#philadelphia sketch club

[sagnuts95]

Pr6 Thomas Prather III

 

Thomas Prather III was the son of Colonel Thomas Prather Pr7 of Frederick County, Maryland and his 3rd wife, Jeannette Smiley.

Born: December 2, 1770, Frederick  County, Maryland.

Died: February 3, 1823, in Louisville, Kentucky. Buried in Cave Hill Cemetery, in stone sarcaphogus.

Married: February 12, 1800, to Matilda Fontaine Fo6 in Jefferson County, Kentucky Appendix to page Pr6 Miscellaneous items concerning Thomas Prather III

Thomas Prather was one of Louisville's first merchants, having opened a store there as early as 1794. He was successful and rich was well known for his philanthropies. Prather Street was named for him and later became Broadway.

Prather was president of the first bank in Louisville, the old Bank of Kentucky, which he opened on January 1, 1812, and which did business on Main Street, near Fifth. When the bank suspended specie payments he resigned his office with the remark: "I can preside over no institution which declines to meet its engagements promptly and to the letter"

Ho gave five acres and Guthbert Bullit gave three to the city for a hospital site in 1817. The property for the hospital site was given with the proviso that it should revert to the Prather and Bullit heirs if used for any other purpose.

The Prather residence stood in Prather Square, the block bounded by 3rd and 4th, Walnut and Green; Walnut taking its name from the fine row of Walnut trees on the South side of the house. The House was built by Judge Fortunatus Cosby who married Mary Ann Fontaine, Mrs. Prather�s sister.

It was on the way home from Philadelphia where he had been on business that Prather met a young man, John J. Jacob, of Hampshire County, Virginia, starting out "to seek his fortune. He urged Jacob to come to Louisville, and afterward took him into partnership, forming the firm of Prather and Jacob.

John J. Jacob married, Ann Overton Fontaine and built a home across Walnut Street from his brother-in-law Prather� s home, where the Pendennis Club was in 1948.

(It is said that the Prather grave yard was on the south side of the square, where Macauley's Theatre was. It is also said by one of the descendants, who is not definite, that the bodies were removed from there. This seems probable. For instance, the bodies of Thomas Prather and his wife, who died in 1823 and 1850 respectively, are both buried. in Cave Hill Cemetery, which was established in 1848.) .

Thomas and Matilda Prather's daughters all married prominent Kentuckians. The Jouett portrait of Thomas Prather is owned by his great-great-granddaughter, Mrs. J. Barbour Minnegerode.

The above sketch, except for the paragraph in parentheses, is paraphrased from an old newspaper article from:, "Louisville' s First Families", one of a series of genealogical sketches. The date and name of the newspaper are not given. It is probably the one by Kathleen Jennings, who published a book called Louisville' s First Families. A copy was owned by Mrs. George Nicholas (Ni3-5).

Prather Coat of Arms

Pr5-1 James Smiley Prather (1801 - ,?)

Pr5-2 William Prather b 8/9 FEB 1804 in Louisville d 27 Aug 1876 in Louisville bur Cave Hill Cem

m 1 DEC 1835 Penelope E. Pope b c 1815 in Louisville Ky dau of: +1 Alexander Pope Po7- b c 1772 in Va and Martha Minor Fontaine b 14 MAR 1785 in Va d 18 Mar 1848 Louisville bur Cave Hill Cem

Pr5-2-1 Kate Prather.

m Orville Winston.

Pr5-2-2 Sue Prather.

m John Zanone.

Pr5-2-3 Matilda 'Maddie' Prather b 22 NOV 1843 in Louisville d 5 Dec 1894 in Louisville

m Goldsborough Robinson b: 25 MAR 1845 in Louisville

Pr5-2-4 Julia Clay Prather b 27 Feb 1838 in Louisville, d 18 Jan 1866 in Louisville

Pr5-2-5 Martha Pope Prather was born on 7 May 1844 in Louisville d 10 Feb 1850 in Louisville

Pr5-2-6 Penelope "Eppie" Prather b 1849 in Louisville d 1926 in Louisville

Pr5-2-7 Margaret Prather was born in 1849 in Louisville, Jefferson Co., KY. She died in 1919 in Louisville, Jefferson Co., KY. Margaret married John Luse.

Pr5-2-8 Maria Prather b 19 Feb 1846 in Louisville d 21 Nov 1847 in Louisville

Pr5-3 Mary Jane Prather 11 Aug 1809 d 7 Oct 1883 in Louisville

m1 Dr. Charles M. Way b 25 Dec 1800 d 8 Apr 1873 in Louisville,

m2 Worden Pope Churchill b 16 JUN 1804 in Louisville Ky d 3 JUL 1830 in Louisville son of Goldsborough Robinson b 8 FEB 1819 and Frances Ann Lee b: 30 JUN 1816 in Virginia -1 W. H. Way was born on 29 Jun 1838. He died on 11 Feb 1883 in Louisville

-2 Worden P. Churchill Jr. b 27 Jan 1830 in Louisville d 6 Apr 1916 in Louisville

Pr5 Pr5 Matilda Prather (1811 � 1847 ?)

m 1829, Louisville, Kentucky to Judge S. S. Nicholas Ni4-1 Mary Jane Nicholas [1830-? ) married Graves

Ni4 George Nicholas (1831-1896) m1 Emma Hawes, m2 Mary Anna Pope

Ni4-3 Thomas Prather Nicholas , (1833-1870)

Ni4-4 Matilda Nicho1as (1835-1921) married Hon P Barrett of MO

Ni4-5 Hetty Nicholas (1837-1838)

Ni4-6 Julia Nicholas (1839-1907) married Maj. James Johnson, C.S.A.

