s marriage to his cousin Frances ten days after the death of her husband Theodore.  “A good hint to him,” she wrote on November 15, 1768, “of what he may expect, if she outlives him but I think he’ll deserve it.” (As it turns out, Elizabeth’s observation was on target: Frances Wentworth later had a scandalous affair with Prince William Henry, the third son of King George III,  and 20 years her junior, while John was serving as Lieutenant Governor of Nova Scotia).

But when William Pepperrell returned to Boston in the summer of 1770, after almost two years abroad, he found a world turned upside-down.  A series of Parliamentary acts had resulted in protests and boycotts. One-time college buddies had become political activities. People were taking sides, Patriot or Loyalist.  Like many who eventually came to be called “Loyalists,” William was conflicted – he didn’t like many of the laws passed by the British parliament — but he also didn’t countenance rebellion.

In 1774, William wrote letters to British figures such as Parliament member Edgecumbe and Prime Minister Lord North, urging conciliation and peaceful resolutions.  By 1774, however, the royal government had gutted the charter of Massachusetts. The elected Council on which William served was dissolved and replaced with a Council of appointed men.  William elected to not to resign, as so many others had done, and was branded as a Loyalist with a capital L, even though the title didn’t truly fit.

These years of stressful politics, however, were probably happy ones at home.  Elizabeth had three additional children, Mary, Harriot, and William, in the five years after William’s return from England. Baby William, their fourth son, was born in the summer of 1775.  By now, the Revolution had begun. Thanks to their costly victory at the Battle of Bunker Hill, the British still held Boston, but the town was blockaded by land.  Food and other supplies were scarce. For the Pepperrells, the world of luxury and privilege they had always taken for granted no longer existed.  But they had each other.

Then in September Elizabeth came down with a fever, sore throat, and a bad case of dysentery. Three weeks later, she was dead, and William became the single parent of four young children (including his two-month-old infant son).  William also took ill and almost died, but recovered, although he wrote to his mother that he wished not to.  Did Elizabeth contract cholera or typhoid fever? A virulent strain of influenza?  A bad case of food poisoning?  The cause is uncertain.

William blamed the war and the food shortages that resulted in a diet heavy with salted meat.  “But I still breath,” William wrote to his mother Elizabeth Sparhawk, in November 1775. “Love I never can again, till my soul is rewedded to that of my dear Betsy’s in the Joy of praising God forever.” She was, he wrote, “my deceased Friend & the worthiest of women.”

In the spring of 1776, grief-stricken and subject to arrest if he stayed in Boston, William, with his four children, set sail for England, where he became a leader of American Loyalists and an advocate for America prisoners-of-war.  By legislative act, all of his property was confiscated by the state of Massachusetts. He never returned to the U.S., nor did any of his children. (His Sparhawk brothers, however, eventually returned to Kittery).

In 1779, Copley painted this portrait of the Pepperrell family in London.  The portrait (which is owned by the North Carolina Museum of Art) recalls happier times, as Elizabeth had been dead for three years.

In 1779, Copley painted this portrait of the Pepperrell family in London. The portrait (which is owned by the North Carolina Museum of Art) recalls happier times, as Elizabeth had been dead for three years.  Click on portrait for larger view.

Also living in London was Boston painter John Singleton Copley, who had moved there for artistic reasons.  In 1778, Copley painted his second portrait of Elizabeth Royall  — a portrait of her ghost.  In a family portrait commissioned by William, Copley depicts a happy family, the six Pepperrells, including Elizabeth, at the peak of her beauty and fashion, but dead now for three years.

As with most colonial women, the historical record provides only glimpses of Elizabeth.  Although her marriage to William is recorded, I have not found a record of her birth or death, or the location of her grave.  But she did leave us her voice, in letters that she wrote to William while he was in Europe; the Portsmouth Atheneum holds a transcribed collection of them.  The letters are chatty, sometimes petulant, loving, impatient, and brainy. Sometimes Elizabeth seems like a flighty young woman – after all, she was young, pregnant, and probably bored at her parents’ Medford home. But the letters also demonstrate that beneath the beauty lay a rigorous brain, as she asks William to bring home the latest books by scientists and philosophers.

What is most amazing about the letters is that they exist at all. William’s letters to her do not survive, although Elizabeth’s letters suggest that he wrote many.  As Henry Knox’s cannons set their sites on Boston, and Loyalists hurriedly packed up to evacuate with the British Army, William carefully packed up the letters, by then already almost ten years old.  The letters travelled to England, and then from one set of lodgings to another.  Did William take them out from time to time to read them again, and hear her voice? Did he share them with his sons and daughters, to help them know the mother they had lost so young?

The letters survive today, in a private collection in England, as do Pepperrell’s descendants.  William never re-married.  All of his children fared well, with good careers and marriages. In his older years, William was comfortable, though no longer well. Never again would he watch sloops cruise past Kittery Point up the Piscataqua River to Portsmouth.  Nor would he marry.

