We visited Massachusett’s Old Sturbridge Village in the fall, the perfect time to enjoy this open air museum.
The costumed employees and volunteers at Old Sturbridge harvest the land as the earlier settlers would have.
Apples, pumpkins and squash had been carefully collected, sometimes in unexpected free spaces. The settlers needed a dry area away from weather and animals, and floor space was a great (and, one hopes, temporary) storage spot.
Crops needed to be gathered while other jobs still had to be performed.
Men and boys set type and did the printing, while women stiched and bound books. Country printers also brought out pamphlets, broadsides, sermons, legal forms, advertisements, and public notices.
This bridge, one of the 12 remaining in Massachusetts, was saved from demolition to make way for a new highway in 1951. Fewer than 200 covered bridges still stand in New England.
Along with shoeing horses and making nails, the village blacksmith (often a town had more than one) produced items of metal needed for everyday life. The Fenno House is Sturbridge’s oldest building.
Artisans on the Old Sturbridge Village grounds make traditional products in the old way. Many are available for sale in the gift shop. 
Old Sturbridge Village was born from the collective vision of a family. The three Wells brothers of the American Optical Company in Southbridge, Massachusetts, Albert B., Joel Cheney, and Channing M. founded the massive collection that makes up Old Sturbridge. It is the world’s finest collection of rural New England artifacts. 
They purchased David Wight’s farm with the vision of showing their collection in the context of a working village. The living museum received its first visitors on June 8, 1946. To date more than 21 million adults and children have visited the Village, and 250,000 people visit every year.
NOTES:  The ruby red glass flask I purchased there winks at me from the window as I write this.
 Old Sturbridge Village began with a 1926 golf date cancelled due to Vermont rain: A.B. Wells went on an antiquing quest instead and became obsessed with collecting New England antiques and artifacts. Click here for more on the history of Old Sturbridge Village or for their website: www.osv.org/visit.
All photogaphs can be enlarged by simply clicking on the image. More of Uwe’s pictures from New England and his photography may be viewed at viewpics.de.
Cleopatra: He’s speaking now, Or murmuring ‘Where’s my serpent of old Nile?’ — Shakespeare Antony and Cleopatra, Act I, Scene 4
This is Part 2 to my post about our brief trip to Luxor, Egypt. As I look through Uwe’s photographs from that week I’m struck by his images of the Nile.
There is something sensuous about this river… One of my very favorite Shakespeare plays is Antony and Cleopatra. Here is the description of Cleopatra floating down the Nile:
Enobarbus: The barge she sat in, like a burnished throne,
Burned on the water; the poop was beaten gold,
Purple the sails, and so perfumed, that
The winds were love-sick with them, the oars were silver,
Which to the tune of flutes kept stroke, and made
The water which they beat to follow faster,
As amorous of their strokes.
…From the barge A strange invisible perfume hits the sense
Of the adjacent wharfs. The city cast
Her people out upon her, and Antony,
Enthroned i’ the market-place, did sit alone,
Whistling to the air; which, but for vacancy,
Had gone to gaze on Cleopatra too
And made a gap in nature.
Agrippa: Rare Egyptian! (Act II, Scene 2)
The Nile is iconic. It’s the longest river in the world, around 4,160 miles or 6,670 kilometers The Nile originates at Lake Victoria and Lake Tana, and ends at the Mediterranean. It flows northward through Tanzania, Rwanda, Kenya, Uganda, Burundi, Ethiopia, Democratic Republic of the Congo, Sudan, South Sudan, and Egypt.
It is the largest oasis on the planet. When we visited in May 2013 tourism had declined so far that there were no longer any direct flights to Luxor. Instead, we flew to Hurghada on the Red Sea and a van met us. We drove for four hours across the barest desert landscape imaginable. No nomads, no towns, no vegetation or animal life to be seen. When we reached the Nile, visible signs of life appeared again.
All of the great ancient cities we visited are on the river’s banks. Karnak, Luxor/Thebes. Dendera, Edfu. From our hotel balcony we gazed directly across the river to the Valley of the Kings. The Valleys of the Kings, the Queens and the Nobles are on the west bank of the Nile River as you must be buried on that side in order to enter the afterlife.
We sailed downriver to Dendera, enjoying the scenery that flowed slowly past.
The fertile Nile was the original source of Egypt’s wealth and today 40 million Egyptians (50% of the population) live near its banks. There was life on the shores and in the water everywhere we looked.