Ni4-7 Margharetta Nicholas (1842-1905) married Thomas

Ni4-8 Samuel Smith Nicholas (1844- ?)

Pr5-5 Maria Julia Prather b 16 May 1814 in Louisville d 13 Feb 1840 in Louisville bur Cave Hill

m 10 Oct 1832 Henry Clay Jr. b 1811 d 22 Feb 1847 in Battle of Buena Vista, Mexico -1 Henry Clay III b 20 Jul 1833 d 5 Jun 1862 in Louisville of Typhoid Fever.

-2 Matilda Clay b 30 Jan 1835 d Bordeaux, FRA.

-3 Martha Clay b about 1836.

-4 Anne Clay b 14 Feb 1837 m Henry McDowell inherited "Ashland" nnear Lexington Ky, the home of Sen Henry Clay Sr..

-5 Thomas Julian Clay b 30 Jan 1840 Major in CSA d 12 Oct 1863 in Atlanta, GA (Typhoid fever).

Pr5-6 Catherine Cornelia Prather b 28 Sep 1816 d 28 Sep 1844 in Louisville bur Cave Hill

m on 2 Mar 1841 Preb. Rev. Edward Porter Humphrey in Louisville b 28 Jan 1809 d 9 Dec 1887 in Louisville, native of Connecticut Pres of Amherst College. He m2 Martha Pope, a daughter of Alexander Pope and Martha Fontaine, who was the widow of her cousin, Charles Pope. -1 Edward William Cornelius Humphrey

-2 Adies Humphrey b 28 Jan 1842 in Louisville d 21 Nov 1843 in Louisville -1-1 Edward P Humphrey

-1-2 Lewis C Humphrey

-1-3 Dr Heman Humphrey

4th and Walnut Street in Louisville today

 Sources:

Bible Record given by Mrs. Julia. Robinson Hardy to Mrs. George Nicholas (Ni3-5).

Records from Tombstones - Cave Hill Cemetery, Louisville, Ky.

Records of family in Louisville's First Families, by Kathleen Jennings.

 

The Prather Family. Chapter III.

 

A PUBLIC - SPIRITED citizen identified with the growth of Louisville no less than with the social life of his day was Thomas Prather, born in Maryland in 1770, of English extraction. He crossed the Wilderness Trail to seek his fortune in the new country and as one of the city's first merchants, having opened a store here as early as 1794. Success marked his every venture and riches poured in upon him. He was the capitalist of his day, and famed for his philanthropies. Broadway, for many years Prather street, was named for him. Prather was president of the first bank in Louisville, the old Bank of Kentucky, which he opened on January 1, 1812, and which did business on Main street near Fifth. When the bank suspended specie payments he resigned his office with the remark:

"I can preside over no institution which declines to meet its engagements promptly and to the letter."

   His generosity in contributing to charitable and civic endeavors won for him the title of "Oh, put me down for the balance," Prather. He gave five acres and Cuthbert Bullitt gave  three to the city for a hospital site in 1817. Interested in the general welfare, Prather and Bullitt served on many committees together. With Peter F. Ormsby they were appointed by the Board of Trustees, in 1820, to purchase suitable fire engines (two or three), for the use of the city.

   The property for the hospital site was given with the proviso that it should revert to the Prather and Bullitt heirs if used for any other purpose. When the new million dollar City Hospital was planned a change of site was considered until the deeds were looked up and disclosed this restriction. One of the numerous Prather heirs recounting the incident said "It looked for a time as if I might have fifty dollars for a new frock."

   Thomas Prather was married in 1800 to Matilda Fontaine, a daughter of Capt. Aaron Fontaine, one of the pretty Miss Fontaines, as they were called, though they were also known as the alphabet Fontaines there were so many of them. Matilda and her eight sisters were all famous for their beauty and intellectuality, and all married distinguished men. From Matilda Fontaine is supposed to come the fresh blonde prettiness of the Prather women.

   The Prather residence stood in Prather square, the block bounded by Third and Fourth, Walnut and Green, Walnut street taking its name from the fine row of walnut trees on the south side of the house. This house was built by Judge Fortunatus Cosby, who married Mrs. Prather's sister, Mary Ann Fontaine.

    It was on the way home from Philadelphia where he had been on business that Prather met a young man, John J. Jacob, of Hampshire county, Virginia, starting out to seek his fortune. He urged Jacob to come to Louisville, and afterward took the young gentleman into partnership, forming the firm of Prather & Jacob. John J. Jacob married Ann Overton Fontaine and built a home across Walnut street from his brother-in-law Prather's home, where the Pendennis Club is today.

