All posts by James L. Mcelhinney

SKETCHBOOK TRAVELER. Dispatch #73. July 3, 2020. The Defense of Little Round Top on July 2, 1863.


Little Round Top. May 4, 2017. The hillside has been restored to its July 2, 1863 appearance.

On July 1, 1863 the Army of Northern Virginia commanded by Robert E. Lee had engaged elements of the Army of Potomac west of the Pennsylvania college-town of Gettysburg, eighty miles northwest of Washington City. By nightfall the confederates had driven the federals back through the town into defensive positions on a series of hills and ridges stretching southward.
Overnight the federals dug in. By morning the Union line resembled an inverted fishhook. Its eye dangled perilously to the south, around a pair of small hills known as the Round Tops.

Map of the disposition of the Union and Confederate armies at Gettysburg. July 2, 1863

While Lee seemed to concentrate his attacks to the north at Cemetery Ridge and Culp’s Hill, Longstreet’s Division attempted to repeat Jackson’s victorious maneuver at Chancellorsville two months prior, by embarking on a circuitous flank-march concealed by Seminary Ridge. Lee’s tidy left-right punch was distracted by Sickles’s corps advance into a peach orchard half a mile west of the federal lines. Sickles lost a leg. His troops were driven back to their starting-points, but the fighting cost Lee a modicum of momentum. As a former member of the elite Corps of Topographical Engineers, keenly aware that his talented opponent possessed an uncanny sense of terrain, federal commander George Meade dispatched another Topog—G. K. Warren to reconnoitre the ground around Meade’s exposed left flank.


Gouvernor Kemble Warren. (1830-1852)


View from Little Round Top. May 4, 2017

Surveying the fields and tree-lines from the summit of Little Round Top, Warren confirmed its vulnerability. Strong Vincent’s Brigade was rushed south to its defense. Rocks were hastily piled into makeshift breastworks on the slopes and summit. Posted on the far left of Vincent’s line was the Twentieth Maine, commanded by Joshua Lawrence Chamberlain who before the war had taught rhetoric at Bowdoin College.


Joshua Lawrence Chamberlain (1828-1914)

Repulsing furious confederate attacks, running low on ammunition, Chamberlain ordered his men to fix bayonets and charge. The vertiginous slope was wooded and littered with bounders. As the guns fell silent and the smoke cleared, a regiment of Alabamians beheld hundreds of Down-Easters leaping from boulder to bounder, rushing downhill at them with sharp, naked steel. Many broke and ran. Others threw down their weapons. No further attempts were made by confederates to take the position. Many historians credit Chamberlain’s quick thinking with the salvation of the federal army on the second day of fighting at Gettysburg. Eleven months later Chamberlain was seriously wounded in front of Petersburg. During his long convalescence Chamberlain traveled with his wife, back to Little Round Top. Twenty-five years later, veterans gathered to dedicate a monument to the Twentieth Maine. A modest block of Maine granite was unveiled on October 3, 1889, at very spot where the regimental colors had stood on July 2, 1863. During the ceremony Chamberlain rose to address his comrades in arms.

“In great deeds, something abides. On great fields, something stays. Forms change and pass; bodies disappear; but spirits linger, to consecrate ground for the vision-place of souls… generations that know us not and that we know not of, heart-drawn to see where and by whom great things were suffered and done for them, shall come to this deathless field, to ponder and dream; and lo! the shadow of a mighty presence shall wrap them in its bosom, and the power of the vision pass into their souls.”


Kathie at Little Round Top. May 4, 2017

Kathie and I visited Little Round Top on May 4, 2017. Over the past ten years the National Park Service has been restoring the battlefield to the same configuration of fields, tree-lines and woodlots that existed on July 1-3, 1863. The removal of the scrubby tangle of brush, briars and vines that had clung to the hillside for more than a century revealed the haphazard defenses assembled by Vincent’s Brigade just before they were stuck by Longstreet’s relentless flank-attack. These physical memories of bloody conflict; earthworks borne of mortal necessity are far more compelling than stone and bronze memorials.


Breastworks on Little Round Top erected by Vincent’s Brigade. July 2, 1862


Fanciful depiction of the breastworks at Little Round Top from Frank Leslie’s Newspaper.

I have visited Gettysburg National Military Park more times than I can remember. Among hundreds of markers, statues and Beaux-Arts baubles scattered across the battlefield, none possesses greater modesty and dignity than that humble grey block, its capstone like the roof of a fisherman’s hut. The means were on hand, but not the desire to commission a weeping angel, or soldier swinging a musket.
To Yankee fishermen, sawyers, lumberjacks, clerks and professors who had suffered and survived. who had seen friends torn apart by volley-fire, or perishing with fevers, there was no point in glorifying what they achieved. It was enough to say we stood here, fought and bled, and did what needed to be done.


Twentieth Maine Monument, Gettysburg National Battlefield. Dedicated October 3, 1889.

Dulce et Decorum est pro Patria Mori

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Peruse previous posts here. Dispatches #1-70. April 1-June 8, 2020.

SKETCHBOOK TRAVELER: JUNE 29, 2020. Dispatch # 72. The Battenkill at Whipple’s Dam.


The Battenkill by Whipple’s Dam, Greenwich, New York. Saturday August 12, 2017.

One of the more celebrated tributaries of the freshwater section of the Hudson is the Battenkill River. Springing forth in verdant bottomlands northeast of East Dorset, the brook flows through a series of ponds until it becomes a viable creek outside of Manchester, Vermont.
Flowing southward past the foot of Mount Equinox, the Battenkill courses through the village of Arlington, where it bends to the west. Passing a winding gap, it enters the Hudson valley. Known to indigenous tribes as Ondawa, or Dionoondehowee—she who opens the door.
An alternate etymology is that Batten-kill is a variation of Bart’s-kill, named after colonial settler Bartholomew Pietersen van Hogeboom (1640-1702). Kill is the Dutch word for creek.
Yet another explanation claims the river is named after one of its feeder-streams that springs from a den of airborne rodents. The name of the local indigenous Horicon tribe of the Mahican/northern Lenape nation means clear water. It is also one of the Amerindian names for Lake George. Stretches of the river are reserved for fly-fishing.
Nearly forty years ago the author James Howard Kunstler and I drove out to Eagle Bridge, close to the Vermont border. Unfolding my easel along the bank, I laid out my palette and a fresh canvas, as Jimmy pulled on his hip-waders and ventured into the river. The day was warm. A steady breeze brushed the surface of the dark glittering water. Leaf-laden trees lined the banks. Whispering foliage, rushing water, occasional birdsong and a chorus of insects had a hypnotic effect. Jimmy moved from one point to another, in search of a position from which to introduce a feathery barb to a hungry trout. Breaking this reverie was a sudden commotion, as Jimmy loudly berated some poor rustic for dipping a baited hook in the stream. Perhaps it was a spinner. All but flies were verboten on this trophy-run of the fabled Battenkill. Waving his fly-rod like the fiery sword of Jophiel, Jimmy drove the chastened meat-slinger from the Edenic riverbank.
We often painted together. On several occasions, one of my studio-assistants posed nude in the river. The Battenkill turns sharply to the north below Shushan, trapping sediment in the bend to form a small island and sandbar, made to order for us as a model’s-stand. One hot summer day while we worked in this manner, we heard loud voices. A regatta of inner-tubes appeared upstream. Passing our tableau, the raucous teens fell silent. The sight of two painters and a naked athletic woman seemed to befuddle, even intimidate them. Once downstream and out of sight, their noisy banter resumed.


