Museums – The Two Palaverers

December 26, 2010

Snowbound

Snow. Snow. Snow. There’s always a frenzy when a good ‘ole nor’easter works its way toward New England in the winter time. The store shelves are cleared of bread, water, and milk. The firewood is piled high. Many are glued to their televisions, changing stations from one meteorologist to the next looking for any extremes in the forecast. Have we not seen this before? This is New England and it snows here in the winter. Last year we commented on the non-stop snow. This year, we’re turning to Whittier for some rationale reflection.

For those of you not familiar with John Greenleaf Whittier, he was a famed 19th century American poet born in 1807 in Haverhill, Massachusetts. Today, he is not well known, perhaps his works eroded by the tides of time or eclipsed by the moon of Robert Frost. In Essex County in Massachusetts, you’ll find his name attached to the occasional street or school, likely found in a Victorian-era neighborhood. His homestead is remarkably preserved, though like many great buildings in the region, only open seasonally. Nonetheless, we thought it fitting to summon Whittier on this cold, windy, and snowy New England evening. We’ve included an excerpt below, but the complete poem can be found here. In the meantime, we’ll go sit by the fire, admire the Christmas tree, and listen to the snow brush up against the window panes.

-The Two Palaverers

Credits: Mural from the Whittier Home, Amesbury, MA. Painter, Jon Moores, photo by Pam Fenner.

John Greenleaf Whittier

Snowbound: A Winter Idyl

To the Memory of the Household It Describes, This Poem is Dedicated by the Author

The sun that brief December day
Rose cheerless over hills of gray,
And, darkly circled, gave at noon
A sadder light than waning moon.
Slow tracing down the thickening sky
Its mute and ominous prophecy,
A portent seeming less than threat,
It sank from sight before it set.
A chill no coat, however stout,
Of homespun stuff could quite shut out,
A hard, dull bitterness of cold,
That checked, mid-vein, the circling race
Of life-blood in the sharpened face,
The coming of the snow-storm told.
The wind blew east; we heard the roar
Of Ocean on his wintry shore,
And felt the strong pulse throbbing there
Beat with low rhythm our inland air.

Meanwhile we did our nightly chores, —
Brought in the wood from out of doors,
Littered the stalls, and from the mows
Raked down the herd’s-grass for the cows;
Heard the horse whinnying for his corn;
And, sharply clashing horn on horn,
Impatient down the stanchion rows
The cattle shake their walnut bows;
While, peering from his early perch
Upon the scaffold’s pole of birch,
The cock his crested helmet bent
And down his querulous challenge sent.

Unwarmed by any sunset light
The gray day darkened into night,
A night made hoary with the swarm
And whirl-dance of the blinding storm,
As zigzag, wavering to and fro,
Crossed and recrossed the wingàd snow:
And ere the early bedtime came
The white drift piled the window-frame,
And through the glass the clothes-line posts
Looked in like tall and sheeted ghosts.

So all night long the storm roared on:
The morning broke without a sun;
In tiny spherule traced with lines Of Nature’s geometric signs,
And, when the second morning shone,
We looked upon a world unknown,
On nothing we could call our own.
Around the glistening wonder bent
The blue walls of the firmament,
No cloud above, no earth below, —
A universe of sky and snow!
The old familiar sights of ours
Took marvellous shapes; strange domes and towers
Rose up where sty or corn-crib stood,
Or garden-wall, or belt of wood;
A smooth white mound the brush-pile showed,
A fenceless drift what once was road;
The bridle-post an old man sat
With loose-flung coat and high cocked hat;
The well-curb had a Chinese roof;
And even the long sweep, high aloof,
In its slant spendor, seemed to tell
Of Pisa’s leaning miracle.

April 19, 2010

Patriots’ Day In New England

April in New England. Seasonal dissonance exemplified by days of cold and snow followed by seventy-five degrees and sunshine. A Red Sox game at Fenway Park with a ski jacket. One part of April remains consistent: Patriots’ Day. Though many outside New England don’t celebrate (or even know about) this holiday, many here in the six states (especially Massachusetts) do. For others, Patriots’ Day is also “Marathon Monday,” the day of the Boston Marathon, the world’s oldest, famed race from Hopkinton, MA to the heart of Boston.

