Tag Archives: History

Small Wonders (And More)

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It was several years ago that I first heard about a collection of miniatures in Maysville, Kentucky. I made a half-hearted attempt to find it one day but that was before smartphones, or at least before I learned how to use one, and I failed completely. A recent online mention again brought the collection to mind and this time there was enough information to easily locate it. I filled a wet and idle Wednesday, perfect for being inside a museum, with a visit. Those trip-triggering miniatures are housed at the Kentucky Gateway Museum Center along with two other major permanent exhibits and a research library.

One of those permanent exhibits is the Old Pogue Experience which provides a look at the area’s bourbon history. That’s where I began my visit. The photo at the top of the page is of the museum’s main entrance. Old Pogue has its own entrance although the two buildings are connected by a second-floor walkway. Production has not quite been continuous (Remember that Volstead Act thing?) but fifth and sixth generations of the family operate Old Pogue Distillery today with tastings available at the museum. The model of the 1910 Pogue Distillery could be considered a preview of coming attractions.

The Wormald Gallery is the other section of the museum I was thinking of when I spoke of two major permanent exhibits in addition to the miniatures. It is a mixture of truly permanent and rotating displays of regional history.  Among the many displays are two devoted to major exports of the past: tobacco and Rosemary Clooney.

Backstage Hollywood – The Photographs of Bob Willoughby is on display in the museum’s Calvert Gallery through March 16. Willoughby is the first still photographer to be invited by movie studios to work behind the scenes. The exhibit features unstaged glimpses of the likes of Sophia Loren, Marilyn Monroe, Elizabeth Taylor, and others from the 1950s and ’60s.

My decision to save the Kathleen Savage Browning Miniatures Collection for last was indirectly validated when a docent I was chatting with remarked that this is where people spend the most time. This model of the Catherine Palace is currently displayed in what might be considered the museum’s lobby area as a bit of a tease. I passed it on the way to the Backstage Hollywood exhibit then studied it closer on my return. The palace and all items in the miniature collection are said to be 1/12 scale.

Spenser House stands just inside the entrance of the main gallery of miniatures.

Local landmarks also get space in the collection. The Russell Theater, where The Stars Are Singing, with Rosemary Clooney, premiered in 1953, and the 1886 Cox Building are both still standing in downtown Maysville. After leaving the museum, I grabbed pictures (here and here) of both.

The whole world of Mother Goose doesn’t take up a lot of space here. Wynken, Blynken, and Nod are quite small and so is that contrary Mary. The pretty maids in a row, and in her arms, are even smaller.

The tinyness of displayed items is not always apparent in photos so I propped a real U.S. quarter up in front of some musical instruments. The diameter of the quarter is 0.955 inches or 24.26 millimeters.  I can only guess at the diameter of the valves on that trumpet.

The First Day of Pompeii:
The Exhibition

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Pompeii: The Exhibition opened at the Cincinnati Museum Center on Friday. I would have been in the first group admitted and possibly even the first person admitted if a guard had not blocked the stairs and escalators until precisely 10:00 AM. That was the official exhibit opening time but an unguarded elevator a few feet from the stairs meant that a group of patrons were receiving their pre-entry briefing when I and the rest of the walkers arrived. It’s always good to begin the day with something funny.

Following our own briefing, we entered, received another short briefing beneath the screen in the opening picture, and were then treated to an introductory video on that screen. At the video’s end, doors opened on a life-size marble statue of the goddess Aphrodite. Much like the moon, this is the view of the goddess that we most often see although there is another.

Pompeii was a prosperous port city and art was plentiful. Public spaces and private homes contained decorative mosaics, frescoes, fountains, and more statues.

There were plenty of practical items too. Examples are scales used in the market, fishing hooks, and cooking utensils. I know I’m not the only one with a cast iron skillet that looks almost exactly like this bronze one from Pompeii.

I suppose these items are also practical in their own way. Gladiatorial contests were primarily held for entertainment but staying alive was definitely a practical concern for the participants. Next to the displays of weapons and armor, a holographic video about the various types of combat got its share of attention.