   Thomas and Matilda Prather had six children, two sons and four daughters. James Smiley Prather married Louisa Martin and their children were: Mary (Mrs. George Robinson Hunt) and Blanche (Mrs. Edward Mitchell). Mrs. Hunt, who died not long ago, has two daughters in Louisville-Ellen Pope Hunt, the wife of George Weissinger Smith, and Kate Hunt, who married Samuel Hutchings. The other son, William Prather, married his first cousin, Penelope Pope, the daughter of Alexander Pope, whose wife was Martha Fontaine. This marriage establishes a wide connection of families socially prominent. William and Penelope Prather had seven daughters: Kate, who married Orville Winston; Sue, who is Mrs. John Zanone; Matilda, who married Goldsborough Robinson; Julia and Martha, who died young, and the twins, Penelope and Margaret, the latter, Mrs. John Luce, and her sister, better known as Miss Eppie Prather, the only descendant with the surname, Prather. Mrs. William B. Hardy and Humphrey Robinson are the children of Goldsborough and Matilda Robinson, who live here. Mrs. Alex P. Witty and Prather Zanone are the daughter and son of Mrs. Zanone. The daughters of Kate and Orville Winston were Penelope (Mrs. Ernest Allis), the mother of Mrs. William B. Harrison, and Kate (Mrs. Frederick Hussey), the mother of Mrs. Barbour Minnigerode, Mrs. Arthur H. Middleton, Mrs. Thomas Jefferson, of Springfield, Mass., and Mabel Hussey, of Paris.

   Thomas and Matilda Prather's daughters all married prominent Kentuckians. Mary Jane Prather married Worden P. Churchill, and after his death married Dr. Charles M. Way. Her sons were Worden P. Churchill and W. H. Way.

   Matilda Prather married Samuel Smith Nicholas, the distinguished lawyer and jurist. Their handsome home was on Fifth street between  Chestnut and Walnut. Their daughter, Julia, Mrs. James C. Johnston, lives with her daughter, Miss Mary Johnston, at Fourth and Broadway. Their sons, George and Samuel Smith Nicholas, have a number of descendants here. George Nicholas married Emma Hawes and had a daughter, Tina Nicholas. who married John Churchill. The son of Mr. and Mrs. John Churchill is John Churchill, who married Lucy Jones.

   By a second marriage to Mary Anna Pope, George Nicholas had ten children. One son, George Nicholas, who married Evelyn Thompson, lives in Crescent Hill, and another son, Pope Nicholas, lives in Shelbyville, but is in business in Louisville.

   Samuel Smith Nicholas, Jr., who married Nannie Carter, daughter of Capt. Frank Carter, has two daughters in Louisville this winter, Emma Nicholas and Mrs. Harry Lee Williams, although the latter's home is in Chicago.

   Maria Julia Prather married Henry Clay, Jr., the son of the Great Commoner, and her daughter, Nannie Clay, now Mrs. Henry McDowell, inherited Ashland, near Lexington, the home of Henry Clay.

   Catherine Cornelia Prather married the Presbyterian minister, the Rev. Edward P. Humphrey. their son being the late E. W. C. Humphrey, father of Edward P. Humphrey, Lewis C. Humphrey and Dr. Heman Humphrey. Dr. Humphrey, who was a native of Connecticut and the son of a distinguished minister, the president of Amherst College, had as his charge a church in Jeffersonville at the time of his marriage to Miss Prather. Later he was minister of the old Second Presbyterian church, and this church granted him a leave of absence of eight months to go abroad after his wife's death. In 1847 he was married to Martha Pope, a daughter of Alexander Pope and Martha Fontaine, who was the widow of her cousin, Charles Pope. Dr. Humphrey and his wife, Martha Pope, had one son, Judge Alexander Pope Humphrey.

   Capt. Basil Prather, born in 1740 in Maryland, was an elder half-brother of  Thomas Prather. He fought through the Revolutionary war, declining any pay for his services, and later came to Louisville. He has been described as exceedingly handsome, six feet three inches tall and of cordial and engaging manners. He is numbered among the commissioners of Louisville in 1790, and owned farm land near Louisville and in other parts of the State, bequeathed to his heirs on which they settled.

   At a ball given in the fort built on the site of Jeffersonville he met Fanny Meriwether, of  the pioneer family, and shortly afterward they were married. His bride was years younger than himself. They settled on a farm in the Bluegrass district, living in opulence. Their daughter, Martha Meriwether Prather, married Dr. Warwick Miller, a son of Judge Isaac Miller, of Pennsylvania, who was an early settler.

   Capt. Prather died in 1803.

   Richard Prather, another member of the Maryland family to settle here, was one of the "City fathers," being elected a trustee of the town of Louisville in 1797. His wife was Mary Churchill, a daughter of Armistead and Elizabeth Bakewell Churchill, of Virginia, who were among the prominent pioneers of 1787. Eliza Prather, the daughter of Richard and Mary Prather, became the wife of James Guthrie, that distinguished citizen, the founder of the L. & N. James and Eliza Guthrie had two daughters, Ann Augusta and Mary Guthrie, both of whom married and have descendants here.

   Ann Augusta Guthrie married Dr. William Caldwell, and was the mother of James Guthrie Caldwell, who married Nannie Standiford; of Junius Caldwell, who married Ella Payne, of Georgetown; and of Ann Eliza Caldwell, who married Ernest Norton, and was the mother of Caldwell Norton.