Cleopatra: …we’ll to th’ river: there, My music playing far off, I will betray Tawny-finned fishes. (Act II, Scene 5)
Antony: The higher Nilus swells, The more it promises; as it ebbs, the seedsman Upon the slime and ooze scatters his grain, And shortly comes to harvest. (Act II, Scene 7)
The Egyptian calendar was based on the Nile’s three flood cycles. According to Wikipedia, “[t]hese seasons, each consisting of four months of thirty days each, were called Akhet, Peret, and Shemu. Akhet, which means inundation, was the time of the year when the Nile flooded, leaving several layers of fertile soil behind, aiding in agricultural growth. Peret was the growing season, and Shemu, the last season, was the harvest season when there were no rains.” 
As I looked out at the river and thought about my mother, I sensed the rhythms of life and death more clearly than ever before.
To the ancients, the Nile was the River Ar meaning “black” because of the rich, fertile sediment left on the banks from the Nile’s flooding. When the Aswan Dam was built in 1970, the annual flooding ended. But by the time we left I knew why Shakespeare’s hero confessed,
Antony: Egypt, thou knew’st too well My heart was to thy rudder tied by th’ strings, And thou shouldst tow me after. (Act III, Scene 9)
When my friend Liz lived in Germany, she and I would go exploring. One lovely spring day she suggested a trip to the nearby town of Weinstadt. It lies in the Rems Valley, a region known for vinyards and orchards. Weinstadt has charming villages, wooded hills, wine and sculptures… all mixed together.Weinstadt is actually five towns that joined together in 1975: Beutelsbach, Endersbach, Großheppach, Schnait and Strümpfelbach. We walked through the streets and the Sculpture Trails in the latter two (Strümpfelbach and Schnait).Weinstadt’s slogan is „Kultur trifft Natur“ or “Art Meets Nature”. A family with three (3!) generations of artists reside in Weinstadt. It is their art that decorates this already gorgeous area.Bronze and stone sculptures are tucked into bushes and vinyards, yards and walls.Professor Karl Ulrich Nuss first started the Scupture Route initiative. Karl is in the middle of the art dynasty that includes his father Professor Fritz Nuss (1907-1999), and two grandchildren of Fritz: Christoph Traub (born in 1964) and Felix Engelhardt (born in 1970).
Liz and I wandered through the vinyard’s sloped hills with our cameras.
Spring was running riot with blooming trees and flowers everywhere. The flowering Nature made the perfect backdrop to the artwork …
or was it the other way around?
Amongst other places, Fritz Nuss’s work is displayed in the British Museum and the Liederhalle in Stuttgart.
Most of our time in New Zealand I felt the landscape was alive. Especially on the North Island, I had the eerie sensation of standing on a very active volcano. The ground steams in places, thanks to the underground hot springs everywhere.
Three things remain fresh in my memory: Maori culture and architecture; the crisp Sauvignon Blancs that were all we drank; and the utter alive-ness of the nature.
The charming city of Rotorua contains all three.
We could view the wharenui (meeting house) of the Māori people from outside. I was taken by the use of local materials, symbolism, and the symmetry and beauty of every traditional building.
The Kiwis make great wine. When it comes to bottled grapes, I’m amused by the jargon. My own descriptions used to run to statements like, “A naughty little vintage. If this was a small child, I’d spank it and send it to bed without supper.” I loved it when I discovered that New Zealand’s Sauvignon Blancs are described as releasing a heavy whiff of cat pee when you first open the bottle. (I’m not making this up. Wine expert Jancis Robinson remarks, “Indeed one branded Sauvignon Blanc on sale in Britain is actually sold under the brand name Cat’s Pee on a Gooseberry Bush.”)* Yuck! If that’s the first impression you get from a wine, what could make anyone want to go past just opening the dang thing?
It was worth the adventure to try one.
We bought a bottle and opened it in our hotel room. Phew-ee! Sure enough, there was a heady stink of feral cat which thankfully faded immediately. I dared to fill a glass, took a sip… and was greeted by an explosion of quince, green apples, citrus fruits, kiwis and gooseberries. Those Sauvignon Blancs are so delicious that I never even bothered trying any other grape varietal while we were there. Why mess with kitty litter box perfection?
And then there is the natural world.
We visited parks where everything burbled, bubbled, exploded or engulfed us in clouds of steam. We did all of the hiking loops and were wowed by the spectacle of shooting geysers, blubbering springs, and mineral ponds containing colors I had no idea normally appear in Nature.
In one park gift shop I purchased mud for facials that someone dipped out of a pond on the park grounds. No small feat as most of the park waters are at boiling point!
The park had to post signs warning people not to step in the springs. I say, let Darwin’s theory of natural selection and Nature take their course…
“A brave heart and a courteous tongue,” said he. “They shall carry thee far through the jungle, manling.” —The Jungle Book, Rudyard Kipling (1865 – 1936)
We’re in India for a few weeks and currently we’re riding in the back of an open jeep. We spent the better part of 5 hours each day on really bad roads to get here. Now we’re layered in the few long-sleeved clothes we brought along. How cold can it be if you’re not way up north trekking in the Himalyas?