Also getting attention was a small room offset from the primary flow. Both entry briefings had described the special markings for this adult-oriented display in case parents wanted to make sure their charges avoided it. If any did, it wasn’t obvious. A sign begins with the astute observation that “Ancient Roman sexual customs were different from those of our contemporary society.” Back then arriving with bells on really meant something.

Theatrical entertainment was quite popular in all of Rome including Pompeii. Actors wore masks to establish their characters. Here is a fresco depicting a pair of masks and a full-size marble mask. Both of these were purely decorative as masks actually worn on stage were made of lighter materials such as linen.

Another set of warnings in those entry briefings concerned loud noises and bright lights in the “4D eruption theater”. I do not doubt that these could be disturbing for some but most will find them underwhelming. Same with the slightly moving floor which I assume is the fourth dimension. If you enter expecting a high-definition video of the eruption shown on a large flat screen you will see an extremely good one. Expect more and you might be disappointed.

Images of the casts of the victims of the eruption are the most familiar and also the most disturbing. These are not human bodies but shapes formed within the volcanic ask where bodies once were. The quote on the wall in the first picture is from Pliny the Younger who watched the eruption from a little more than a dozen miles away and then documented it. In this exhibit, many of the casts are displayed in front of large photographs which I assume depict the situation in which they were found.

Exit is, of course, through the gift shop where we are reminded that striking a good final pose will greatly increase your chances of appearing on a shot glass or refrigerator magnet in a couple of millennia.

Aphrodite’s butt and iffy shot glasses aside, this is an impressive exhibit that provides a detailed and accurate look at a real Roman city of two thousand years ago. Pompeii: The Exhibition runs through July 28.

Don’t Christmas My Yule

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Heavens to Murgatroyd! How did I not know that? Until a few weeks ago I thought Yule was just another word for Christmas. Latin maybe. Or maybe German or Old — I mean Olde — English. Nope. The word itself is probably Norse in origin and the holiday it identifies predates Christ and Christ’s Mass by a bunch. There are many descriptions of Yule floating around and they vary quite widely but one of the things they all agree on is that Winter Solstice is involved. That’s important. It’s the thing I did not know. It’s something that distinguishes it from modern-day Christmas.

Of course, common sense and history point to a connection between Christmas and Solstice but these days no answer to the question “When is Christmas?” will contain the word Solstice. Conversely, the word Yule is used frequently in discussions of Christmas. It appears in officially designated Christmas carols and in greeting cards mailed from deeply religious homes. There are times when the words Christmas and Yule seem to be used interchangeably. That, no doubt, is why it took me three-quarters of a century to realize they are not interchangeable. One is tied to a naturally occurring planetary event. One is not.

The 12 Nights of Yule at the top of this post appears on numerous websites. I was unable to determine its origin so am unable to give credit. One of those sites is The Viking Dragon where an Origins of Yule post is quite informative. One bit I thought interesting is the fact that a King of Norway (Haakon the Good, 920–961) decreed that Yule and Christmas were to be celebrated at the same time. What better way to show the lack of a natural connection than a law arbitrarily linking them? The law also required every free man to consume a quantity of ale during the holiday which I assume is the reason that “the Good” was attached to his name.

The twelve days of observation is one of the more obvious things that the new guys copied from the old guys. The 12 Days of Yule begins the day before Solstice and runs through New Year’s Eve. The 12 Days of Christmas begins the day after Christmas and runs through January 6 which is the day associated with the arrival of the Magi or maybe Jesus’ christening. The Catholic Church calls this day Epiphany, and yes, I suppose you could use that word to describe my discovery that Yule was absolutely not another word for Christmas.

A Cosmic Reason for the Season — Reredux is this blog’s most recent previous post on the Winter Solstice. With plans to reference that post here, I looked it over and discovered that a website it linked to had disappeared. Since I thought its discussion of Solstice and Christmas a good one, I located the desired content through the WayBack Machine, fixed the existing links, and am including a direct link here. In previous Solstice-related posts, I’ve been upfront about the amount of time separating the post and the precise moment of Solstice. This year the event follows this post by 4 days 16 hours and 27 minutes.