Ruined Mill below Rexleigh Bridge. August 12, 2017

Below Shushan the river flows north beneath the covered-bridge at Rexleigh. Turning westward again it passes East Greenwich, Battenville—notable as one of the childhood homes of women’s rights activist Susan B. Anthony. The river had been harnessed for hydropower industries downstream at Center Falls and Greenwich (pronounced green-witch by the locals). The Battenkill finally meets the Hudson above Schuylerville, formerly Saratoga—the site of Burgoyne’s surrender in October 1777.
In 1803 Job Whipple dammed the Battenkill. His cotton mill attracted workers who settled near the mill in Whipple City. In 1809, an independent community named Union City was organized.
Despite the local economy’s dependence on southern cotton, a number of safe houses conducted runaway slaves to freedom on the Underground Railroad. Recent archaeological excavations uncovered evidence of four thousand years of human habitation. In 1867 the village was renamed Greenwich. Many of the mills have shot down. Recent times have seen an influx of artists, writers and musicians to nearby communities like Cambridge and Salem. Greenwich is the model for the fictitious village of Union Grove in Jim Kunstler’s dystopian World Made by Hand novels.
On Saturday August 12, 2017, Kunstler and I set up to paint beside the old Whipple dam.
As in his writings, Jim’s paintings embrace an anti-picturesque esthetic. We had painted before at Clark’s Mill, along the Champlain Canal, the mill-ruins at Rexleigh Bridge and various and sundry rural strip-malls. We chose positions close enough for hallooing comments at one another. Cursing his French easel, Jimmy badgered me about working on such a small scale. I gave him hell about dragging around so much baggage. Everything I needed was carried in the pockets of my travel-vest, with the exception of my walking-stick, tripod camp-stool and M1858 U.S. Army pattern canteen. Teens in various modes of bathing attire walked past en-route to some swimming-hole below the dam. The trunk of a large tree had caught on the edge of the dam, its tanged roots reaching for the bank. Another mill-race was in use across the river, feeding power to a small hydroelectric facility. Fifty feet upstream form the dam, a row of swimming-lane buoys was strung across the river, presumably as a warning to kayakers and canoeists. Racing over the dam, sheets of water churned into foam on the rocky shelf below. Scrubby trees cling to the rocky outcrop that marks the transition between the industrial landscape and flat water downstream. The writings of J.B. Jackson remind us that as relics of human endeavor; ruins attest to the impermanence of all such works. Attempts to preserve or restore these sites shape history according to how society wishes to celebrate it. The opposite is expressed by the present outbreak of iconoclasm; objections to the received wisdom as symbolized by public monuments.

SKETCHBOOK TRAVELER: Dispatch # 71. Quaranteam Dispatches. April 1 to June 8, 2020

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My life is a project. It always has been. On Wednesday, April 1, 2020. Kathie and I were already twenty-four days into self-imposed quarantine. New York City was seeing a sharp rise in new cases, hospitalizations and fatalities. This would continue for several weeks before infection rate showed signs of ebbing. Unable to get to my studio in Haverstraw, New York I kept busy writing, transforming my journals from 1990 to 1992 when I visited and painted Civil War battlefields under threat from development. At the time it seemed like a piquant metaphor for how the American landscape is a quarrel about what it is. In a divided nation thirty years later, it seems timely again. My intention had always been to write a book on the subject. Suddenly I had time to devote to the task.
Pouring over pairings of words and texts, like in my recent exhibition curated by Laura Vookles at Hudson River Museum, it occurred to me to start a quotidian blog that celebrates travel, making art and keeping journals. In other words, the art of paying attention. Perhaps I thought it might provide some with relief from cabin-fever, or soothe the anxiety of those gripped by fear. After more than two months, posting seventy quotidian dispatches helped me get through the siege. I hope they might bring comfort to others.


April 24. Friday. Under the Volcano (Eyjafjallajoküll)

April 25. Saturday. The View from Olana

April 26. Sunday. Outriggers on the Schuylkill

April 27. Monday. Fort Tryon Park, Manhattan


April 28. Tuesday. Revolutionary War Battery, Fort Lee, New Jersey

April 29. Wednesday. Tracking Eliza: An Art-Historical Detective Story

April 30. Thursday. John Burroughs Grave-site, Roxbury, New York


May 1: Sleepy Hollow Sleepy Hollow Sleepy Hollow

May 2: White Rock Canyon

May 3: Yonkers Overlook

May 4: Lloyd hall


May 5: Heather Garden

May 6: Coachella Valley

May 7: Manhattan

May 8: Rondout Creek


May 9: Ghost Cornfield

May 10: Piermont

May 11: Columba Double

May 12: Macchu Picchu


May 13: Hook Mountain

May 14: Cochiti Dam

May 15: The Palisades

May 16: Lone Oarsman


May 17: Stony Point

May 18: Sunset Rock

May 19: Poets’ Walk

May 20: Strawberry Mansion


May 21: Santa Monica Sunset

May 22: Lower Kaaterskill

May 23: Kealakekua Bay

May 24: Hamakua Coast


May 25: Memorial Day

May 26: Mendenhall Ferry

May 27: Butter Hill


May 28: Lake Minnewaska

May 29: Mohonk Preserve


May 30: Bonticou Crag

May 31: Long Path


June 1: GWB

June 2: Tse-Bil’-Ngzigaii


June 3: Mount Greylock

June 4


June 5: Fort Miller

June 6: Lake George


June 7: Humbug Luminism

June 8: Niagara

June 15, 2020. Sketchbook Traveler. Dispatch #70. Houston Rising


June 15 Houston Sunrise. Thursday, May 31, 2012

On Tuesday May 29, 2012, I traveled to Houston to attend the annual meeting of NAFSA, the National Association of Foreign Student Advisors: Association of International Educators.
Much of the visit was taken up with meetings and social events. I did get a opportunities to break away. Exploring the city by taxi, I noted that most of the drivers were Ethiopians, each of whom had a brother or uncle who owned the best Abyssinian restaurant in town. Clusters of affluence were surrounded by sprawling dystopic industrial zones, or sketchy residential neighborhoods.
My hotel was near Country Club Plaza, a mini-city-center near Rice University, several miles west of downtown. Planning an outing to visit San Jacinto Battlefield, I was surprised to learn that it was inaccessible via public transportation.
“We like our independence,” I was told by the concierge.