This historical significance of Patriots’ Day is difficult to miss. It commemorates the start of the American Revolution in 1775. Visit The Old North Church in Boston to see where the lanterns were hung. Wake very early and witness the first shots on Lexington Battle Green. (Arrive early and bring a stepladder.) Head to the Old North Bridge in Concord and view the Minuteman response and the turn of the battle. While there, visit the Old Manse, home of Ralph Waldo Emerson and Nathaniel Hawthorne and garden of Henry David Thoreau. Be sure and look through the windows of this beautiful building from the vantage point where our ancestors witnessed the shot heard around world and saw the birth of a nation.

When the day is done, head back to Boston and explore the Granary Burying Ground on Tremont Street. The emotional impact of standing by the graves of Paul Revere, Samuel Adams and John Hancock is hard to describe. Contrary to some contemporary sentiment, we New Englanders are fiercely proud of our history — our American history. Perhaps the events from the 1770s in Massachusetts will remain a beacon of political discourse for many more generations.

As a final tribute to this historic day, allow us to share Henry Wadsworth Longfellow’s Paul Revere’s Ride, first published in The Atlantic Monthly in 1861 and later included in his Tales of the Wayside Inn in 1863. Historians are aware of some of the inaccuracies of the poem, along with lack of credit to the the other riders William Dawes and Samuel Prescott. Prescott was the only one to make it to Concord and deliver the warning. History will forever contain such inaccuracies, but one can’t miss the healthy vein of truth either. Happy Patriots’ Day.

-The Two Palaverers

Paul Revere’s Ride

(a.k.a. The Midnight Ride of Paul Revere)

Henry Wadsworth Longfellow (1807-1882)

Listen my children and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-five;
Hardly a man is now alive
Who remembers that famous day and year.

He said to his friend, “If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry arch
Of the North Church tower as a signal light,–
One if by land, and two if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country folk to be up and to arm.”

Then he said “Good-night!” and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where swinging wide at her moorings lay
The Somerset, British man-of-war;
A phantom ship, with each mast and spar
Across the moon like a prison bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.

Meanwhile, his friend through alley and street
Wanders and watches, with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers,
Marching down to their boats on the shore.

Then he climbed the tower of the Old North Church,
By the wooden stairs, with stealthy tread,
To the belfry chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade,–
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town
And the moonlight flowing over all.

Beneath, in the churchyard, lay the dead,
In their night encampment on the hill,
Wrapped in silence so deep and still
That he could hear, like a sentinel’s tread,
The watchful night-wind, as it went
Creeping along from tent to tent,
And seeming to whisper, “All is well!”
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay,–
A line of black that bends and floats
On the rising tide like a bridge of boats.

Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride
On the opposite shore walked Paul Revere.
Now he patted his horse’s side,
Now he gazed at the landscape far and near,
Then, impetuous, stamped the earth,
And turned and tightened his saddle girth;
But mostly he watched with eager search
The belfry tower of the Old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! as he looks, on the belfry’s height
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns.

A hurry of hoofs in a village street,
A shape in the moonlight, a bulk in the dark,
And beneath, from the pebbles, in passing, a spark
Struck out by a steed flying fearless and fleet;
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed, in his flight,
Kindled the land into flame with its heat.
He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.

It was twelve by the village clock
When he crossed the bridge into Medford town.
He heard the crowing of the cock,
And the barking of the farmer’s dog,
And felt the damp of the river fog,
That rises after the sun goes down.

It was one by the village clock,
When he galloped into Lexington.
He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, black and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.

It was two by the village clock,
When he came to the bridge in Concord town.
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadow brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket ball.

You know the rest. In the books you have read
How the British Regulars fired and fled,—
How the farmers gave them ball for ball,
From behind each fence and farmyard wall,
Chasing the redcoats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load.

So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm,—
A cry of defiance, and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo for evermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere.