 

   Mary Guthrie married Richard Coke, of Logan county, and has a grandson, Dr. Richard Coke, who makes Louisville his home.

   Mary Guthrie married a second time, John Caperton, and was the mother of John H. Caperton, who married Virginia Standiford, and has a son, Hugh John Caperton, whose wife was Dorothy Bonnie.

   Following her first husband's death, Mary Churchill Prather married Alexander Scott Bullitt, this being his second marriage also.

Extraneous Prather data:

Bourbon Co. Kentucky:

tombstone inscriptions for the Paris Cemetery, Paris, Kentucky, preceeding 1912.

Prather, J. F., born 1871 - died 1905

Prather, George W., born 1840 - died 1909

Prather, Elizah K., born 1837 - died 1901

Apparently two brothers and the son of one of them.

[kickmag]

Butcher Brown's Solar Music is the next phase of their jazz-based exploration into Black pop. The Richmond, Virginia band's musical inclusiveness is the central inspiration of the new album. The title refers back to the saying "Everything under the sun."  The band's creative choices have a long lineage going back to Roy Ayers, A Tribe Called Quest, Guru's Jazzmatazz, Digable Planets, Roy Hargrove, and Robert Glasper. The kinship between jazz, hip-hop, and R&B is a fluid movement for Butcher Brown and their latest addition to the conversation builds each song with playing that swings regardless of the styles in the mix.

"Espionage" featuring guitarist Charlie Hunter stirs like a '60s soul jazz cookout complete with a funky organ and solos that would make Eddie Hazel proud. They take another trip and make house music from Detroit, Baltimore, Chicago, and London their destination with "MOVE (Ride) featuring  East London artist Jay Prince. "Turismo" is another escape into dance music reminiscent of the days of Roni Size's drum and bass hyper rhythms. "Eye Never Knew" conjures up a kettle of modal jazz and poetry when genre shapeshifter Pink Siifu whispers and Keyon Harrold's trumpet blows sketches in the air. The collaborations are fresh and Butcher Brown's grooves keep the album interesting. Limited red vinyl copies of Solar Music and merchandise are available with the usual streaming options. Their global tour started this week and tickets can still be purchased. 

Butcher Brown Tour Dates

10/12 - Reno, NV - University of Nevada, Reno - Nightingale Concert Hall

10/17 - Boston, MA - Brighton Music Hall

10/18 - New York, NY - (Le) Poisson Rouge

10/20 - Charlottesville, VA - The Southern Café and Music Hall

10/21 - Philadelphia, PA - World Cafe Live (upstairs)

10/22 - Pittsburgh, PA - Club Cafe

10/24 - Minneapolis, MN - Dakota

10/25 - Chicago, IL - Sleeping Village

10/26 - Detroit, MI - El Club

10/27 - Indianapolis, IN - Jazz Kitchen

11/4 - Eindhoven, NL - So What’s Next?

11/6 - London, UK - The Forge

11/7 - Antwerp, BE - De Roma

11/8 - Berlin, DE - J.A.W. (Zenner)

11/9 - Mannheim, DE - Alte Feuerwache

11/10 - Técou, FR - Coco Jazz

11/11 - Groningen, NL @ Rockit

11/12 - Rotterdam, NL - Rooterdam / Bird

11/13 - Amsterdam, NL - Bimhuis

11/14 - Charloeroi, BE - Palais des Beaux Arts

11/15 - Paris, FR - Le Trabendo

11/18 - Eilat, IL - Red Sea Jazz Festival

11/24 - Richmond, VA - The Broadberry

11/25 - Washington, DC - Atlantis

12/5 - Seattle, WA - Madame Lou’s

12/6 - Portland, OR - The Get Down

12/7 - San Francisco, CA - The Independent

12/8 - Santa Cruz, CA - Kuumbwa

12/9 - Los Angeles, CA - Lodge Room

12/10 - San Diego, CA - House of Blues, Voodoo Room

[whittccs]

Sketch the World: 3

Back in the winter I participated in an online workshop with the Plastic Club of Philadelphia in which we visited a site called Window Swap and drew …Sketch the World: 3

[zyjust]

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The Dolphins began their 2022 season and the Mike McDaniel era with a 20-7 win over the New England Patriots at Hard Rock Stadium on Sunday. Poll: Who impressed the most in the Dolphins’ season-opening win over the Patriots?.

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Tags: baltimore ravens Football lamar jackson Miami Dolphins Miami Herald NFL Pro Sports Tua Tagovailoa What do you need to know about the Baltimore Ravens, the Dolphins’ Week 2 opponent? The Miami Herald asked Jonas Shaffer, a Ravens beat reporter for the Baltimore Sun, three questions about the matchup.

Previewing Dolphins-Ravens: A Baltimore reporter on Miami’s Week 2 opponent.

Tags: Baseball debut Jordan Groshans Miami Herald miami marlins MLB Pro Sports The list of Miami Marlins prospects making their MLB debut is growing.

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If first-year Dolphins coach Mike McDaniel has it his way, his offense’s Week 1 performance against the New England Patriots will be the worst of the season, setting the foundation for a series of outings that progressively improve.