Last Flash Flash Back

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A ten-year-old blog post recently appeared in this site’s traffic statistics. The post told about the last issue of a publication devoted to a veteran’s organization to which my father had belonged. It isn’t terribly unusual for ten-year-old posts to get hits but I really can’t remember the last time this particular post appeared. The hit prompted me to reread the post and even update it a little. In the process, I was also prompted to let my thoughts wander down several of the many paths uncovered by my reading. Whoever clicked on the search result that took them to this old post missed Veterans/Armistice Day by a couple of weeks and this post misses it by even more but my mind — and maybe yours too — is still in a slightly reflective mood. So this week’s post consists of just this paragraph and a link to that ten-year-old post. Reflect as much or as little as pleases you: One Last Flash

Trades, Taverns, and Tippling

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I have been visiting Vevay, Indiana, on a fairly regular basis since just before the turn of the century but Saturday was my first time at Musée de Venoge on the town’s west edge. The two-story early nineteenth-century house on the property was restored and opened to the public in 2011. Major living history events are held three times a year. One celebrates the 4th of July and another celebrates Christmas. The third celebrates the fall harvest in October. This year that event carried the title Trades, Taverns, and Tippling.

Trades displayed on the grounds included rope making and pewter casting. Today Kyle Willyard was casting spoons.

A blacksmith (Michael Shult) was working on an oven rake to help with the cooking while a carpenter (Tom Garrett) worked on what he called a school box.

The gunsmith (Michael McHugh) demonstrated a fire starter of the day. It uses the same mechanism as a flintlock rifle with tinder and a candle instead of a barrel and bullet. Several beautiful rifles he had made were on a table beside him.

Cooking, decorative painting, and weaving were also being demonstrated.

The restored house was turned into the Eagle Tavern for the day and that’s where the tippling occurred. Kentuckians Brian Cushing and Amy Liebert served as tavern keepers.

There was also music in the tavern and a lawyer hoped for new clients as he worked on a local murder case. It was the gentleman seated in the corner who suggested I try the Orange Shrub which I found delicious. He was, I presume, demonstrating tippling.

The weather was perfect with temperatures low enough to fit the season but not so low as to be uncomfortable. And the mix of bright blue sky and clouds made the day look exactly like it felt.

Book Review Building the Bridges Along the National Road Through Ohio Cyndie L. Gerken

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Cyndie’s done it again. As I began to write this review of Cyndie L. Gerken’s fourth book on the National Road in Ohio, I revisited my reviews of the previous three thinking I might come up with a better opening line but everything I saw just reinforced my initial thought. Cyndie has indeed done it again.

The words “accurate” or “accuracy” appear in the opening paragraphs of all three along with words like “precision” and “thoroughness”, and all those words certainly fit once again. In my review of the third book, Headley Inn and Cliff Rock House, I noted that it differed from the previous two by focusing on a small stretch of roadside rather than all of the state. That difference struck me again as I read Building the Bridges Along the National Road Through Ohio but in a slightly different way. The “Along the National Road Through Ohio” in the title tells us that this is something of a “return to form” but it occurred to me that the set of four is just a bigger version of something going on within each of the individual books. There is no denying that reading lots of details about lots of very similar things can become repetitious. In Marking the Miles… and Taking the Tolls… and again in Building the Bridges…, Gerken often intersperses human-interest style stories among the facts and statistics to help fend off boredom. Thinking of Headley Inn and Cliff Rock House playing a similar role in the series, despite having its own sets of facts and statistics, brought a smile to my face. It might have had just as much value in that regard to the writer as to the reader.