How cold? Man, it’s effing freezing.
It’s shortly after 6 a.m. in the Bandhavgarh Tiger Reserve and we’ve been up since 5. “Remind me,” I beg. “What are we doing here?” I wrap the blanket the tiger lodge lent us tighter around my body. (What I really want is a sub zero temperatures sleeping bag.) “Remind me,” I ask again. “Why are we doing this?”
“You wanted to come back to India,” Uwe prompts.
“Oh, yeah. Now I remember.” And it’s true: I was really excited to return. I fell in love with the subcontinent when we visited a decade ago. In Goa we walked miles of pristine beaches. In Karnataka we attended an astonishing Nandi Purnima, the full moon festival, and Hampi was a bare landscape filled with gigantic boulders and ancient temples.
In a country this exotic and large, surely we’d experience something new when we came back. What I did not expect was that I’d be freezing my ass off.
We’re doing a mix of culture and nature. India is one of the two most populated countries on the planet, and we thought it would be smart to schedule some time in quieter areas too. I’m glad we did. The north central region of Madya Pradesh is green and varied and home to some of the few remaining wild Bengal tiger populations.
So for two days at Bandhavgarh and a day at Kanha National Park*, we haul our sorry butts out of bed at the crack of dawn, pull on all our clothes and drape ourselves in borrowed blankets. 6 a.m.-1 p.m. for the early safari; 3-6 p.m. for the afternoon attempt. If we’re lucky, we’ll spot a big cat.
We’re not lucky. We’re cold.
Later we shed layers as the day warms up. The parks contain barking and spotted deer, gaurs, nilgai,
lemurs and langurs,
wild peacocks and other birdlife,
wild boar, and a landscape filled with watering holes and high grasses, forest and farmers’ villages. On the second day at Bandhavgarh our jeep carries a park ranger to inspect a water buffalo kill from the night before. It occurred just outside the official boundary of the preserve and the farmer will be reimbursed for the animal the tiger took down.
We aren’t allowed to leave the jeep – ever – and the ranger approaches the carcass very slowly.
Where there’s a fresh kill, the big cat can’t be far.
By the third day I’ve perfected what I name the mummy wrap. I have myself wrapped so tight that I literally can’t move, but this way the blanket doesn’t unwind in the cold wind.
And, suddenly, a tiger leaps from the forest, followed by his mate. He moves into the reeds and returns dragging a dead spotted deer by the neck.
We see them for less than a minute and those seconds are absolutely worth the days of waiting. My God, they’re magnificent! During the afternoon safari we get lucky again: 10 seconds of spotting a shyer, rarer leopard.
Uwe captures the group of spotted deer nervously fleeing the leopard. He’s in Photographer Heaven.
Naturally we’re already dreaming about an African safari (… and I’ll pack a wool jacket, just in case…).
NOTES: *Kanha National Park provided the inspiration for Rudyard Kipling’s The Jungle Book. All photographs can be enlarged by simply clicking on the image. Go to my earlier post Travel Karma to read about our first visit to India. More pictures from India and of Uwe’s photography may be viewed at viewpics.de.
We’ve come to Paris for a quick getaway, and Stuttgart is less than 4 hours by direct fast train. As we think about what we want to do and see, we realize neither of us have ever visited Chartres.
Uwe and I go out of our way to see sacred places around the globe. (See my posts The Cult of Bà Chúa Xứ or The Music of the Heavenly Spheres for some photos and tales from other sacred spots.) Energies gather in some unlikely places. Sometimes I stand in famous spots and am disappointed, while a place less known for religion makes me feel the presence of the divine.
Chartres. I’ve been trying for days – weeks, actually – to summarize the “facts” about this site. It was built 1140-1260 and the labyrinth was laid in the first decade of the 13th century. I wonder what to mention about Chartres’ 1,000 years as a pilgrimage destination, or the female energies of the cathedral and their tenderness. Mary’s tunic, the Sancta Camisia worn at the birth of Jesus Christ, was brought here by Charlemagne. The king in turn had been given the relic as a gift during a trip to Jerusalem.
When the earlier church building burned on June 10, 1194, the Sancta Camisia miraculously survived. Chartres remains an important Marian pilgrimage center, and the faithful still come from around the world over to honor it.