Dolphins film study: What stood out in Mike McDaniel’s coaching debut.

Tags: baltimore ravens Dolphins In Depth Football Miami Dolphins Miami Herald New England Patriots NFL Pro Sports The Dolphins began their 2022 season with a 20-7 win over the New England Patriots, in which the final outcome was never really in doubt after they went up by two scores in the second quarter.

Podcast: How did Dolphins look in season-opening win? And previewing Week 2 vs.

Tags: 1972 don shula Football larry csonka Miami Dolphins Miami Herald NFL Pro Sports Mike McDaniel was born a decade - 10 years, one month and 20 days, to be exact - after the 1972 Dolphins hoisted the Lombardi Trophy and became the first team in NFL history to achieve a perfect season.

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Tags: Baseball edward cabrera Miami Herald miami marlins MLB Philadelphia Phillies Pro Sports The Miami Marlins lost 6-1 to the Philadelphia Phillies on Wednesday at loanDepot park to fall to 58-85 on the season.

Quick thoughts on Miami Marlins loss to Phillies - their 16th loss in 20 games.

17, 1972) Tags: 1972 Chiefs Dolphins Football Miami Herald NFL Perfect Season Pro Sports

Dolphins opened ’72 season with a dominating 20-10 victory against the ChiefsĭOLPHINS 20, CHIEFS 10 (Sept.

There were a lot of positives to take from the debut of the Dolphins’ new-look offense under head coach Mike McDaniel.

Amid offensive line injury questions, Dolphins’ new offense looking for more vs.

Our gratitude for helping us make more great games!ĭoki Doki Literature Club was developed by Team Salvato.

DDLC Concept Art Booklet which includes concept art and developer notes, providing insight into early stages of development.

High-resolution wallpapers of in-game art for desktop and mobile.

The complete DDLC Official Soundtrack with 24 tracks, including remixes, bonus tracks, sketches, and song variants not included in the game.

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Just click the Download button and contribute a payment of $10 or more to unlock the Fan Pack.

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But I can tell already that you're a sweetheart-will you promise to spend the most time with me? ♥ĭoki Doki Literature Club is 100% free to play, but you are welcome to contribute any amount you'd like.Ĭontributing $10 or more will reward you with the DDLC Fan Pack! I'm super excited for you to make friends with everyone and help the Literature Club become a more intimate place for all my members. And, of course, Monika, the leader of the club! That's me! Yuri, the timid and mysterious one who finds comfort in the world of books Natsuki, the deceivingly cute girl who packs an assertive punch Sayori, the youthful bundle of sunshine who values happiness the most

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Now that you're a club member, you can help me make that dream come true in this cute game!Įvery day is full of chit-chat and fun activities with all of my adorable and unique club members: Welcome to the Literature Club! It's always been a dream of mine to make something special out of the things I love.

[rubinhowell30]

hermes mini kelly 5

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[painterlycollage]

I’m so excited to have two pieces accepted into the Philadelphia Sketch Club’s “Art of the Flower” juried exhibition.

. . . . .

[philamuseum]

"My drawings are the key to my work. I began with drawing: I have never stopped drawing." –Auguste Rodin

Take a tip from Rodin and join us for Second Saturday Sketch at the Rodin Museum. 

"Nude Couple Embracing," date unknown, by Auguste Rodin 

[justforbooks]

February 20, 1943 – The Saturday Evening Post publishes the first of Norman Rockwell's Four Freedoms in support of United States President Franklin Roosevelt's 1941 State of the Union address theme of Four Freedoms.

The Four Freedoms is a series of four 1943 oil paintings by the American artist Norman Rockwell. The paintings—Freedom of Speech, Freedom of Worship, Freedom from Want, and Freedom from Fear—are each approximately 45.75 inches (116.2 cm) × 35.5 inches (90 cm), and are now in the Norman Rockwell Museum in Stockbridge, Massachusetts. The four freedoms refer to President Franklin D. Roosevelt's January 1941 Four Freedoms State of the Union address in which he identified essential human rights that should be universally protected. The theme was incorporated into the Atlantic Charter, and became part of the charter of the United Nations. The paintings were reproduced in The Saturday Evening Post over four consecutive weeks in 1943, alongside essays by prominent thinkers of the day. They became the highlight of a touring exhibition sponsored by The Post and the U.S. Department of the Treasury. The exhibition and accompanying sales drives of war bonds raised over $132 million.

This series has been the cornerstone of retrospective art exhibits presenting the career of Rockwell, who was the most widely known and popular commercial artist of the mid-20th century, but did not achieve critical acclaim. These are his best-known works, and by some accounts became the most widely distributed paintings. At one time they were commonly displayed in post offices, schools, clubs, railroad stations, and a variety of public and semi-public buildings.

Critical review of these images, like most of Rockwell's work, has not been entirely positive. Rockwell's idyllic and nostalgic approach to regionalism made him a popular illustrator but a lightly regarded fine artist during his lifetime, a view still prevalent today. However, he has created an enduring niche in the social fabric with Freedom from Want, emblematic of what is now known as the "Norman Rockwell Thanksgiving".