Although I certainly know better, I tend to instinctively think of big stone arches when I hear the phrase “National Road bridges”. One reason is that many of those stone bridges, some of them S-shaped, are still in existence. There were also many wooden bridges along the road but all were much shorter-lived. Building the Bridges… includes both. It identifies twenty-one covered wooden bridges built for the National Road in Ohio in addition to probably forty-some stone bridges. There were also well over a thousand stone culverts and one reason an accurate count of stone bridges is difficult to produce is that not everyone followed the same rules when distinguishing culverts and bridges. Span length was and is the distinguishing characteristic. Twelve feet, twenty feet, and no doubt some other numbers of feet were used to make the distinction and some reports did not distinguish the two at all.

Gerken talks about culverts vs. bridges in the introduction along with many other topics related to the Ohio National Road bridges in general and some that simply concern all bridges in general. Building techniques are described as are bridge types and bridge components. Thanks to an annotated picture of one of the Blaine Bridge arches, I now know what a voussoir is although I’ve no idea how to pronounce it. (Voussoirs are the wedge-shaped stones that form an arch.)

A chapter titled “The Builders of Ohio’s National Road Bridges” follows the introduction. Its opening pages contain information about the road’s Superintendents, how the road was divided, what contracts looked like, and similar subjects. Then comes fifty+ entries on individual builders.

After telling us about as many of the bridge builders as she could identify, Gerken touches on some of the iconic National Road bridges east of Ohio, including the Wheeling Suspension Bridge, before beginning a county-by-county trek across the state. Each county chapter begins with a thumbnail of the county and the National Road through it. A map locating the National Road bridges in the county appears very early in each chapter. Sections on each of the bridges and some of the culverts in the county appear also in east-to-west sequence. Just as some bridges east of Ohio were touched upon preceding the border-to-border coverage, a few in Indiana follow it. 

At a minimum, the location of each structure and what it crossed is given. The builder or builders are identified if known and, thanks to some pretty good sleuthing, many of them are. Beyond that, the information given for each bridge or culvert varies widely but it is a natural variation. For unnamed culverts over unnamed intermittent streams, location might be just about the only thing known. For major structures, lots of additional information might be included and usually supported by various graphics. Topographic maps are fairly common and there are lots of historic photographs and drawings. Plenty of modern photos also appear and if a structure is still standing there’s a good chance that the book contains a very modern picture of it taken by the author herself. Stories about events associated with happenings at or near a particular bridge can pop up anytime and are often fleshed out by reproducing contemporary reports.

The current status of each structure is always given if known. I’ve long been impressed with the number of National Road bridges still standing. Maybe I should be even more impressed after reading about all that failed and had to be replaced within a year or two of completion due to shoddy materials or workmanship. The number of contracts that had to be reissued after being abandoned by the initial winning bidder was also somewhat surprising. Building the first interstate was no simple task.

Ample anecdotes and news reports are mixed in with or printed beside all the facts and statistics. Some are funny and some are sad but almost all provide a glimpse into another time. I’ll share a piece of one that struck a chord with me. In her reminisces on the two-lane covered bridge over the South Fork of the Licking River, Minnie Moody describes a sound from another time.

What I liked was to go clattering through one lane of the bridge at the same time another vehicle was passing through on the other side of the center partition. Whang, bang, clickty-clack! With a roof over our heads the uproar was terrific.

I believe I have passed through a two-lane “double barrel” covered bridge but I’m not 100% certain. I am 100% certain that I’ve not done it in the presence of even one, let alone two, horse-drawn vehicles. I’m nearly 100% certain that I never will but thanks to Minnie — with the help of Cyndie — I have a pretty good idea of what it was like.

Yep. Cyndie has done it again. Building the Bridges… is quite clearly a valuable reference book for National Road fans but it’s something of a storybook, too. It has people in it along with the stones and lumber. The Ohio Genealogical Society hands out awards to several books each year. One of these is the Henry Howe Award which goes to a book on “Ohio state, county, or local history”. Each of Gerken’s previous three National Road books has won the award and I’ve a hunch this one will as well. Yeah, I think Cyndie’s going to do that again, too. 