San Jacinto Battlefield. April 21, 1836.

Few states are prouder of their legendary roots than is Texas; an epic tale often told. Images of Laurence Harvey drawing a line in the sand, or Fess Parker swinging Old Betsy like a club as bloodthirsty Mexicans swarm into The Alamo have become indelible images of courage and sacrifice. The horrific slaughter of Texian defenders at Coleto Creek, after their surrender. Their wounded commander James Fannin was lashed to a chair. His face was shot to bits. Sam Houston’s final triumph came on a miasmic peninsula on Galveston Bay, near the mouth of Buffalo Bayou. Emily D. West, a.k.a. Emily Morgan was a free woman of color born in New Haven. Captured in a raid by Mexican cavalry, the beautiful twenty-one-year-old caught the roving eve of The Napoleon of the West; Mexican president Antonio Lopez de Santa Ana. Legend states that Morgan distracted the generalissimo with sexual favors while Houston quietly deployed his men to attack the Mexican camp. The battle lasted eighteen minutes. Disguised as a private, Santa Ana was captured and delivered to Houston, who had been slightly wounded in the battle. Morgan was immortalized by a popular song; “The Yellow Rose of Texas”. Historians may debate the facts, but most Texans are content to “print the legend”.


The Surrender of Santa Ana. William Henry Huddle. 1886. Texas Sate House. Reproduced under Fair Use, etc.

I met former National Park Service ranger Ed Shirley when we both served as volunteers in the U.S. Army Corps of engineers Living History Team for the Lewis & Clark Bicentennial. Ed was from the piney-woods of East Texas, born along the upper Sabine River. One of his ancestors had fought beside Houston at San Jacinto. Knowing me to be a city-dwelling dyed-in-the-wool Damned Yankee, and thus presumably easy prey to folksy humbug, Ed asked me if I knew why the Texas flag has only one star. Do tell, I replied.
“Why, we put it there to represent the United States, when we let them into the Union.”


Rothko Chapel. Reproduced under fair Use, etc.

At the Houston Museum of Art was an exhibition curated by Yasufumi Nakamori. Utopia Dystopia included numerous living and historic artists including John Baldessari, Herbert Bayer, Christo, Marcel Duchamp, Hannah Hoch, Man Ray and Lazlo Moholy-Nagy. A stunning show of monumental Richard Serra drawings was on view at the de Menil Foundation. The Rothko Chapel was more intimate than I expected; the paintings more desperately tragic than I could have imagined. More like a mausoleum than a place of inspiration, it was a moving experience. Looking for comparisons, the feeling was similar to the Neue Wache in Berlin, the Central Memorial of the Federal Republic of Germany for the Victims of War and Dictatorship. The neoclassical stone guardhouse along the Unter den Linden is windowless, barren and empty. Open to the sky beneath the central oculus is a bronze Pietá by Kathie Kollowitz.


Neue Wache, Berlin. Reproduced under Fair Use, etc.

The conference was interesting, as both accredited and non-accredited institutions of higher learning were scrambling to keep pace with SEVP-ICA regulatory changes governing institutional sponsorship of J-1 visas. The presence of exhibitors from schools in Canada, the U.K. and elsewhere around made it clear that foreign student-recruitment. Sessions were informative, updates mostly on regulatory compliance and evolving protocols for academic advising. Given the number of institutions represented from various different countries, each with their own academic cultures and national immigration laws, keeping pace with changes in compliance seemed both labyrinthine and Sisyphean. Social events were like speed-dating meet & greet sessions where the goal was to exchange as many business-cards as possible. It was nice running into former colleagues, and meeting new ones. The first day wrapped up a group of new friends and old having dinner at a nearby hotel, followed by a cab-ride back to my hotel.
At six in the morning I received a wakeup call. Drawing back the curtains I beheld the high-rise buildings of Country Club Plaza, awash in rosy light. Beyond towers of glass, nocturnal gloom retreated to the west. Darkness pressed a leaden horizon, toward which extended the low-sprawling city. Having listened to the funeral of George Floyd a few days earlier, I went searching for this image. Looking west from an upper floor of a hotel, drinking hotel coffee I mapped out this view. I wondered at what my thoughts had been, that morning eight years ago. Were they hopeful or elegiac? My preference today favors the former. The earth turns. New days are born. Daybreak is a traditional moment for blindfolds and firing-squads. It also signals resurrection, the victory of compassion over cruelty and injustice. Looking toward the rising sun, facing the light, we move with earth’s rotation at a speed in excess of a thousand miles per hour. Looking away from the sun into the darkness, our gaze flows in the same direction as the light from its source, at a speed of one-hundred-eighty-six-thousand miles per second. Regardless of whichever way we face, solar energy warms us.


I think for a moment of Martin Johnson Heade’s 1859 painting Approaching Thunderstorm. 1859. Collection Metropolitan Museum of Art. (Reproduced under Fair Use., etc.)

Painted on the eve of the Civil War, Heade’s composition puts the sun at our backs, measuring the space along elliptical coastline into the umbrageous waters dividing us from the distant shore. My solitary Houston journal-painting is not one I would count as a success, but it holds a dash of Déjà-vu. In the nineteen-eighties a large part of my oeuvre was focused on urban landscapes, a project that resulted from a bit of unintentional self-administered artistic jujitsu, following my first painting-trip to New Mexico. That story is for another day.

Flag Day. A sprint through the genesis of the national colors of United States of America in six-hundred words

On Friday June 14, 1777 the Continental Congress authorized the design of a new national flag, designed by New Jersey congressman Francis Hopkinson. Representing the number of Britain’s Atlantic North American colonies removing themselves from Crown rule was a field of thirteen alternating red and white stripes. The canton, or upper left-hand section of the field was emblazoned blue, with a constellation that may spell “S U” with thirteen six-pointed stars. Apart from representing Judaism, the six-pointed star is Masonic iconography. Many of the founding fathers were freemasons. It may also pay tribute to the Polish-born Jewish financier Haym Salomon (1740-1785), who with Robert Morris (1734-1806) underwrote the American Revolution. Above the eagle on the verso of one-dollar bills is a Star of David composed of five-pointed stars.


Francis Hopkinson flag. June 14, 1777

Legend has it that Betsy Ross convinced Master-Mason George Washington to let her provide the flag she was to make with five-pointed stars, one suspects to make her task less laborious. Washington’s own headquarters flag is a blue field with six-pointed (masonic) stars.


George Washington’s personal position flag. 1777. Reproduced under Fair Use, etc.

Ross also is credited with modifying Hopkinson’s design by arranging the stars in a circle. Her upholstery business was quickly repurposed to produce banners and uniforms for the patriot cause.