Rockwell's Four Freedoms—Freedom of Speech, Freedom of Worship, Freedom from Want, and Freedom from Fear—were first published on February 20, February 27, March 6, and March 13, 1943 along with commissioned essays from leading American writers and historians (Booth Tarkington, Will Durant, Carlos Bulosan, and Stephen Vincent Benét, respectively). They measure 45.75 inches (116.2 cm) × 35.5 inches (90 cm) except Freedom of Worship which measures 46.0 inches (116.8 cm) × 35.5 inches (90 cm). Rockwell used live models for all his paintings. In 1935, he began using black-and-white photographs of these live models extensively, although he did not publicly reveal he did so until 1940. The use of photography expanded the possibilities for Rockwell who could ask models to pose in positions they could hold only for brief periods of time. He could also produce works from new perspectives and the Four Freedoms represented "low vantage point of Freedom of Speech, to close-up in Freedom of Worship, midrange in Freedom from Fear, and wide angle in Freedom from Want".

In 1939, Rockwell moved to Arlington, Vermont, which was an artist-friendly community that had hosted Robert Frost, Rockwell Kent, and Dorothy Canfield Fisher. Of the move from New Rochelle, New York, Rockwell said "I was restless ... The town [of New Rochelle] seemed tinged with everything that happened to me". In New Rochelle, he had both endured a divorce and run with a fast crowd. Artists John Atherton, Mead Schaeffer and George Hughes established residences in Arlington soon after Rockwell. The resident artists, Rockwell included, were mutually supportive and hired local citizens as their amateur models. Using photography and Arlington residents as models, Rockwell was able to capture what he referred to as "human-looking humans", who were generally working-class people, in an hour or so rather than hire professional models for the entire day. Rockwell paid his models modestly. Rose Hoyt, who was engaged for a total of three photographic sessions for Freedom of Speech and Freedom of Worship, earned $15 ($234.71 in 2019 dollars) for her sittings.

When the US entered the war in 1941, it had three agencies responsible for war propaganda: The Office of Facts and Figures (OFF), The Division of Information of the Office of Emergency Management (OEM), and Office of Government Reports (OGR). The OFF was responsible for commissioned artwork and for assembling a corps of writers, led by Librarian of Congress Archibald MacLeish. By mid-1942, the Office of War Information determined that despite the efforts of OFF in distributing pamphlets, posters, displays, and other media, only a third of the general public was familiar with Roosevelt's Four Freedoms and at most one in fifty could enumerate them. The Four Freedoms had been a "campaign to educate Americans about participation in World War II".

By 1942, Rockwell had been illustrating professionally for thirty years and was having a successful career. Additionally, by mid-1942 Rockwell's Gillis was becoming famous. Lorimer had been the editor of The Post from 1898 to 1936. He was followed by Wesley W. Stout for five years. In early 1942, Stout ran an article entitled "The Case Against the Jew", which led to advertising and subscription cancellations. The Post was rumored to be in financial trouble in 1942. Soon Stout was replaced by Hibbs who revamped the magazine.

On May 24, 1942, Rockwell was seeking approval for a poster design at The Pentagon because the Artists Guild had designated that he advocate for the U.S. Army Ordnance Department. Robert Patterson, who was then United States Undersecretary of War, suggested revisions. On the same day, he visited with Thomas Mabry of the Graphic Division of the War Department's Office of Facts and Figures, which coordinated war-themed posters and billboards. Mabry relayed the need for Four Freedoms artwork. Rockwell returned home pondering the Atlantic Charter, which had incorporated the Four Freedoms.

Rockwell remembered a scene of a local town meeting in which one person spoke out in lone dissent, but was given the floor, and was listened to respectfully, despite his solitary opposition. He was inspired to use this scene to illustrate Freedom of Speech, and Rockwell decided to use his Vermont neighbors as models for an inspirational set of posters depicting the themes laid out by Roosevelt the previous year in a Four Freedoms series. He spent three days making charcoal sketches of the series, which some sources describe as colour sketches. Rockwell's patriotic gesture was to travel to Washington, D.C. and volunteer his free services to the government for this cause. In mid-June, accompanied by Schaeffer, he took four charcoal sketches to Washington, where they stayed at the Mayflower Hotel, as the two sought commissions to design war art. During the trip, Rockwell was asked by the Boy Scouts of America to continue his annual creation of a new painting for their annual calendar by publishing representative Orion Winford. He was unable to hold Patterson's attention during their meeting, so he met with the new Office of War Information (OWI), where he was told "The last war you illustrators did the posters. This war we're going to use fine artists men, real artists."

On his return trip to Vermont with Schaeffer on June 16, they stopped in Philadelphia to meet with new Saturday Evening Post editor Ben Hibbs. Many accounts portray this visit as unplanned, but whether it was is unclear. Hibbs liked Rockwell's Four Freedoms sketches, and he gave Rockwell two months to complete the works. A June 24 correspondence from The Post clarified that both Rockwell's and Schaeffer's series would be published. By June 26, The Post's art editor James Yates notified Rockwell of plans for a layout of paintings with an accompanying essay or accompanying essays by President Roosevelt.

