BRIDGES OVER PIELISJOKI

It all looks so small now, viewed from the distance of several decades, but a large portion of my life’s experiences revolved around that small island, water and bridges.

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It seems that bridges played a substantial role in my childhood and youth. During those precious years in my life in Joensuu, there were three bridges, Itäsilta (East Bridge), Länsisilta (West Bridge) and Kanavansilta (Channel Bridge.)  Nowadays—at least six, maybe more. In the picture above, the bridge on the left is the Itäsilta, and the other visible one is, of course, the Länsisilta. Kanavansilta, the drawbridge, is located just at the right edge of the photo.

Itäsilta—East Bridge

Länsisilta—West Bridge

Kanavansilta—Drawbridge

My home was in a nearby suburb (first Peltola and then Kettuvaara), about two kilometers from the town center, separated by those three bridges. I crossed them every day either on foot or by bike—to school, church, shopping, library, movies, sports (mainly swimming and ice-skating, according to the season), summer jobs, friends' houses, etc. One of my favorite stops that I made on my way home from school was to see my dad in the venerable old government building, Pielislinna, pictured below, where he worked, employed by the Finnish Army.  I have sweet memories of meeting him there and playing telephone tag with him; he would tap the phone in another office and I would answer. Now, that was really fun for me as a youngster, for we did not have a phone at home.

Pielislinna

I now realize more fully how important that island—called Ilosaari (Happy Island)—was in my growing up years. I learned to swim and dive in the lagoon. Summer theater was always a highlight. That large red-roofed building (referring back to the first photo) was a multipurpose conference center called Karjalantalo (Karelia House) where our church meetings were held for a while. Later on, I worked as a guide at the Pohjois-Karjalan Maakunta Museo (North Karelia County Museum) located at the lower level of that building, as well. In addition, many functions took place there, such as dances and other occasions.

I remember singing there, in a trio with two other girls, as part of the entertainment at a military induction celebration. Yeah, I did that. Finnish folk songs. That I had arranged for three voices, performed a cappella.

Karjalantalo—Karelia House

Uimakoulu—Swimming School

Above, a photo that shows two of the bridges. It also shows the roof (red) of my old school, which later on also housed the city library and an art museum. I worked in the museum as a guide during two summers. This edifice, Joensuun tyttölyseo, is a beautiful landmark and still serves as a splendid example of Jugend architecture (Art Nouveau in America). So many memories, some good, some not so good...

And speaking of school, one high-spirited moment was witnessed by passers-by on one of those bridges after the last examination in high school (ylioppilaskirjoitukset, or "matriculation examination"). On my way home with friends, I threw all my school text books, one by one, down into the river from Itäsilta...  "No more pencils, no more books, no more teachers' dirty looks." And that's the wildest thing I ever did. (If you believe that, you might be of easier credulity than I thought!)

But that's not all where I encountered bridges. Perhaps someone who interprets dreams can tell me why I had persistent nightmares about those bridges. In the dreams, I was always afraid I would fall off and plunge into the rapids that raged underneath. The surface of the West Bridge was made with wooden planks with tiny cracks in between them for draining rain and melting snow, and my fear in the dreams was always that I would fall in between the planks. Come to think of it, I was afraid of that even in real life! Or that the bridge would meander and swerve and I would never get home. Those were real night terrors. So why did I dream such scary things? What do they mean? Have some of the secrets in them come true? Do I even believe in dreams?

I have no answers.

JAPANESE TEA BOXES

We've seen some pretty tea pots and tea cups—pretty enough to collect and keep on display in prominently located curio cabinets or shelves—and now we can add to them tea boxes (or chabako) from Japan. These are truly authentically Japanese, covered with authentic Japanese obi or other exquisite fabrics—authentic, of course! 

So, what are these Japanese tea boxes? They are thin-walled wooden boxes of vastly varying sizes—from 1-kg size up to 60 kg—lined with sheets of tin to keep tea dry and fresh. With the arrival of Tupperware some decades ago, however, these wooden boxes are hardly ever used in today's Japanese households. They have become more a nostalgic item that these days seems to connect East with West in that it is the Westerner who is interested in this nostalgia. Many women are keen to learn how to cover them, to "upholster" them, thus making them into decorative items, from small boxes to keep on shelves or tables to foot stools or side tables. They also make excellent moving boxes. (Not as cheap as cardboard, but all included in the move, so why not?)