Betsy Ross flag. 1777.
This design was by no means uniform, with a range of variations inspired by the official design. But did the design just spring from the imagination of an artsy cousin of Benjamin West? Let’s look at few precedents.


The Grand Union Flag. 1775. Differentiated from the East India ensign by use of a square canton.

The Grand Union flag was adopted, or more correctly appropriated in 1775 as the designating colors of Continental forces in Massachusetts. In every part of the British Empire everyone recognized the design as the ensign of the British East India Company a private corporation that conducted itself like a sovereign state for 274 years.


Ensign of the British East India Company (1707-1874) The field of thirteen red and white stripes with a canton emblazoned with the overlapping crosses of Saints George, David, Andrew and Patrick dates to 1707.


British East India Company Ensign. First pattern. 1600-1668

Its precursor bearing only the red cross of saint George on a white canton had been in use since the formation of the company in 1600. The flag of the progressive Sons of Liberty kept the stripes, sans the tyrannical symbol of British rule.


Sons of Liberty Flag. 1765

When the flag was banned by the Crown, the S.O.L. modified the colors to nine vertical stripes, representing the organization’s nine founders. During the War of Independence from 1775-1784, a number of local variants were produced, with and without a starry canton.


John Trumbull. The Surrender at Yorktown. 1819-1820. U.S Capitol Collection. The national colors portrayed here by a veteran of the war has been called into question. If the object every existed it has never been located. Trumbull’s depiction of twelve stars forming a box around a single central star has never been verified, and deviates from eyewitness sketches of American flags drawn by the British defenders. It nonetheless demonstrates the lack of uniform regulations specifying any single design


Star-Spangled Banner. Adopted 1795

It was not until after the admission into the United States of Vermont in 1791, and Kentucky in 1792 that a fifteen-star predecessor of today’s national colors became the official flag of the United States of America on May 1, 1795. With so many contenders in the running, why in 1776 did the Continental Congress favor the East India Company pattern flag? Could it have been because that Congress pondered the formation of a sovereign state that could behave like a private corporation? Why were no allegorical figures of Liberty adopted, nor Roman eagles, Phrygian bonnets, nor arboreal devices? The answer may seem obvious. How did Flag Day begin? That is another story.

June 8, 2020. Sketchbook Traveler. Dispatch #69. Niagara Falls

Washington Heights, Manhattan. June 8, 2020

Since April 1, I have posted sixty-nine quotidian dispatches pairing images and texts. Apart from keeping myself occupied with a structured project during quarantine, these mini-travelogues were published as messages of hope, addressed to others sheltering in place. Thanks for following these dispatches. As parts of New York State begin to reopen, I will be devoting my attention to other pressing tasks. Today’s desktop road-trip will be the first of a new series of hebdomadal blogposts. Every week, look forward to another. The next installment will be on June 15.

Niagara Falls. Sunday. September 30, 2012.

“…when viewing the falls from below and at a distance, it is hard to say from where the whole river comes. But finally the waters reach the rim, and they rush downward without encountering any obstacle. They do not however form a single mass, as they are separated by an island into two very distinct cataracts. The larger one, occupying the northwest side of the river and bordering the bank on which I approached belongs to the English and is called the Great Falls, or more frequently, the Horseshoe Falls because its summit is quite curved and the two ends, the one on the shore side being longer, project about 70 feet from the center. The top of this cataract forma a nearly horizontal line that is broken only by rocks projecting beneath the water. Masses of suspended rocks lie on the shores, and the quantity of their debris piled at the foot of the cataract attests constant disintegration. One of these projecting rocks was famous for its enormous dimensions, its position over the abysm, and the names that thousands of curious people, including the great Washington, had scratched on the surface. This narrow ledge, known as Table Rock, afforded a view of the whole cataract and the vast chasm below. Upon my arrival, I did not hesitate to venture out on such a perilous platform but, during the night, the gigantic mass broke loose and rolled into the precipice with a fearful noise, engulfing the frivolous glory of all those who had inscribed their names on the stone. Returning to the scene a few hours after the catastrophe, I was terrorstricken and thanked heaven for having preserved my life.”

–Jacques-Gerard Milbert. Picturesque Itinerary of the Hudson River and its Environs. 1826


Niagara Falls. Jacques-Gerard Milbert. Picturesque Itinerary of the Hudson River and its Environs. 1826

Lake Erie drains into Lake Ontario via the Niagara River, which flows over a ledge of Silurian Dolomite that extends east to the Adirondack Mountains, and west via a long northern loop through Bruce Peninsula, Manitoulin Island, around the Michigan Peninsula to Door Peninsula, along the southern shores of Green Bay, Wisconsin. The movement of six million cubic feet of water over the falls per minute erodes the ledge, moving its lip upstream (south) at a rate of two to four feet each year. The first European to describe the falls was Pere Antoine Hennepin (1626-1704), a Franciscan priest who accompanied explorer Rene-Robert Cavelier, Sieur de la Salle on an expedition through the Great Lakes in 1679. The Niagara peninsula became a battleground between invaders from the United States, and British forces supported by Canadian fencibles. On October 13, 1812, defenders held their ground at Queenstown Heights, at the loss of their dynamic young general Isaac Brock. On July 15, 1814, American regulars led by Winfield Scott defeated a larger British force at Chippawa, few miles above the falls near the mouth of the Welland River. A dozen miles south of Scott’s victory, a force of Irish-American Fenian invaders were defeated at the Battle of Ridgway on June 2, 1866, by a combined force of British regulars and Canadian militia. Many consider this minor battle a major event in the path to Canadian independence. On July 1, 1867, the North America Act established the dominion of Canada within the British Empire. Hibernian veterans of the U.S. Civil War continued harassing British-held Canada until 1870. What one might find astonishing is the number of artists who visited the area, including British artillery officer Thomas Davies, who also documented actions around New York City in 1776.


Niagara Falls. Thomas Davies. Royal Artillery

A few years after hostilities ceased in 1815, Rembrandt Peale, Jacques-Gerard Milbert and Samuel F.B. Morse all visited the falls, bidding for their shares in a booming market for picturesque views of exotic locations. Frederic Church produced several views of the falls, the most famous of which was exhibited in multiple venues like a theatrical event, or the equivalent of an Imax film today.


Frederic Edwin Church. Niagara. 1857. Corcoran Collection, National Gallery of Art. Washington DC (Reproduced under Fair Use, etc.)