Building the Bridges Along the National Road Through Ohio: A Study of Early Stone and Wooden Bridges Along Ohio’s National Road, Cyndie L. Gerken, Independently Published (May 14, 2023), 8.5 x 11 inches, 521 pages, ISBN ‎ 979-8393147471
Available through Amazon.

Musical Review
Above the Sand
Mason Community Players

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When I wrote about my first visit to the Loveland Stage Company, I spoke of the guilt I felt for taking so long to take in a play there. The same sort of guilt surrounds my first time attending a Mason Community Players production. MCP is celebrating its 50th anniversary this year which means it is six years older than LSC. I suppose I could feel extra guilty for ignoring the Mason group even longer than the Loveland group but, although I’ve lived near Mason, I have never actually lived in Mason so feeling equal levels of guilt regarding my being late to the party at both theaters seems more or less OK.

But I also feel another kind of guilt regarding this review. I have no special or early access to plays so my infrequent reviews of them are often near or even after the end of their run when few or no performances remain. I always feel a little guilty about that. That feeling increases when the production is one I want to recommend because it’s extra good or somehow unique. All that is true of Above the Sand meaning I really feel guilty about the timing of this review.

Producing any play is an accomplishment. There are certainly some particular challenges in doing it with amateurs and volunteers and doing a musical must add even more. Performers need to be able to sing and maybe dance a bit, and musicians are needed to accompany them. Community theater productions will never be a match for well-financed Broadway companies but their audiences don’t expect them to be. When a community theater company produces a successful Broadway musical it can benefit from having one or more professional productions as examples without getting dinged for not having Barbra Streisand or Gregory Hines in the cast. The production I attended Thursday night had all of the listed challenges without one of the aids. Amateurs and volunteers did indeed sing and dance accompanied by offstage volunteers playing instruments but they were not copying from anyone. This was the world premiere of Above the Sand so there was no previous production to provide an example. This gang didn’t need one.

The premiere run ended on Saturday. Not knowing how long online information will remain available, I’ve taken the liberty of copying this short description from the Mason Players’ website:

Above the Sand is written and composed by MCP member Tom Davis. It tells of the challenges and triumphs of Wilbur and Orville Wright as they bring the power of flight to the world. The story takes the audience on a journey from a bicycle shop in Dayton, Ohio to Kitty Hawk, North Carolina, Washington, D.C., and Paris, France. Above the Sand is a piece of local history that has affected life around the world. It shines a light on the struggles of those who dream an idea into reality, then ultimately triumph.

As mentioned, any community theater production requires a lot of effort, and a musical production even more. That effort is not wasted with the script Tom Davis has created. With spoken words and lyrics, it touches all key points of the Wrights’ achievement. It avoids sounding like either a science or history lesson while being a little bit of both.

I’m always intrigued by how a single stage of limited size gets used to tell stories involving multiple locations that are sometimes huge spaces. That is another challenge that this production encounters and handles quite well despite not having a Broadway-sized budget. By flipping panels, hanging pictures, and swapping some furniture, the action moves between sand dunes, living rooms, workshops, France, England, and more. In a program note, director Lara Gonzalez talks of collaborating and creating “throughout the rehearsal process”. Much of the collaboration naturally involved Gonzalez and Davis but I’d be surprised if there wasn’t at least one idea contributed by every cast and crew member.

I’ll give a shout out to the actors portraying the Wright siblings although every member of the cast of nearly twenty turned in wonderful performances. Corey Meyer (Wilbur) has the least experience of the three younger Wrights although I certainly would not have known that without a program. Nico Morello (Orville) and Eva Bower (Katharine) have both been on stage quite a bit. I had sort of mentally tagged Eva as the most polished of the cast and learned that I could be right when I read that she was first on stage at age 9.