The flat boxes are nori boxes. (Nori is a seaweed.)

I became interested in—or more precisely, fascinated by if not obsessed with—these boxes when we lived in Tokyo. I realized that by using old Japanese obi for covering them, this combination made a perfect marriage by which to remember Japan. There was a store called "Chicago" where they sold funky second-hand clothing and used obis and kimonos. The store was located in Omotesando; our driver Wataraisan would take me there regularly. Aaah, what sweet memories! 

Below are some examples of the ones, in various sizes, that I have upholstered. Most were given away as gifts—a very welcome gift to an expat living in Japan or Japanese friends.

The top left box is covered with a piece from an old Indian sari; the others are from obi.

This one may be my favorite, due to the simplicity of embroidery on the obi and the decorative studs that I embedded on the front.

Here is an example of one the larger ones I saw, a beautifully upholstered piece that makes an attractive trunk or a coffee table. It sits on a stand that was made specifically for arrangements like this... handmade, impressive.

Photo from chabakointernational.com

So, these photos and stories ought to waken some curiosity about the Japanese obi. If so, here are just a few photos of them:

And with that, I feel another post coming on about these gorgeous things...

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Photo from chabakointernational.com

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DIVORCE, AMERICAN STYLE

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Dear American liberals, leftists, social progressives, socialists, Marxists and Obama supporters, et al: 

We have stuck together since the late 1950s for the sake of the kids, but the whole of this latest election process has made me realize that I want a divorce.

I know we tolerated each other for many years for the sake of future generations, but sadly, this relationship has clearly run its course.

Our two ideological sides of America cannot and will not ever agree on what is right for us all, so let's just end it on friendly terms.

We can smile and chalk it up to irreconcilable differences and go our own way. 

Here is our separation agreement:

¶ Our two groups can equitably divide up the country by landmass each taking a similar portion. That will be the difficult part, but I am sure our two sides can come to a friendly agreement.

After that, it should be relatively easy! Our respective representatives can effortlessly divide other assets since both sides have such distinct and disparate tastes.

¶ We don't like to redistribute taxes, so you can keep them.

¶ You are welcome to the liberal judges and the ACLU.

¶ Since you hate guns and war, we'll take our firearms, the cops, the NRA and the military. 

¶ We'll take the nasty, smelly oil industry and the coal mines, and you can go with wind, solar and biodiesel.

¶ You can keep Oprah, Michael Moore and Rosie O'Donnell. You are, however, responsible for finding a bio-diesel vehicle big enough to move them. 

¶ We'll keep capitalism, greedy corporations, pharmaceutical companies, Wal-Mart and Wall Street (and Hobby Lobby for their Christian values).

¶ We'll keep Bill O'Reilly and the Bible, and give you NBC and Hollywood.

¶ You can make nice with Iran and Palestine and we'll retain the right to invade and hammer places that threaten us.

¶ You can have the peaceniks and war protesters. When our allies or our way of life are under assault, we'll help provide them security.

¶ We'll keep our Judeo-Christian values.

¶ You are welcome to Islam, Scientology, Humanism, political correctness and Shirley McClain. You can also have the U.N. but we will no longer be paying the bill.

¶ We'll keep the SUVs, pickup trucks and oversized luxury cars. You can take every Volt and Leaf you can find.

¶ You can give everyone healthcare if you can find any practicing doctors.

¶ We'll keep "The Battle Hymn of the Republic" and "The National Anthem."

¶ I'm sure you'll be happy to substitute "Imagine," "I'd Like to Teach the World to Sing," "Kum Ba Ya" or "We Are the World."

¶ We'll practice trickle-down economics and you can continue to give trickle up poverty your best shot.

¶ Since they often offend you, we'll keep our history, our name and our flag.

And, in the spirit of friendly parting, I'll bet you might think about which one of us will need whose help in 15 years.

Sincerely, 

John J. Wall

Law Student and an American

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OLD PACKARD ORGAN

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Two years ago we purchased a beautiful pump organ which was to fill the void I felt after we sold our grand piano. I never thought we’d ever part with that piano, but at that time we were serious about selling our 'Taco Bell' house (as some have called it...) and moving westward to be closer to our children. We did not want to ship the large instrument that had already been around the world a couple times (purchased in New Hampshire, from there to Boston to Schenectady NY to Hong Kong to Saudi Arabia to Dubai to Tokyo to Utah to North Carolina in one house and then to this present one). But as fate would have it, we stayed in North Carolina. And the emptiness without an instrument like our Kawai grand was almost more than I could bear. So, several years after the exodus of the piano, my husband bought this glorious instrument—that does not make a sound, yet.