Rockwell's summer was full of distractions. At one point a Manhattan gastroenterologist prescribed a surgery of uncertain nature, though it was not performed. He had commissions for other magazines, and business complications regarding second reproduction rights. He also had his Boy Scout commitment. Under time constraints, Rockwell made every excuse to avoid all other distracting assignments. In October, The Post sent its art editor to Arlington to check on Rockwell's progress. At about the same time, despite its Graphics Division chief's, Francis Brennan's outrage, the OWI began showing signs of renewed interest. In fact, after Rockwell was chosen the entire OWI Writers' Division resigned. The press release associated with the resignation asserted that the OWI was dominated by "high-pressure promoters who prefer slick salesmanship to honest information. These promoters would treat as stupid and reluctant customers the men and women of the United States." There was further turmoil in the OWI from a faction supporting work by Ben Shahn; Shahn's work was not used in propaganda because it lacked general appeal. There were several artists who were commissioned to promote the war, including Jean Carlu, Gerard Hordyke, Hugo Ballin, and Walter Russell. Russell created a Four Freedoms Monument that was eventually dedicated at Madison Square Garden in New York City.

The series took seven months to complete, and was finished by year end. Supposedly, Rockwell lost 10 pounds (4.54 kg) from the assignment. As Rockwell was completing the series, he was motivated by news of Allied setbacks, a fact that gives the work a sense of urgency. Models included a Mrs. Harrington who became the devout old woman in Freedom of Worship and a man named Jim Martin who appears in each painting in the series (most prominently in Freedom from Fear). The intention was to remind America what they were fighting for: freedom of speech and worship, freedom from want and fear. All the paintings used a muted palette and are devoid of the vermilion Rockwell is known for.

Some sources published after Rockwell's death question whether the government was truly as discouraging as Rockwell claimed. They cite an encouraging April 23, 1943 correspondence with Thomas D. Mabry of the OWI (a former Executive Director of the Museum of Modern Art). At the time, the three government propaganda agencies were disjointed until they were unified under the OWI on June 13, 1942 by a Presidential Executive Order. Furthermore, the writers' division, led by MacLeish, was under pressure for failing to deliver a message intelligible to people of varying intelligence.

Upon completion, Rockwell's works were briefly exhibited at the West Arlington Grange before being delivered to The Post in Philadelphia. The series arrived in Philadelphia in January 1943. Roosevelt was shown the paintings in early February, and The Post sought Roosevelt's approval for the series of paintings and essays. Roosevelt responded with both a personal letter to Rockwell and an "official" letter of commendation to The Post dated February 10. Roosevelt instructed The Post to have the OWI have the essays translated into foreign languages so they could be presented to leaders at the United Nations.

The Freedoms were published in a series of four full-colour, full-page editions, each accompanied by an essay of the same title. The panels were published in successive weeks in the order corresponding to Roosevelt's speech: Freedom of Speech (February 20), Freedom of Worship (February 27), Freedom from Want (March 6), and Freedom from Fear (March 13). For the authors of the accompanying essays, Hibbs had numerous options given the number of regular contributors to The Post.

Rockwell is considered the "quintessential middlebrow American artist" by Michael Kelly. As an artist he is an illustrator rather than a fine arts painter. Although his style is painterly, his work is produced for the purpose of mass reproduction, and it is produced with the intent of delivering a common message to its viewers via a detailed narrative style. Furthermore, the vast majority of Rockwell's work was viewed in reproduced format and almost none of his contemporaneous audience ever saw his original work. Also, Rockwell's style of backwoods New England small-town realism, known as regionalism, was sometimes viewed as out of step with the oncoming wave of abstract modern art. Some say his realism is so direct that he abstains from using artistic license. John Canaday, a New York Times art critic once referred to Rockwell as the "Rembrandt of Punkin' Crick" for his aversion to the vices of big city life. Dave Hickey derided Rockwell for painting without inflection. Some critics also view his sentimental and nostalgic vision out of step with the harsh realities of American life, such as the Great Depression. Deborah Solomon views the works as being "based on lofty civic principles", but rather than dealing with the warring patriots, they present themes with "civic and familial rituals" for "emblematic scenes".

Post editor Hibbs said the Four Freedoms were an "inspiration ... in the same way that the clock tower of old Independence Hall, which I can see from my office window, inspires me." Roosevelt wrote to Rockwell "I think you have done a superb job in bringing home to the plain, everyday citizen the plain, everyday truths behind the Four Freedoms ... I congratulate you not alone on the execution but also for the spirit which impelled you to make this contribution to the common cause of a freer, happier world". Roosevelt wrote to The Post, "This is the first pictorial representation I have seen of the staunchly American values contained in the rights of free speech and free worship and our goals of freedom from fear and want." Roosevelt also wrote of the corresponding essays, "Their words should inspire all who read them with a deeper appreciation of the way of life we are striving to preserve."

The Four Freedoms are perhaps Rockwell's most famous work. Some have said Rockwell's Four Freedoms lack artistic maturity. Others have pointed to the universality of the Freedom of Religion as disconcerting to practitioners of particular faiths. Others complained that he idealized American life because by depicting wholesome, healthy, and happy sentiments, Rockwell depicted the good that was remembered or wished for, but by avoiding misery, poverty, and social unrest, he failed to demonstrate command of the bad and the ugly parts of American life. Rockwell's response to this criticism was, "I paint life as I would like it to be." Rockwell made it known that he hoped these would be his masterpieces, but was disappointed. Nonetheless, he was satisfied with the public acceptance of the series and that the series was able to serve such a patriotic purpose. Laura Claridge feels he might have achieved his ambition if he had pursued the "quiet small scenes" he later became known for.