I have no idea what, if anything, comes next for Above the Sand. I know of no plans for future performances but I sure hope that there will be some. I was entertained Thursday night, and exposed to a little science and history too. I don’t believe any of the science or history facts were really new to me but some of the emotion was. I’ve read numerous articles and books about the Wright brothers and their early flights. I’ve watched more than a few documentaries too. None of them conveyed the sense of awe from the world at large that I witnessed Thursday night. Maybe it came from the music. Or maybe it came from the personal involvement that a live performance requires. At some level, I know I have considered that the existence of powered flight changed the basic way that an awful lot of people looked at the world but it had never registered as strongly with me as it did in that theater. Before December 1903, many people had considered it impossible; others thought it merely quite difficult. The first group was now indisputably proven wrong. The second group was proven right and no longer had to guess at just how difficult it was. It took some time for the news to circle the globe and even more time for some people to accept it but that did not alter the fact. Somehow a group of people singing about something they were witnessing offstage drove that home better than any words on a page or images on a screen. Hooray for music. Hooray for live theater. Hooray for man’s ability to progress and to be amazed at his own progress.

Book Review
Southern Ohio Legends & Lore
James A. Willis

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I met James Willis in March at the first-ever Frogman Festival which I reported on here. In fact, his “Frogman of Loveland, Ohio” presentation was one of the main festival attractions for me even though I almost expected to be disappointed by it. One reason for that was just my general skepticism of all things paranormal related but I also felt I had reason to be skeptical of Mr. Willis specifically. An online bio utilized for the festival begins with “Not since the Headless Horseman went charging through Sleepy Hollow has something come out of the Hudson Highlands of upstate New York as thrilling and chilling as author and paranormal researcher James A. Willis.” That struck me as rather pompous and I more or less anticipated an arrogant fellow demanding I believe in spooks and oversized frogs because he said so. That was not at all what I got, however.

Willis is not exactly timid or unsure of himself but his confidence is solidly backed up by knowledge. He is a long way from arrogant and even farther away from pompous. His presentation did not focus on how weird and mysterious a creature referred to as a “frogman” was but on verifiable facts behind the stories about it. I enjoyed his talk so much that I sought him out when it was over to buy this book containing more stories about my area of Ohio.

As its back cover tells us, Southern Ohio Legends & Lore is filled with “scary, mysterious and just plain weird stories” but Willis’ telling of those stories is, just like his festival presentation, replete with verifiable facts. I do not mean to imply that Willis solves every mystery or debunks every myth. There is a section titled “The Unexplained” and there are plenty of questions that remain unanswered in other sections as well. But those questions are not unanswered due to a lack of trying and I’m fairly confident that no known explanation is intentionally omitted. In addition, Willis does not resort to hyperbole or loaded language to make the stories scarier, more mysterious, or weirder than they already are,

The stories are divided into six sections: “Ghostly Legends”, “Legendary Characters”, “Legendary Villians”, “Legendary Places”, “The Unexplained”, and “Legendary Events”. Having lived my entire life in southern Ohio, I was already at least somewhat familiar with most of them. There are exceptions including all four “Ghostly Legends”. It is the only section where every story is new to me and it is the only section dealing more or less directly with possibly supernatural phenomena. I’m thinking those two facts might very well be related. I’m also thinking that this is the right place to mention that Willis is the founder and director of the paranormal research group The Ghosts of Ohio. I find it somehow reassuring that this is also the only section where that comes into play and even here there is no straying from the “verifiable facts” approach.

I don’t believe I learned anything new about any of the “Legendary Characters” but I appreciate the concise and complete descriptions. Willis’ reporting on John Symmes and his hollow earth theory is among the most even-handed and comprehensive I’ve read. Likewise, his tale of “Legendary Villian” George Remus where I did learn a few details for the first time.

“Legendary Places” combines a place I had never heard of (Athens Pentagram) with three that I am quite familiar with. That somehow makes it my favorite section. One of the three familiar places, the Loveland Castle, was the subject of a blog post here just last fall. “The Unexplained” includes the Loveland Frog that had been my introduction to James Willis. Three major disasters including the 1979 Who concert tragedy appear in “Legendary Events”. All are certainly legendary and make for interesting reading but do not really seem scary, mysterious, or weird.