This beauty is over 100 years old and can still evoke admiration and nostalgia. It has been on a wild adventure. Built by The Fort Wayne Organ Company, in Chicago, most likely during the transition of the company from the Fort Wayne Organ Company to The Packard Company, which would put the date somewhere around the turn of the century, i.e., 1900. The organ was purchased by a Presbyterian church in Aberdeen, Scotland, and graced the small church there until the 1970s when the church was remodeled. At that time, the organ was purchased by Americans who moved it to Belgium. In 1984 it changed hands again and became the property of an American expatriot family, still in Belgium. The travels continued to Summit, New Jersey, and then into storage in Salt Lake City for several years, and finally, to Pinehurst, where we purchased it. The ‘expariot’ organ has finally found its permanent home!

I collected some cursory information of the The Packard Organ Company and its history.

Packard Organ and salesmen in 1890s

Organs 1898-1914

“This time period marks the beginning of the end of organ production by the Packard Company. In 1899, the company name had changed from The Fort Wayne Organ Company to The Packard Company. Also, the emphasis began to be placed on piano production, and the company was focused on the piano part of the business.

“Organ production ceased by the end of 1914, and the company name was changed from The Packard Company to The Packard Piano Company, ushering in a new year and a new era in 1915.”

I can’t believe the disrespect we demonstrated by keeping this treasure in our garage for two years! Well seasoned now, I surmise!

Looking at other Packard organs, it is easy to see that ours is missing some decorative elements, namely the upper corners of the cabinet. The straight lines were a dead give-away that something was missing, and now we know what it might have been. There are only two screw holes on the two ends, which suggets that there was a decorative piece that went all the way across the top of the case.

The keys are in excellent condition for such an old keyboard, with no cracks and minimal yellowing, all good features. The cabinet has a few problem spots— nothing that some TLC could not fix. The biggest problem is that the bellows are not operable by the pedals, so that has to be fixed by an expert. So, so far, it is a "dumb organ"...

The drawers of the console are like time capsules, telling of times gone by and individuals who were real, singing, playing and studying the Scriptures. What a rich heritage just in a few pictures!

Many musical scores were found, these handwritten, possibly original compositions:

Daniel was a Praying Man; Lord, Send Me; Be Not Afraid
Stops to be used 

Old Testament study outline; Biblical map

Enrollment, activity and attendance notes

Some notable details:

So here she is, still on the rug that was used to facilitate the move inside:

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I have fond memories of playing a pump organ as I was getting into music. We did not have one; a friend's father was the principal of a small school where they had such an organ, and I was permitted to play it to my heart's content!

You can hear a Packard pump organ being played here:

(Clearly, we did not buy it for the sound...)

https://www.youtube.com/watch?v=47ZvCWp4ETc

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Living Water

Giovanni Francesco Barbieri, Jesus and the Woman of Samaria

“Jesus answered and said unto her, Whosoever drinketh of this water shall thirst again: But whosoever drinketh of the water that I shall give him shall never thirst; but the water that I shall give him shall be in him a well of water springing up into everlasting life.”

This painting by Giovanni Francesco Barbieri, Jesus and the Woman of Samaria, is one that has me totally mesmerised.  Of all the depictions of Christ that I have seen, none has spoken so deeply and profoundly to my soul as this one. I am captured by his teaching attitude, his obvious concern of the woman—his right hand moving and his head turned as if to reach her more surely as he explains that he can give her “living water” and that she would never thirst again if she partook. 

The woman seems relaxed and comfortable with Jesus. Her posture and demeaner speak of interest but at the same time, of incredulity: “How can he offer me water that will take away my thirst for good?” But she wants to know more.

There is certain ease, combined with movement and fluid gestures in both of their hands and arms, that conveys a genuine, sincere experience on both sides.

All that said, there remains something  unexplainable about the artist’s depiction of the scene—more inexplicably of the Savior—that has affected me accutely.

The Artist

Giovanni Francesco Barbieri, self-portrait 

Giovanni Francesco Barbieri (February 8, 1591–December 22, 1666), best known as Il Guercino, was an Italian Baroque painter and draftsman from the region of Emilia, and active in Rome and Bologna. The vigorous naturalism of his early manner is in contrast to the classical equilibrium of his later works. His many drawings are noted for their luminosity and lively style.