January 16, 2010

New England Museum Redux

Old Sturbridge Village
As a follow-up to our post on museums, we subsequently came across this somewhat dated, yet still relevant article from the Wall Street Journal. We’ve decided to post it in its entirety, concerned that it may get permanently archived and its message lost. It was written by Bruce Courson, Director of the Sandwich Glass Museum on Cape Cod. We soundly applaud Mr. Courson’s efforts and insights and wish to add a few more points.

We (our youth in particular) are losing the connection to our past. In order to have children visit museums, we need to have parents visit museums. We need to do a better job of engaging and teaching our children history, something that can be done both in school and outside of it – as a family or among friends. There is no better place to do that than here in New England. Once we fix our society’s connection to the past, our local museums will be the beneficiaries. What’s the contemporary challenge? Think about Old Sturbridge Village (a working museum) versus Grand Theft Auto (a video game). Fortunately, it only takes a brief afternoon to open up a whole new world. And that new world is in our own back yard.

-The Two Palaverers

Why Rural Museums Are Becoming Ancient History

by BRUCE COURSON
Tuesday, December 27, 2005 12:01 A.M. EST

It was disheartening to learn last month in the Boston Globe of Old Sturbridge Village’s recent layoffs and closure of several major facilities. The museum is a living history museum in central Massachusetts that depicts 1830s New England life on a 200-acre site with 40 period buildings. One thousand reservations for Thanksgiving dinner, a tradition since the 1950s, had to be canceled this year. A new tavern and motel, which were expected to generate much needed revenue for the Village when they opened in 2001, will be shuttered in January. Only 20 of the once nearly 70 costumed guides remain. A personally troubling fact, as I was a “tinsmith” there in 1971, a period when increasing attendance was a given.

It is a story increasingly common for rural Massachusetts museums within a day’s drive of major metropolitan areas. Many have current paid attendance numbers that are nearing 50% of what they were three decades ago. My own institution, the Sandwich Glass Museum, saw attendance drop from 84,000 in the early 1980s to 42,000 in 2000. Published figures and statistics I have gathered over several decades point to similar trends in nearby maritime and historical museums, not only in Massachusetts but along the Boston-Washington corridor as well. Considering all that we hear about “the museum boom” in major cities occurring during that same period, this might seem a surprising state of affairs.

Numerous causes have been cited for this precipitous decline, including the weather and 9/11. But one factor stands out among the reasons behind this consistent, decades-long trend: the 1978 deregulation of the airline industry and a new era of cheap air travel. Before deregulation, most vacations were taken in the summer and the automobile was the affordable, preferred means of travel. After 1978, however, inexpensive travel and free “frequent flier” tickets gradually became available. As a result, passenger counts more than doubled between 1978 and 1998. The vacationing public increasingly opted to leave their cars at the airport and, at any time of the year, fly to their destinations. Since 1978, the likes of Glacier Bay, Alaska, the Galapagos, or a Caribbean cruise have become affordable and popular attractions. Changing leisure-travel patterns among the American public are not a new phenomenon: A historic parallel occurred when Coney Island’s Steeplechase Park succumbed to the post-World War II “automobile vacation” in 1964.

How have most museums dealt with the financial downturn brought on by this decline in attendance? They’ve raised their prices. I know of one major, Sturbridge-like outdoor history museum in Massachusetts that, in 1971, charged the equivalent of $5.72 in 2004 dollars but, now, after its latest price increase, charges $21. Its many efforts to expand public programming have not kept pace with the 267% increase in admissions fees. This example is unfortunately not the exception but the rule. A museum will often raise its price slightly to help a sagging bottom line only to find that next year’s decrease in attendance requires yet another increase in admissions fees — a vicious cycle.

How many companies, realizing a serious decline in demand, merely raise their prices without substantially improving their product? Not many still in business. Unfortunately, a great number of museums are now perceived as too expensive, with potential visitors often choosing to go elsewhere.

Other institutions have tried a different tack, “improving their product” by means of major expansions. While some have been successful, all too often the results have been devastating. In many cases small operating deficits became large ones because of additional staffing, greater facilities costs and debt from insufficient capital campaigns. Increases in attendance revenues, if any, failed to meet unrealistic projections. Layoffs became necessary and some institutions ceased to exist altogether.