Maybe I did not learn about a bunch of new places to visit or encounter shocking revelations about people or places not new to me but I did learn that James A. Willis is a stubborn researcher and a straight-shooting reporter even if he doesn’t seem as chilling as a headless horsemen. Those who have not spent three-quarters of a century in southern Ohio will almost certainly be able to expand their list of places to visit or add to the stock of stories they share with friends.  

Even I have added something connected to this book to my schedule. Another of the “Legendary Places” with which I am familiar is the site where three nineteenth-century attempts to establish Utopia failed. I read the chapter on Utopia while out to breakfast then, within minutes of returning home, I was presented with an online advertisement for Utopia: A New Musical premiering in a couple of weeks. I immediately bought a ticket because that is most definitely “just plain weird”.

Southern Ohio Legends & Lore, James A. Willis, The History Press (August 15, 2022), 6 x 9 inches, 144 pages, ISBN  978-1467151115
Available through Amazon.

Logan Washboard Festival Plus

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Once upon a time a friend and I mentioned to each other that the Logan Washboard Festival seemed like a good thing to do someday. Flimsy plans came and went until we finally pulled it off this week. By then, of course, the plans had, as simmering plans tend to do, grown. By the time Terry and I hit the road on Thursday, our agenda included one furnace, one mill, and at least one walk in the woods along with time at the festival.

Even after the road was hit, our plans continued to grow. An earlier than hoped for departure and the realization that the Leo Petroglyphs were almost on the way, led us to make a stop there. And yes, we did see the most popular of the glyphs, man-with-horns.

The mill and the furnace had scheduling requirements so walking in the woods had to happen during our open time on Thursday. We followed the fairly level Gorge Trail at Conkle’s Hollow past ferns and rock cliffs to a very cool waterfall. That’s Terry gazing at it in awe (I assume) in the third photo.

Next was Rock House. I had never been here and Terry’s memory of the amount of elevation change was tempered by time. This was closer to a climb through the rocks than a walk in the woods but that Rock House was quite the reward.

In the morning, with all of our walking in the woods/rocks behind us, we headed to Buckeye Furnace State Memorial. The building in the first picture is of the charging shed. This also housed the boilers which powered the steam engine that forced hot air into the furnace. The third picture shows the furnace from which molten iron once emerged.

We had found one website stating that the museum was open on Fridays and one stating it wasn’t. A sign in the park agreed with the one that said it wasn’t. We were leaving after exploring the furnace when we spotted a car parked near the museum and the museum door appeared to be open. Reality, it turned out, matched the website saying the museum was open on Fridays. There are many furnace-related exhibits here including samples of the ingredients and the finished product. Although it’s not exactly furnace-related, I found the Chuck Wagon Kitchen Pantry in the second picture rather interesting. Text hanging next to it is here.

On Friday afternoon, we actually reached the Logan Washboard Festival. If there were any doubts about where the opening photo came from, they should now be gone. The festival fills about four blocks of downtown Logan with opening ceremonies taking place on Thursday evening. Both Friday and Saturday have music on three stages. Saturday is the biggest of the two but Friday fit our schedule best.

It should not be a surprise that the “last manufacturer of Genuine usable Washboards in the USA” is right in the middle of the festival. The Columbus Washboard Company has been making washboards since 1895 and has been doing it in Logan, Ohio, since around 2000.

Music doesn’t start on the outdoor stages until 4:30 but we found some in the back of the washboard store/factory well before that. Washboard Wizard and festival mainstay Bill Bailey (blue vest) anchors things here with other musicians coming and going.

Most of the company’s standard washboard models are displayed on a wall with prices. Another wall holds examples of many custom models including one from that big band in southern Indiana.

We did not join one of the guided tours through the factory but we did explore all of the manufacturing area and Terry did get some personal instruction on the process.

The official festival music program got underway with Washboard Hank on the Mulberry Street Stage and we also watched Nicole Dicken perform on that stage. The two washboard players at stage left were not actually members of Hank’s band and moved on about halfway through the set.