On Sunday September 30, 2012, Kathie and I flew to Toronto. She was to attend a meeting of scholars and curators at the Art Gallery of Ontario, to plan a major survey of art the Americas. The exhibition would coincide with the Pan-American games being held in Toronto in 2015. Flying into the city on Porter Air, we landed on a little island linked to the mainland by a two-minute ferry ride. Having a few days to kill before her meetings, we decided to visit Niagara Falls. Taking a taxi to our car-rental facility, we got a vehicle and headed south. The trip to Niagara was shorter than expected. Driving through Burlington I noted the house of Thayendanegea, aka Joseph Brandt, the Mohawk war-chief who coordinated bloody raids as far south as Ulster County, New York with British forces and American loyalists. Brandt and a number of Haudenosaunee who had borne arms again the Continentals had relocated to Canada. The industrial city of Hamilton stands along the southern shore of Burlington Bay at the head of Lake Ontario. Crossing the James Allen Skyway, we entered the Niagara Peninsula. The terrain is flat, lush, agricultural and a center for wine production. Presuming the beverage would resemble the sweet white table-wines of New York’s Finger-Lakes, we were pleasantly surprised to find a greater variety. En route to our hotel we visited Brock’s Monument at Queenstown Heights, the massive fluted column surrounded by woods and manicured lawns.
The present monument was built in 1856 to replace another that had been dedicated in 1824, which had been damaged by insurrectionists. The landscaping reflects a similar impulse seen in the USA at the same time—the creation of pastoral settings for rural cemeteries, and later for city parks. After winding our way through the strip-commerce, we locate what remains of the battle-field of Lundy’s Lane, a small grassy park next to a Starbucks, across the street from a Presbyterian church and graveyard. Checking into the Oakes Hotel, we are stunned to find the management had put us on the eighth floor, with a stunning view of the falls.
Walking down to the head of the Falls Incline Railway, we queued up for tickets then waited to board. Like funicular gondolas, the carriages were small and glazed on all sides. Greeting us at the bottom was the remains of Table Rock, and the constant roar of the cataract, as the river plunges nearly two hundred feet into the chasm below. Walking north past a monument to Nikolai Tesla, we find Hornblower Cruises, purchase tickets and fall in with the lowing herd.
Photographs were taken. Color-coded hoodie-ponchos were issued. We were in the blue group.
Filing on board, we made our way forward along the starboard rail. Following a short, narrated tour of the Niagara Gorge, the boat made its way toward Horseshoe Falls, hanging back for several minutes while another boat entered the pool at the base of the falls. As we crept forward, aerosol droplets of water filled the air, like rain falling from every direction. Unlike the hissing roar one hears from above the din was deafening like at ground zero of a nuclear explosion. Vibrating every bone, every ounce of quivering flesh, I was reminded of how it felt, the first time I heard Emmanuel—the great bell of Notre Dame de Paris. Metal striking metal. Its deep sonorous call. The voice of God. Dripping wet in our useless raingear, looking up at an avalanche of water, sheer terror is inundated up by an ecstatic flood of exhilaration. This mélange of fear and awe is what Romantic poets dubbed the Sublime.

Back in our hotel-room I unpacked my journal and watercolors. Looking east, a rainbow leaped across Horseshoe Falls, anchored on Table Rock. Across the river was Goat Island and the American Falls. Behind a rosy plume of mist, the wide southern leg of the Niagara River stretched out to the horizon. I thought about doing a nocturne, the falls were illuminated by pulsing colored lights changing slowly from red to blue to green to white, and so forth until past midnight. Drawing the curtains, we called it a day.


Sunrise. Niagara Falls from Oakes Hotel. Monday October 1, 2012

I arose the next morning at five o’clock. My sketchbook and materials still lay on the table beside the window. The sun had yet to appear as I mapped out the imaged. The perpetual mist-plume ascended from the pit. As the sun burned through the haze, its fiery shape hovered behind the clouds. I was reminded of Frederic Church’s 1862 Cotopaxi, Carl Rottman’s 1849 Epidarus, and of the fact that if one never goes on rambles, the scenery never changes.


Frederic Edwin Church. Cotopaxi. 1862. Detroit Institute of Art. (Reproduced under Fair Use, etc.)


Carl Rottman. Epidarus. 1849. Lenbach Haus. Munich. (Reproduced under Fair Use, etc.)

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June 7, 2020. QT Dispatch #68. Humbug Luminism Booze Cruise

As civil unrest sweeps through our cities, we think of friends and loved-ones who continue to shelter in place. Immobilized for the time being, we can revisit destinations, near and far. join me in celebrating the joys of Quaranteam travel, the hope that these diversions might inspire us to value things we had taken for granted, to draw strength, wisdom and compassion from deeper engagements with nature.


Lake George, Looking South from Sagamore Inn. Thursday May 29, 2014.

There are many things one can say to pick a fight. Derisive imputations concerning one’s honor, or the virtue of a mother or sister will often trigger a dust-up. Classic openers like “your momma” or “who’s your daddy?” would not agitate in the least my dear wife. But questioning the existence of Luminism—as I once did at breakfast—unleashes the full fury of Hellfire.
Sitting at the table, enjoying a second cup of coffee, the conversation drifted onto the subject of the Hudson River School, which I wondered might be a misleading term for several reasons.
Few of the founder-artists ever painted the river, while younger painters like Sanford Gifford, John Kensett and Samuel Colman did.
“You damn fool,” Kathie shot at me. “Those are Luminists.”
So. What’s the distinction? Was it geographic or stylistic? Had any of those artists ever heard a living soul utter the L-word. None of them had of course. The term was invented by art-historian John I.H. Baur in the nineteen-fifties, to identify stylistic differences between two generations of painters classified within the Hudson River canon. This Kathie confirmed.
“In other words,” I said, “there really is no such thing as Luminism.”
These words proved transformative. Suddenly my kind and loving wife became an incensed art-historical Boudicca.
“What about Fitz-Henry Lane? You damned fool. What about Martin Heade?”
I thought for a moment and replied,
“Isn’t Lane just a maritime painter? Why does he have to be a luminist?”
I thought her head was about to explode, or mine might be swept from my shoulders with a single savage blow. Ever since that conversation, Luminism has become a well-gnawed bone of contention. My position is that Luminism doesn’t exist. Hers is that squalid ignorance and stunted intellect render me incapable of understanding it. It’s our Tracy-Hepburn diversion, unpacked periodically to both annoy and amuse.


John Frederick Kensett (1816-1872). Lake George. 1870. Broolyn Musuem. (Reproduced under Fair Use, etc.)

On Thursday May 29 2014, we drove south from Bolton Landing to Lake George Village, to embark on a cruise of the lake from head to spillway. Several day-lines run cruises from docks along the esplanade from the reconstructed Fort William Henry to the downtown cluster of honkytonk commerce. Presenting our tickets to board the Mohican, we were paused at dockside by a perky young woman who took our photo. The same drill is repeated at many attractions ranging from Niagara Falls to the Alamo. Pictures are taken upon entry, and then sold to visitors upon leaving. I have a shoebox full of these treasures. An ear-piercing whistle announces our departure. Backing away from the dock, the ship maneuvered around a homeward-bound tour-boat. A minute or two later a mellifluous voice welcomes us aboard, then launches into a concatenation of anecdotes about the Marquis de Montcalm, the French and Indian War, indigenous lore and robber-baron mansions lining the lakeshore. Basting our tender flesh with sunscreen, we purchase a few bottles of water and head for the upper deck.
Taking a seat above the fantail we settle in for a three-hour cruise. Having packed all my painting-gear in a travel-vest, I set out to document the voyage as much as possible, given the time allowed. Kathie used the time to break in a new digital SLR. I turned to her.
“Look over there. Is that a luminist moment?”