At an early age he acquired the nickname Guercino (Italian for 'squinter') because he was cross-eyed. Mainly self-taught, at the age of 16, he worked as apprentice in the shop of Benedetto Gennari, a painter of the Bologneses School.

Guercino was remarkable for the extreme rapidity of his executions: he completed no fewer than 106 large altarpieces for churches, and his other paintings amount to about 144. He was also a prolific draftsman. His production includes many drawings, usually in ink, washed ink, or red chalk. Most of them were made as preparatory studies for his paintings, but he also drew landscapes, genre subjects, and caricatures for his own enjoyment. Guercino's drawings are known for their fluent style in which "rapid, calligraphic pen strokes combined with dots, dashes, and parallel hatching lines describe the forms." Guercino continued to paint and teach until his death in 1666, amassing a notable fortune. (From Wikipedia)

The Background

John 4: 5-15

5 Then cometh he to a city of Samaria, which is called Sychar, near to the parcel of ground that Jacob gave to his son Joseph.

6 Now Jacob’s well was there. Jesus therefore, being wearied with his journey, sat thus on the well: and it was about the sixth hour. 

7 There cometh a woman of Samaria to draw water: Jesus saith unto her, Give me to drink. 

8 (For his disciples were gone away unto the city to buy meat.) 

9 Then saith the woman of Samaria unto him, How is it that thou, being a Jew, askest drink of me, which am a woman of Samaria? for the Jews have no dealings with the Samaritans . 

10 Jesus answered and said unto her, If thou knewest the gift of God, and who it is that saith to thee, Give me to drink; thou wouldest have asked of him, and he would have given thee living water. 

11 The woman saith unto him, Sir, thou hast nothing to draw with, and the well is deep: from whence then hast thou that living water? 

12 Art thou greater than our father Jacob, which gave us the well, and drank thereof himself, and his children, and his cattle? 

13 Jesus answered and said unto her, Whosoever drinketh of this water shall thirst again: 

14 But whosoever drinketh of the water that I shall give him shall never thirst ; but the water that I shall give him shall be in him a well of water springing up into everlasting life. 

15 The woman saith unto him, Sir, give me this water, that I thirst not, neither come hither to draw.

Other Works

Personification of Astrology (1650) 

I have for long been interested in and fascinated by the armillary. I wanted one large one in my garden, but it was not to be... So I admire them wherever I see them. This may be one of the reasons why this “Astrologia” painting spoke to me.

Nothing is known about the model displaying the armillary here. But I did dig up some more detailed information that I did not know about the instrument she is holding.

Armillary spheres can be divided into two main categories: the observational armillary as used by Ptoemy and Tycho Brahe, and the demonstrational instrument. Both types consist of a number of rings (Latin, armillae) which are arranged so as to model the circles of the celestial sphere. Typically, armillary spheres used for observation were larger and possessed fewer rings than those which served as demonstrational instruments; this made them more accurate and easier to use. Often the rings of demonstrational armillaries, like those of the observational spheres, were divided, and some incorporated sights which could be used to orient the instrument appropriately.

The armillary sphere described by Ptolemy was a zodiacal instrument of six rings, designed to determine the locations of celestial objects according to the ecliptic co-ordinate system. The sphere was first set to the appropriate latitude by ensuring that its outer fixed meridian ring was perpendicular to the horizon, and parallel to the actual meridian—in other words aligned along a North-South line. The orientation of the instrument was establishing by sighting on a celestial object (the sun or a star) whose position in the ecliptic—that is, its celestial longitude—was known. Two rings, one a divided ecliptic ring, and one corresponding to the latitude component, were used for this task. An inner latitude ring was also divided; nesting within it was another ring to which diametrically opposed sights had been fitted, and which could turn within the latitude ring. By using these sights to observe a celestial body, the position of the body could be determined in ecliptic co-ordinates by reading off the longitude from the divided ecliptic ring and the latitude from the position of the far sight north or south of the ecliptic on the divided latitude ring. (From Starry Messenger)

It just so happens I do have one small table-top armillary...

Notable works of Guercino's are numerous, as was pointed out, of which these two are typical—religious renditions of Christ's entombment:

Some other works of Guercino's include red chalk drawings, such as these:

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