We caught Washboard Shorty & Reverend Robert and Williamson Branch on the Main Stage. Robert and Shorty invited all washboard players to join them for their last couple of songs and had three takers.

We wrapped up the excursion with a Saturday stop at Rock Mill. The mill was opened to visitors in 2017 after an outstanding restoration project was completed. It reopened this spring following a shutdown to build a support wall to stabilize the building. The mill grinds grain on the last Sunday of every month.

The phenomenal accomplishment of restoring this mill is documented in Rock Mill: Saving an Original.

Trip Peek #124
Trip #50
Boone’s Lick Road

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This picture is from my 2007 trip on Boone’s Lick Road. The picture is of some of the chairs lined up in front of Crane’s Country Store in Williamsburg, Missouri. The store is still there so the chairs might be too. I sure hope so. As I reviewed the original journal to make this post, I realized that a disheartening number of things mentioned in it are gone. It’s a realization that started with a bang in the first paragraph of the first day. The east end of Boone’s Lick Road was in St. Charles, MO, a little northwest of St. Louis. I had learned that Vandalia, IL, was a reasonable drive from home and a good starting point for doings in the St Louis area. I spent the first night of the trip in Vandalia at a place I was familiar with, Jay’s Inn. I say that in the first paragraph and mention the restaurant next door although I ate dinner that night downtown at The Depot. Jay’s restaurant would be closed in less than two years. Within three years The Depot would burn, reopen, burn again, and close permanently. Jay’s Inn is now shown as closed permanently.

It was Nathan Boone that was involved with the creation of Boone’s Lick Road but his more famous father, Daniel, eventually moved to Missouri and was buried near the road. The large bronze plaque at his grave which I photographed in May 2007 was stolen barely a year later. A black granite plaque has replaced it. The journal tells of eating my second dinner of the trip at Trailhead Brewery in St. Charles. It closed, I just now learned, in January 2020. Stein House in Boonville, which sported a really cool neon sign and where I had dinner on the third night, is listed on Yelp as permanently closed. With so many things mentioned in the journal closing or disappearing, finding the Crane’s Store website active was a real bright spot. The delightful Marlene Crane, who is pictured in the trip journal, died in 2015 at the age of 84 but the family business continues under son David. And Boone’s Lick Road can still be found along with its DAR markers.

The trip occurred during a period when I was regularly writing articles for American Road Magazine’s “Our National Road” department. It resulted in an article in the Spring 2008 issue. In writing this post, I revisited that article which triggered a couple of memories and a couple of smiles. Articles I submitted were naturally edited before publication but I was rarely consulted about changes or even aware of them before seeing them in print. I don’t recall exactly how I described the Corps of Discovery’s departure from St Charles aside from calling it “the last bit of civilization” they would see. Whatever I said was not, apparently, sufficiently energetic and it was changed to “galloped into the unknown”. The Corp had floated away from civilization on the Missouri River with not even a pony aboard their boats. I was kind of upset over what I considered an inappropriate change but I was also a bit amused by the image of Lewis and Clark galloping away in their pirogues. The second memory involved the last sentence of the article and the only “fan mail” I ever got through American Road. The preceding paragraph talked of the actual Boone’s Lick Road which had previously been described as initially traced by “eighty men on horseback”. Maybe that’s what was on the editors’ minds when they put in that “galloping” phrase. It was certainly what was on mine when I closed the article with “Calvary saddles, after all, didn’t have cup holders.” The “fan” correctly pointed out that mounted soldiers are called cavalry and that Calvary is the name of a spot near Jerusalem. It would have been cool if whoever tossed in galloping had noticed and fixed this instead.

Trip Peeks are short articles published when my world is too busy or too boring for a current events piece to be completed in time for the Sunday posting. In addition to a photo thumbnail from a completed road trip, each Peek includes a brief description of that photo plus links to the full-sized photo and the associated trip journal.