Prospect Mountain from the Mohican. Thursday May 29, 2014

She gave me a dirty look. The dark clouds hovered off the south, washing the summit of Prospect Mountain in sunlight. Behind Tea Island was a cove at the foot of a property once owned by the Stieglitz family, where Alfred and Georgia had summered. As I painted, a bank of clouds threw Prospect Mountain into shadow. Reflected on the surface of the waters, a huge thunderhead framed the rolling topography.


Prospect Mountain from the Mohican. Thursday May 29, 2014

“What do you think now? I asked Kathie, “Is that a luminist moment”
“You know it’s not you damned fool.” She replied.
I went over to the port side, facing north as the Sagamore came into view. I called Kathie over, which patiently she did.
“Now what?”
I pointed to Sagamore. “What about that?”
Shaking her head, she went back to her seat.


Sagamore from the Mohican. Thursday May 29, 2014

North of Sagamore the Mohican approached The Narrows. The narrator explained that Tongue Mountain to the west is a notorious denning-area for Timber Rattlesnakes—Crotalus Terribilis Terribilis. The reptiles are relatively docile if left unmolested. While fatalities from a single snakebite are rare, they can be painful and result in serious infection. Famed botanist Joh Bartram described his encounter with one of these animals while collecting specimens in Schuylkill County, Pennsylvania.

“After dinner we passed the openings of two ridges, the last of which was by the bank of the principal branch of Swataro, the soil poor and stoney; then we ascended a great ridge about a mile steep, and terribly stoney, most of the way: near the top is a fine tho’ small spring of good water. At this place we were warned by a well known alarm to keep our distance from an enraged rattle snake that had put himself into a coiled posture of defence, within a dozen yards of our path, but we punished his rage by striking him dead on the spot: he had been highly irritated by an Indian dog that barked eagerly at him, but was cunning enough to keep out of his reach, or nimble enough to avoid the snake when he sprung at him. We took notice that while provoked, he contracted the muscles of his scales so as to appear very bright and shining, but after the mortal stroke, his splendor became much diminished, this is likewise the case of many of our snakes.”

–John Bartram (1699-1777)

The unique danger to hikers venturing into nesting zones are high concentrations of these venomous creatures, as noted by Jacques Milbert in his Picturesque Itinerary of 1826.
Storm clouds broke up around The Narrows as the rain veered north toward Lake Champlain.
I called to Kathie. Looking over, she shook her head is dismay. I sensed she was amused.


Storm Clouds over the Narrows. Lake George. Thursday May 29, 2014

As we passed beneath the rocky eastern slopes of Tongue Mountain, I spared Kathie another round of questions. She called out to me.
“There you go. Do you see that? Know what that is? It’s NOT luminist!”


Tongue Mountain. Lake George. May 29, 2014.

Painting next day from the Sagamore Inn alfresco lakeside bar I had gotten drenched in a downpour. Kathie had gone to the pool for a swim. When she had finished she came over to see what I had been doing. I showed her my rain-spattered painting.
To the southeast toward Pilot Knob, rain-clouds darkened the skies, as the cool forms of distant hills were crowned with a rosy glow. Sunlight burned through the mist to the west. The wooded mountain glowed an eerie citron hue. The dark from of Dome Island rode like a massive barge upon violet waters. At once calming and terrifying, nature had paused, time stood still, hushed like an orchestra on the brink of a shattering crescendo. She looked at me, then pointed across the waters.
“There! THAT’S Luminism!!!”


Storm over Lake George from Sagamore Inn. Friday May 30, 2014.

At dinner I proudly showed her what I had done.
“Hopeless,” she said, “You’ll never be a Luminist.”

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June 6, 2020. QT Dispatch #67. Lake George

As civil unrest sweeps through our cities, we think of friends and loved-ones who continue to shelter in place. Immobilized for the time being, we can revisit destinations, near and far. join me in celebrating the joys of Quaranteam travel, the hope that these diversions might inspire us to value things we had taken for granted, to draw strength, wisdom and compassion from deeper engagements with nature.


Lake George from Sagamore, Bolton Landing New York. Saturday May 31, 2014.

One thing that has not changed since the stone age is that ninety-percent of human goods still move by water. For thousands of years indigenous traders traveled between the Atlantic coast, the Great Lakes and the far west through a series of waterways linked by carrying-places known as portages. One could enter the Hudson at Sandy Hook, proceed upstream to Stillwater, ascend a series of waterfalls before making a short trek overland to the south end of Lake George. At the northern end of the lake one ascends a winding river, scales another set of falls before putting one’s canoe into the waters of Lake Champlain, which drains via the Richelieu River into the Saint Lawrence River. From Saint Joseph de Sorel, one could either paddle downstream to Gaspé and Newfoundland, or upriver through the Thousand Islands into Lake Ontario. After scaling the heights below Niagara Falls, paddling across Lake Erie, up the Detroit River into Lake Saint-Clair, the up the Saint-Clair River into Lake Huron, one reaches in inland sea. Heading north through Sault-Sainte-Marie, then south into Green Bay, one ascends the Fox River, crosses Lake Winnebago to Lac de Butte des Morts, paddles up the southern stretch of the Fox to Portage, where after a short carry one puts in to the Wisconsin River, which at Prairie du Chien joins the Mississippi. The mighty river is joined downstream by the Missouri and Arkansas Rivers, rising is the Rockies, descending across the Great Plains.During the early colonial period, these waterways were superhighways. Exporting trade goods to indigenous nations, trappers harvested millions of beaver-pelts needed by European hatmakers.


Great Seal of the City of New York. Notice the iconography; a Dutch Builder, a Lenape Warrior, a windmill. Beaver and molasses barrels. The colonial economy of Nieuw Amsterdam was driven by fur-trapping, sugar production and slavery.

Where the Hudson descends from the Adirondacks, below the mouth of Sacandaga River is Glen’s Falls, which featured prominently in James Fenimore Cooper’s novel The Last of the Mohicans. Just below the falls on the left back of the river is the carrying-place that links the Hudson to Lake George. Thirty-seven miles in length this body of water was known to indigenous tribes as HoriconJacques-Gerard Milbert traveled through much of New York State, publishing his writings and drawings as Itineraire Pittoresque du Fleuve Hudson et Des Partes Laterales en Amerique du Nord in 1826.


Jacques-Gerard Milbert. View of Lake George and Caldwell (Lake George Village). 1826. Adirondack Experience, Blue Mountain Lake NY (Reproduced under Fair Use etc.)