In 1992, the New Bedford Whaling Museum was forced to close its two-year-old Whale Discovery Center in nearby Plymouth, Mass., after attendance fell short of what was needed to break even. “We had hoped to have 75,000 visitors each year. We had 36,000 over two years,” stated then-director Anthony Zane.

There are no silver bullets in the museum business, of course, and every institution faces a somewhat different set of circumstances. The Sandwich Glass Museum on Cape Cod, aware of several failed expansions in the region, chose a different approach to the problem of seriously declining attendance. In 1998 we launched our first-ever capital campaign, raising $2.3 million — four times the institution’s operating budget. We built a glassblowing arena, a high-tech multimedia theater and new retail space. The difference was that our business plan included holding general admission fees to 1970s levels, $4.50 in 2004 dollars, and reducing group admissions fees to $1. Staffing numbers and operating expenses were budgeted at pre-expansion levels and only a stabilized attendance was anticipated, not an increase. In short, more bang for the buck, not more bucks for the same old bang.

The museum is now in its third post-expansion year. The number of paying visitors increased by 26% over that period and is now holding steady at that level, while attendance at similar area institutions has fallen by 19% during the same three-year period. A sizable operating surplus will be posted for the second year in a row. While these numbers are encouraging, the museum still has regained only one-third of the attendance lost over the past three decades.

As residents of the Boston-Washington corridor continue to favor airline over automobile vacations, the possibility of a broad uptick in attendance at rural locations is highly unlikely. Until museums face up to the real market forces at play, and cease blaming the weather or 9/11 for annual declines, we shall be reading more stories of those in serious trouble or ceasing to exist. Decades of hard work have gone into building these institutions and presenting their accumulated knowledge to millions of people. It would be a tragedy to lose even one of them.

Mr. Courson is the director of the Sandwich Glass Museum in Sandwich, Mass.

January 10, 2010

Museums, Museums Everywhere

History is representational, while time is abstract; both of these artifices may be found in museums, where they span everybody’s own vacancy.

Robert Smithson

I am sure they were always there right under my nose, all those museums – big and small – that dot the regional landscape. I just didn’t notice until I returned to New England from living in an area with fewer museums. Many of us are familiar with the larger, local, nationally-recognized institutions such as Boston’s Museum of Fine Arts, Manchester’s Currier Museum of Art, MASS MoCA, Connecticut’s Mystic Seaport, Portsmouth’s Strawbery Banke, Peabody Essex Museum, Old Sturbridge Village, Plimoth Plantation, Portland Museum of Art, Vermont’s Shelburne Museum, and Newport’s The Breakers. These are all great destinations worthy of a lifetime of visits.

John Greenleaf Whittier House, Amesbury, MA

But what about those smaller places that aren’t quite so famous? I am referring to the many historical societies, college art galleries, thematic places, historic structures, conservation land, and other areas that are easy to miss and often difficult to find unless one stumbles upon them by accident or hears about them through a child’s class trip or from attending a friend’s wedding.

These are usually more intimate places, many of which are free and open to the public, operated by dedicated curators, staff and volunteers, and often constrained by limited funds and smaller scale exhibits. Charged with the monumental task of preserving our rich New England heritage, these innumerable jewels are rich in depth, not breadth, but their numbers compensate for the latter.

Are there really that many? Recently, a friend of ours from Massachusetts told us of a group of ladies from her church who visit a local museum every Wednesday. They’ve been doing this for five years and have never been to the same one twice! Wow. That not only says something about the group’s dedication and research, but about where we live.

The next time you’re passing through a city or town, take notice of that building with the “open” sign or the green space with the weathered plaque. Check it out because something interesting awaits you. It doesn’t need to be a long, planned process or a daylong adventure, rather a quick visit on the way to getting a coffee may suffice. Perhaps it’s even a respite from rush hour traffic, a visit with a friend before meeting for lunch, or a welcome lunchtime diversion from work stress. You may find yourself wishing for a longer visit.

So as you drive through New England, take notice of those signs by the road and get off at that next exit to visit these little treasures. You’ll find there’s a good deal more behind the sign. Please let us know what you find next time you pull over and explore a small, New England museum.

-Laura Ciampa, Palaverer Too