William was just shy of thirty when his wife died, and he lived to be 70. When he lost the love of his life, he still had his entire life ahead of him.  Why didn’t he marry again, at a time when many young men lost their wives (usually in childbirth) and remarriage was routine? Was William preoccupied with his work and with raising his children?  Was he not an attractive prospect because of his vastly reduced circumstances? Did he have flirtations and dalliances, or maybe a housekeeper/companion that shared his bed, if not his title?  Or did William decide that no woman could ever replace Elizabeth in the family portrait?

In politics, Sir William was conflicted, a loyalist with a small “l”.  In love, it seems, he earned his true title as Loyalist.

Sources and resources

Transcribed copies of Elizabeth Royall’s letters can be viewed at the Portsmouth Atheneum (although you have to go there in person to look at the letters).

For additional information on the portrait of Mary and Elizabeth Royall, visit the Boston Museum of Fine Arts.

For additional information on the Copley portrait, Sir William Pepperrell and his family, visit the North Carolina Museum of Art.

The Royall House and Slave Quarters, in Medford, Massachusetts, is open on the weekend for tours from May through October.   A beautiful location, and a secret hidden gem.  The slave quarters are the only extent slave housing in New England.

For more detailed information on William’s status as a “loyalist” (small “l”), see “A ‘Great National Calamity’: Sir William Pepperrell and Isaac Royall, Reluctant Loyalists,” by Colin Nicolson and Stuart Scott, in the Historical Journal of Massachusetts Volume 28, No. 2
(Summer 2000).

Nathaniel Sparhawk and the art of swagger

“A wealthy merchant of Kittery, Maine”.

Nathaniel Sparhawk, one of Kittery’s most prominent 18th century residents.

So reads the caption, at the Museum of Fine Arts in Boston, beneath this John Singleton Copley portrait of Nathaniel Sparhawk, one of Kittery’s most prominent citizens of the 18th century, mostly because he had the good fortune of marrying Elizabeth Pepperrell, the only surviving daughter of Sir William Pepperrell.  But the few words of the caption – which likely would have pleased Nathaniel Sparhawk — do more to obscure than to illuminate his story.  Neither the caption  nor the portrait hint at the darkness in his life: bankruptcy and financial ruin, children forced into exile, the humiliation of having his wife sign off on all checks.

I encountered this portrait of Nathaniel – I’m going to call him Nathaniel, because he feels like a long-lost neighbor  — last winter, when I visited the new Art of the Americas wing at the Museum of Fine Arts.  Unexpectedly coming face to face with Nathaniel gave me the same thrill that someone else might experience upon meeting her favorite celebrity. Here he was, maybe not in the flesh, but in a life-sized portrait that helped me to connect the dots of the Sparhawk story.  An added bonus was standing before the elaborately carved door of the Sparhawk Mansion, also on display in the new wing.

This 1764 painting was Copley’s first attempt at a life-sized portrait similar to those of royal monarchs on display at the Town House in Boston. Many of these full-length portraits came to be known as “swagger portraits,” because they were intended to create an aura of grandiosity around the subject.  Sparhawk poses before imaginary Grecian columns in a classical setting, and wears a richly textured red velvet coat, with extra buttons added to give him more girth and thus more status, since a large belly was associated with wealth.

Nathaniel is smiling and relaxed in this portrait and appears to be a perfectly contented wealthy merchant.  In 1764, he probably could smile, but only because his inheritance from Sir William Pepperrell, his father-in-law, had allowed him to settle his debts and re-establish himself financially.  In 1758, Nathaniel was forced to declare bankruptcy and much of his property was sold at public auction.

One source attributes Nathaniel’s bankruptcy to increased taxation on real estate imposed by the British to pay for the Seven Year’s War (the French and Indian War on this side of the pond), but I suspect that taxation was a convenient scapegoat for that age-old problem of buying and spending more than the purse allows.  (All of the major taxation efforts to pay off the war, such as the Revenue Act and the Stamp Act, happened in the 1760s, after the war’s end).  In the 1750s, colonial businessmen flush with raw materials and agricultural products developed a taste for imported British goods. When the supply of such goods waiting to be sold outstripped the demand, many New England merchants found themselves in debt to British vendors.

Although bankrupt, Nathaniel continued to live at Sparhawk House, a luxurious 13-room mansion that Sir William had built in 1742 as

The Sparhawk House of Kittery Point, built in 1742 and demolished in 1967.

a wedding gift for his daughter Elizabeth (and once located at the end of today’s Sparhawk Lane, next to the Congregational Church in Kittery Point).  In this house, which featured many examples of fine wood-working, the Sparhawks raised five children, four sons and one daughter (two additional children had died in infancy).

Sir William died in 1759.  Although he had a close relationship with Nathaniel, who often helped him to manage his business affairs, Pepperrell’s will suggests that he didn’t quite trust his son-in-law to provide for his family.