“Lake George lies amid mountains that separate in every direction, forming a valley…During the era of French control Lake George was called the Lake of the Holy Sacrament because all the Canadian churches used its clear water for their services. Thirty-six miles long, the lake varies between one and seven miles in width, and the water is so clear that fish can be seen swimming at great depths. One hundred and fifty feet higher than Lake Champlain. It empties into the latter by way of a narrow canal after traversing rapids and a waterfall near the ruins of Fort Ticonderoga. The lofty banks are bordered with magnificent trees, notably red cedars, that are valuable for shipbuilding. The surface is dotted with large numbers of islands of various sizes, some of them barren. One, that is known as Diamond, Island because quartz crystals are found there, was formerly infested with rattlesnakes, but they were exterminated by pigs imported for that purpose. The fearful reptiles are still to be found in large numbers on the mountain (Tongue Mountain), and bold mountaineers continue to hunt them for their skins, despite the fact that several men have been victims of their own intrepidity.”

–Jacque-Gerard Milbert. Picturesque Itinerary of the Hudson River and Its Environs in North America. 1826

In late May of 2014 Kathie and I splurged on a stay at the Sagamore Inn on Lake George. The hotel stands on a Green Island, just off the western shore of the lake, next to the village of Bolton Landing. Normally the place would have been out of our price-range but Kathie had received a special pre-Memorial Day offer. Founded in 1883, the sprawling Victorian-era inn faces south. The setting is stunning. A long, well-manicured lawn sloped down toward the water. We soon realized that our bargain getaway was in the basement of one of the modern dependencies built on the property, not in the grand hotel itself. I had never found the prospect of cruise-ship vacations very appealing but imagined that the American plan, in which hotel lodging included meal service would be similar to dining on one of those seaborne behemoths.We nevertheless gave it a whirl, and were not disappointed.


Rainstorm on Lake George. The Narrows from Sagamore. Friday May 30, 2014. Left to right: Tongue Mountain, The Narrows, Sleeping Beauty and Shelving Rock.

On Friday afternoon, May 30th, I wandered down to the lakeside bar, which had not yet opened for the season. Chairs and tables were partially set up. Unpacking my kit, I measured out the northwest vista across a page-spread and began to explore the scene. Dark clouds tumbled in from the west, throwing the waters into darkness. Sunlight and cloud-shadows rolled across the mountains lining the far shore. Just as the painting began to make sense, the temperature plummeted and the skies opened up. Leaning forward to shield the pages, I continued to work. Rain spilled off the brim of my hat. The wind drove raindrops onto the pages. Turning my back against the weather, I slipped a piece of paper towel between the pages. Closing the book, I moved into the partial shelter of the alfresco bar. Beholding the damage, it would be possible to elaborate the sketch later that evening. Hours later, I set out materials to make the corrections. Looking at my pages for the first time since the afternoon, I hesitated. The image was deranged but coherent. All the color notes were in place. Driven onto the page by windborne raindrops, the pale marks reminded me of bleach-spattered blue-jeans. Their angles recorded the wind-direction. I began to change my mind. Here was an authentic document of a place, at a specific moment in time, modified not by contrivance, but by the intervention of nature. Why for the sake of artistic conceit, should one disregard such a gift?

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June 5, 2020. QT Dispatch #66. Near Fort Miller on the Hudson River. May 29, 2015

As civil unrest sweeps through our cities, we think of friends and loved-ones who continue to shelter in place. Immobilized for the time being, we can revisit destinations, near and far. join me in celebrating the joys of Quaranteam travel, the hope that these diversions might inspire us to value things we had taken for granted, to draw strength, wisdom and compassion from deeper engagements with nature.


The Hudson Near Fort Miller. Friday May 29, 2015

Image and text were featured in the exhibition James McElhinney. Discover the Hudson Anew, curated by Laura Vookles. Hudson River Museum. Yonkers, New York. September 13, 2019 to February 16, 2020. Published also as a limited-edition in Hudson Highlands. North River Suite Volume One. Needlewatcher Editions. New York. 2018.

“Fort Miller is a small village in the township of Argyle and Washington County; thirty-seven miles north pf Albany and thirteen south of Sandy Hill. The great post-road from Albany crosses the bridge at this place, passing from the west to the east bank of the Hudson. There are some considerable falls and rapids near tis place; the latter of which were about eight feet in height when this view of the river was taken. Over these falls it is by no means unusual for raftmen to precipitate their rafts, whenever the state of the lumber-market at Albany is such as to offer inducement adequate to the risk; the usual course is by a short canal entering the Hudson at a short distance above and below the bridge, which avoids the falls altogether. General Putnam, when a major in the army, is said to have been the first to have tried this daring achievement. A part of Indians came suddenly upon him, as he lying near the rapids with a bateau and five men. A moment only was allowed for his determination, as to the best mode of conduct; already one of his men was stretched out dead at his feet, the balls flew in showers about his head; trusting to Providence he pushed off his boat, which by the force of the rapids was soon carried out of the reach of musket-shot…and although eddies whirled around him…he ultimately succeeded in rescuing himself from imminent destruction, to the terror and admiration of is superstitious enemies, who attributed his escape to the assistance of some supernatural power.”
–John Agg. Hudson River Port Folio. 1820


View Near Fort Miller. William Guy Wall. Hudson River Port Folio. Printed by John Hill for Henry Megary, 1822. Collection Metropolitan Museum of Art. (Reproduced under Fair Use, etc.)

Preparing to produce a series of prints with accompanying texts, Irish painter William Guy Wall journeyed with travel-writer John Agg from New York City to the Adirondacks in 1820. Fort Miller had been constructed along the Hudson during the French and Indian War to protect a river crossing, or carrying-place above a small set of falls. The region was famous in the prelude to Burgoyne’s surrender at Schuylerville, four days and two years before Cornwallis laid down his arms at Yorktown. Burgoyne’s failure brought France into an alliance with the newly-formed United States. The area between the Mohawk River and Lake Champlain would soon become more well-known through the Leatherstocking novels of James Fenimore Cooper. Now, as then Fort Miller is a pleasant hamlet on the banks of the Hudson, next to one of the locks on the Champlain Canal that links tidewater Hudson to Lake Champlain. Architectural historian, novelist, and raconteur James Howard Kunstler has for many years been a plein-air painting companion. On May 29, 2015, we piled into his pickup truck and headed off in search of a motif. Arriving at Clark’s Mills, discouraged by new fences and threatening signage, we moved upriver to Fort Miller. A pair of dredging-barges ride on the stream, cranes at rest, cables slack, these dystopic gatecrashers, disrupting pastoral harmony with rusting dissonance remind us that The Hudson is a going concern, a working waterway that mingles muscle with beauty.