Chartres is one of the most impressive Gothic cathedrals on Earth. Back in my college days at the University of Oregon, Professor James Boren in his Chaucer and Medieval Literature classes explained Chartres as literally turning the architectural form inside out. For the first time the ribs holding up the entire structure had been placed outside, allowing the inside heart of the structure to soar up into the Heavens, seemingly without limits. The support of flying buttresses was necessary because of the unprecedented size and heights of the stained glass windows and the nave. Professor Boren’s face glowed; this stern and learned man radiated as he lectured about a place that he said changed him when he saw it. That lecture and the look on his face stayed with me. Chartres: someday I would see it.
Chartres Cathedral contains one of the few remaining medieval labyrinths. It’s large with a circumference of 131 feet, almost exactly the same size as the West Rose window.
In the Middle Ages, French church labyrinths were the sites of Easter dances involving clergy and the tossing of a leather ball. Sadly, the labyrinths were destroyed, covered over, or hidden by Church authorities suspicious of their powers and pagan beginnings. (Labyrinths, including Chartres’, traditionally had an disk or placque of Theseus and Ariadne and the Minotaur at their centers. In fact, another name for a cathedral that contained a labyrinth was the “Domus Daedali” [House of Daedalus], a nod to antiquity’s Daedalus, designer of the labyrinth that held the Minotaur in Knossos.) *
But, Chartres’ labyrinth survived. I learn that while it’s covered by chairs most of the time, the labyrinth is made free for visitors to enter on Fridays. My one request to Uwe for our trip becomes, “Please let’s go to Chartres on Friday!”
So here we are, entering one of the holy pilgrimage destinations in Christianity.
Chartres. Once inside, the cathedral’s beauty immediately takes my breath away. I am so deeply moved that in the next moment I’m close to tears. Whatever I expected, this sacred soaring space is beyond all imagination. Light streams in through the windows and illuminates the visitors, pilgrims, and the simply curious. All of us are suffused in colors.
For a while I just walk around. Uwe’s already moved off with his camera, ready as always to use his art with photography to capture in images what my brain grapples with in words.
As the minutes pass I grow more and more stunned. And I remain dangerously, or is that gorgeously, close to breaking into tears. There is an energy to this place, a sense of the holy and the really, really blessed, that I have seldom felt anywhere.
The Schwedagon Pagoda in Burma comes to mind. It is the most important pagoda in the country, and I felt the top of my head buzz like it was going to blow off from the concentration of religious energies. Or a back pond in the Adirondacks with only my family as fellow witnesses: loons with a pair of chicks calling in low cries to one another as they eyed us but didn’t swim away. Or a tiny Greek Orthodox church in Thessaloniki, supposedly built on the site where Apostle Paul preached. I attended on Sunday with my friend Cynthia and our Greek host Fotis, who led us up to an altar surrounded by burning, hand-dipped wax tapers. Fotis insisted we take bread from the common basket. Tears streamed on both our faces; I finally felt the deeper meaning of breaking bread in fellowship.
All of these places’ sacred energies are present in Chartres. It is so much more than I deserve or had awaited. I take a deep breath to center myself, and move forward to stand poised at the entry to the labyrinth.
“A labyrinth is an ancient symbol that relates to wholeness. It combines the imagery of the circle and the spiral into a meandering but purposeful path. …
“A labyrinth is an archetype with which we can have a direct experience. … It is a metaphor for life’s journey. It is a symbol that creates a sacred space and place and takes us out of our ego to “That Which Is Within.” At its most basic level the labyrinth is a metaphor for the journey to the center of your deepest self and back out into the world with a broadened understanding of who you are. …
“A labyrinth is not a maze. A maze is like a puzzle to be solved. It has twists, turns, and blind alleys. It is a left brain task that requires logical, sequential, analytical activity to find the correct path into the maze and out. A labyrinth has only one path. It is unicursal. The way in is the way out. There are no blind alleys. The path leads you on a circuitous path to the center and out again.
“A labyrinth is a right brain task. It involves intuition, creativity, and imagery. With a maze many choices must be made and an active mind is needed to solve the problem of finding the center. With a labyrinth there is only one choice to be made. The choice is to enter or not. A more passive, receptive mindset is needed. The choice is whether or not to walk a spiritual path.” – Dan Johnston, Ph.D. at www.lessons4living.com
While I walk the labyrinth and contemplate the mystery of the sacred**, Uwe photographs me. When I see his photos later I’m surprised, and glad.
NOTES: * Another name for the eleven-circuit labyrinth is the “Chemin de Jerusalem” or Road of Jerusalem. Walking the labyrinth in Chartres or other places could be made instead of making the pilgrimage to Jerusalem.
** I haven’t even tried to talk about the lunations of the labyrinth. Their meaning is still debated. A celestial calendar? Esoteric design of the deeper mysteries?
Walking a Sacred Path. Rediscovering the Labyrinth as a Spiritual Tool. Dr. Lauren Artress, Riverhead Books, 1995.