The will left many parcels of land formerly owned by Nathaniel to Nathaniel’s various children, but not to Nathaniel himself.  It seems that when Nathaniel went bankrupt, William Pepperrell bought up many of his properties, with the intent of keeping them in the family.  Also telling is the fact that in an age when women lacked a legal identity apart from their husband, Sir William was quite clear that while income from certain properties would go to Nathaniel for “the support of his wife and children,” the property was not his to sell or mortgage, with the will stating that Elizabeth was “required to sign all receipts and to have sole power to bequeath her legacy.”

But just because Nathaniel’s portrait suggests that he wanted to look more prosperous and more important than he truly was doesn’t mean he wasn’t a good man.  He represented  Kittery in the General Court of Massachusetts and served as a justice on the Court of Common Pleas, assuming the role of Chief Justice after the death of William Pepperrell. He attained the rank of Colonel in the local militia.

I wonder if working in the shadow of his famous father-in-law chaffed at him.  Perhaps he felt that the elite of Portsmouth and Boston gossiped about him and his financial troubles.  In 1766, he was “negative-d” from the Council of Massachusetts, probably because he no longer owned enough real estate.  In the end, being kicked off the Council might have been a fortuitous turn of events because it pulled Nathaniel out of the political fray that ultimately led to the forced exile of his sons.

By the time of the Revolution, three of Nathaniel’s Loyalist sons, including Sir William Sparhawk Pepperrell, were living in England, exiled from the only country they’d ever known.  Pepperrell lands up and down the coast of Maine were confiscated by the State of Massachusetts. The war caused division within Nathaniel’s own family, with daughter Mary married to Dr. Charles Jarvis of Boston, an ardent patriot.

By 1775, in his early 60s, Nathaniel was suffering from poor health, which perhaps explains why he was not pressed harder to declare where his loyalties lay.  After he died on December 21,1776, the Boston Gazette and County Post wrote, “In all which Offices he distinguished himself as the Friend of his Country and frequently lamented his weak state of health which would not permit him to take a more active Part in the present Troubles.”

Although his son Samuel eventually returned to Kittery (but not Sir William or Andrew), the family never recovered from the Revolution.  According to one account, the Sparhawk mansion was sold in 1815 for a thousand dollars.  Another reports that one of the Sparhawk sons was living in a poorhouse by the early 1800s, although that seems unlikely, given the abundance of family members in the area.

In the latter part of the 19th century, Sparhawk Hall was carefully restored by an owner with an interest in preservation.  Eventually, Kittery businessman Horace Mitchell, a Sparhawk descendant, purchased the house in the early 20th century and hosted a visit from President Taft. In 1949, the mansion  had  a role in Louis de Rochemont 1949 movie, “Lost Boundaries,” serving as the fictional home of Dr. Scott Carter, a black doctor passing as  white in a small New Hampshire town (check out the movie to see the interior of the house; the exterior shots appear as if they were shot in front of  the Lady Pepperrell House rather than the Sparhawk mansion).

But by the early 1950s, the younger Horace Mitchell and his family were living in only four rooms of the house, having closed off the others. The house was a beast to heat and maintain and the Mitchells began to sell off individual pieces of it. The sculpted main staircase and much of the woodwork ended up in a mansion in Winthrop, Maine; the elaborately carved door went to Strawberry Banke.  In 1967, what remained of the house was demolished before preservation efforts could save it.

Nathaniel had every advantage in life, but also plenty of troubles. Although his portrait conceals his difficulties, the man himself seems to embody the essence of  “swagger”: someone who wanted to be successful and important, but maybe deep down always wondered  if he would have been able to make it without his father-in-law behind  him.  I can almost see Nathaniel swaggering down Pepperrell Road, calling out greetings to his neighbors.  He had many losses in his life, but puffed himself up and carried on.

Sources:

Burrage, Henry  S. “Colonel Nathaniel Sparhawk of Kittery.”  Collections and proceedings of the Maine Historical Society.  Maine Historical Society.  Read before the MHS February 24, 1898. P. 225

“The Making of ‘Lost Boundaries”

“Nathaniel Sparhawk.”  Museum of Fine Arts, Boston.

Senge, Stephen V. “’The Sparhawk Effect’ in Financial Statement Analysis“.  An internet search on Nathaniel Sparhawk often links to this material from a Simmons College professor about practices companies have used or do use to make their financial statements appear better than they really are.  However, I find no evidence that anyone other than Professor Senge utilizes this term, which Senge may have coined in using the “swagger portrait” as a classroom lesson  illustrating how companies puff up their financial statements.

“Sparhawk Mansion on Death Row.”  Link to additional photos of the Sparhawk Mansion before it was demolished in 1967.

Ward, Ellen MacDonald.  “Only a Memory.”  Downeast Magazine. February 1993, pp. 53-54.

I welcome comments, additional information about the Sparhawks, and corrections.