Fort Miller Rapids. Benson J. Lossing. The Hudson from the Wilderness to the Sea. 1866

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June 4, 2020. QT Dispatch #65. Kaaterskill Falls. July 27, 2015

Waiting for the crisis to pass, our thoughts go out to friends and loved-ones who also shelter in place. Old friends pass away, people we loved and admired. Immobilized for the time being, we can revisit destinations, near and far. join me in celebrating the joys of Quaranteam travel, the hope that these diversions might inspire us to value things we had taken for granted, to draw strength, wisdom and compassion from deeper engagements with nature.


Kaaterskill falls. Monday. July 27, 2015

“Why, here’s a fall in the hills, where the water of two little ponds that lie near each other, breaks out of their bounds, and runs over the rocks into the valley. The stream is, may be, such a one as may turn a mill, if so useless a thing was wanted in the wilderness. But the hand that made that ‘Leap’ never made a mill! There the water comes crooking and winding among the rocks, first so slow that a trout might swim in it, and then starting and running, just like any creatur (sic) that might want to make a far spring, til it gets to where the mountain divides like the cleft hood of a deer, having a deep hollow for the brook to tumble into. The first pitch is nigh two hundred feet, and the water looks like flakes of drive snow afore it touches the bottom; and then the stream gathers itself together again for a new start, and may be flutters over fifty feet of flat rock, before it falls for another hundred, where it jumps from shelf to shelf, turning this-a-way and then turning that-a-way, striving to get out of the hollow, till it finally comes to the plain…the rock sweeps like mason-work in a half-round on both, and the shelves over both sides of the hill, and the shelves over the bottom for fifty feet, so that when I’ve been sitting at the foot of the first pitch, and my hounds have run into the caverns behind the sheet of water, they’ve looks no bigger than so many rabbits. To my judgement it’s the best piece of work I’ve met with in the woods; and none know how often the hand of God is seem in the wilderness, but them that rove it for a man’s life.”

–Natty Bumppo to Oliver Edwards, in The Pioneers by James Fenimore Cooper.

Katers-Kill Falls; Benson John Lossing (American, 1813 – 1891); New York, New York, United States; about 1860–1866; Chromolithograph; 7.1 × 5 cm (2 13/16 × 1 15/16 in.); 84.XD.869.6.6

Kaaterskill Falls. Benson J. Lossing. The Hudson from the Wilderness to the Sea. 1866. Collection Getty Museum. Reproduced under Fair Use, etc.

I had visited Kaaterskill Falls on numerous occasions. Following the stream than descends from Katers-Kill lakes one reaches a rocky shelf upon which find a large boulder. Climbing upon it I beheld a palimpsest of signatures hewn into the stone by previous visitors, including Hudson River School painter Sanford Gifford. A few feet beyond this glacial hitch-hiker the ground disappears into an airy amphitheater with an audience of thick woods. Opening first to the west, the cleft bends to the south as Kaaterskill Creek crashes down through rocky ravine between South Mountain and Roundtop. In his 1866 painting of the scene, Asher B. Durand has us looking at once from the head of the falls toward the west, and then southeast from the heights near Haines Falls. Someone like Benson Lossing might have detected the cagey old Jersey Huguenot’s bit of leger-de-main, but city swells at the Century Club would have praised it as God’s own truth.


Asher B. Durand. Kaaterskill Clove. 1866. Yale University Art Gallery

In late July of 2016 I returned to Kaaterskill Falls. My aim was to have a look at the new observation platform that had been built for viewing the falls from above. Other structures preceding this one has been built in the nineteenth century. These wooden follies had long ago collapsed into the wooded slopes, indistinguishable from deadfall. Just as contemporary realist painters confuse nineteenth-century verisimilitude with twenty-first century fact, people today imagine Thomas Cole, Durand and other Hudson River School artist roughing it in the mountains like Natty Bummpo and Chingachcook. Nothing could be farther from the truth. By 1830 he Erie Canal had been in business for five years, and Catskill Mountain House for six. The Hudson River bustled with traffic including steamboats landing tourists near sites made famous by Cooper’s Leatherstocking Tales. Durand’s 1849 memorial to Cole Kindred Spirits shows not two buckskinned longhunters but refined gentlemen, betogged in the historical-period equivalent of Orvis.
The lookout is reached by way of a well-established trail at the end of Laurel House Hill Road, off North Lake Road in North-South Lake State Park in Haines Falls, New York. Unlike its predecessors the military-grade steel tower is reached by a short bridge at the end of the trail. This adds stability to the vertical structure, which is built on a precipitous wooded slope on the north side of the falls. Unpacking my journal and paint-box I secured the page-ends of the book with small metal binder-clips, clipping the wire elements of one to a lanyard, lest a book full of paintings plummet into the jungle below. Lost in my work, deep in concentration, I heard a voice say, “Excuse me…excuse me.”
Looking up I beheld a pleasant young man in a black frock-coat. With a long-flowing brown beard, bright eyes, yarmulke, and lustrous curling payots, over his shoulders was cast a magnificent striped prayer-shawl. In his hand was a wooden staff, thick as a man’s wrist. He smiled. I smiled back. The last thing I expected to see in the mountains of Ulster County was a Biblical prophet. Stretching out his arm like Charlton Heston in Cecil B. De Mille’sThe Ten Commandments, he pointed to the falls.
“Who made that?” He asked.
Something told me he had never heard of Natty Bummpo, or Thomas Cole.
“Why, God made that” I replied. “God made everything in these woods, except for this tower we’re standing on.”
I went on to tell him the name of the falls was “Kaaterskill”, that “kill” was the Dutch word for a creek. These mountains I told him were once called the Katzenbergs. His eyes lit up. I figured that “Katzenbergh” had a cognate in Yiddish.
“Big cats, panthers used to live in these mountains. Some say they are coming back. Ergo the name. Katzen for cat, bergh for mountain. Now we call them Catskills, which is also the same name of another creek further north of here.”
Suddenly he looked worried. I turned around. A group of Hassidic brethren was clustered on the trail, preparing to depart. The Rabbi scowled and twitched his head as if to say, get away from that evil goy. I bade him farewell as he rejoined his flock.
Other conversations followed. As I was packing up to leave a mixed group of fit sweaty hikers approached.
“Been here long?” one them asked. Three or four hours, I told him.
“We’ve been here all day. Parked down on the road, climbed up the south side of the fall, went up to Sunset Rock and now we’re heading back.”
“Sounds like a great day,” I replied.
“This morning was a bummer,” he responded. “A kid fell off the top and was killed. Teenager taking a selfie. We got there just after it happened.”
“That must have been awful.”
“Hard to forget a thing like that,”
“Amid all this beauty,” I replied
“Yeah, ironic.”


Kaaterskill falls. Monday. July 27, 2015

Check out April 2020 Quaranteam Traveler Dispatches

(A preview of SKETCHBOOK TRAVELER by James L. McElhinney (c) 2020. Schiffer Publishing).

Copyright James Lancel McElhinney (c) 2020 Texts and images may be reproduced (with proper citation) by permission of the author. To enquire, send a request to

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