Although all four images were intended to promote patriotism in a time of war, Freedom from Want, which depicts an elderly couple serving a fat turkey to what looks like a table of happy and eager children and grandchildren has given the idyllic Norman Rockwell Thanksgiving work as important a place in the enduring marketplace of promoting family togetherness, peace and plenty as Hallmark at Christmas. Some say the Four Freedoms were unable to live up to the role of "illustrating grandiose concepts with humble correlatives" because they are too loud.

The commercial success of the series was in part because each painting is considered to be a model of understandable art by the general public. The success of Rockwell's depictions was due to his use of long-standing American cultural values about unity and respect of certain institutions while using symbols that enabled a broad audience to identify with his images. This understandability made it one extreme on the scale of artistic complexity when comparing the series to contemporaneous art. It was diametrically opposed to abstract art and far removed from the intrigue of surrealism.

In 1999, the High Museum of Art and the Norman Rockwell Museum produced the first comprehensive exhibition of Rockwell's career that started at the High Museum on November 6, 1999, stopped at the Chicago Historical Society, Corcoran Gallery of Art, San Diego Museum of Art, Phoenix Art Museum, and Norman Rockwell Museum before concluding at the Solomon R. Guggenheim Museum on February 11, 2002. Although there has been a long history of Rockwell detractors, during this Norman Rockwell: Pictures for the American People touring exhibition attendance was record-setting and critical reviews were quite favorable. The nostalgia seemed to cause a bit of revisionism in the art world, according to The New York Times which said, "What's odd is the show's enthusiastic reception by the art world, which in a lather of revisionism is falling all over itself to embrace what it once reviled: the comfy, folksy narrative visions of a self-deprecating illustrator..."

Some found Rockwell's presentation somewhat patronizing, but most were satisfied. The New Yorker remarked two years later: "They were received by the public with more enthusiasm, perhaps, than any other paintings in the history of American Art". Claridge notes that the series is an example in which the sum is greater than its parts. She notes the inspiration comes in part from their cumulative "heft".

Following the 1943–44 War Bond Show, the Four Freedoms toured the country further by train in a specially-designed car. Through the 1950s the Four Freedoms hung in Hibbs' offices at The Post. Hibb retired in 1961 and by the time The Post was discontinued in 1969, Rockwell regained possession of the original paintings. Norman Rockwell bequeathed his personal collection in trust to the Norman Rockwell Museum in 1973 for the "advancement of art appreciation and art education". This collection included the Four Freedoms paintings. The works remained on exhibit at "The Norman Rockwell Museum at The Old Corner House" for nearly 25 years. In 1993, when the Rockwell Museum moved from its original location, the Four Freedoms were displayed in the new museum's central gallery. As of 2014, the Four Freedoms remain in the collection of the Museum. In 2011, the Williamstown Art Conservation Center did some work on the Four Freedoms, including reducing exposure to various elements and preventing further wear.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[fewfwf]

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[papermoonloveslucy]

DEAN MARTIN

June 7, 1917 - December 25, 1991

Dean Martin was born Dino Paul Crocetti in Steubenville, Ohio and became one of the most popular and enduring entertainers of the mid-20th century. A singer, actor, and comedian, Martin’s career breakthrough came in 1946 through his partnership with comedian Jerry Lewis, billed as Martin & Lewis. They performed in nightclubs and later had numerous appearances on radio, television and in films. 

Lucille Ball’s first appearance with Dean Martin was on his NBC radio show with Jerry Lewis in December 1948. Lucy was then the star of her own radio show, “My Favorite Husband” on CBS. 

Following an end to their partnership in 1956, Martin established himself as a notable singer, recording numerous contemporary songs as well as standards from the Great American Songbook. His hit singles, including his signature songs "That's Amore", "Everybody Loves Somebody", "You're Nobody till Somebody Loves You", "Ain't That a Kick in the Head?" and "Volare".

He became one of the most popular acts in Las Vegas and was known for his friendship with Frank Sinatra and Sammy Davis Jr., who together formed the Rat Pack. Throughout his career, Martin appeared in 85 film and television productions. In the above photo at the Sands Casino, the Rat Pack is joined by Lucy and Danny Thomas (top) and Gary Morton (right). 

In “Lucy and Wayne Newton” (HL SS2;E2) the Carters are driving down the Las Vegas strip when Craig notices that Dean Martin is playing at the Riviera. Kim says “He’s one of my favorites!”  

“I'd hate to be a teetotaler. Imagine getting up in the morning and knowing that's as good as you're going to feel all day.” ~ Dean Martin

Part of Dean’s act involved his affection for alcoholic beverages. Jokes about Dean Martin’s drinking were common, even when Dean was not part of the show. 

In “Lucy the Disc Jockey” (TLS S3;E26) Lucy tries to see the title of the song on a spinning turntable and gets dizzy, she says 

“No wonder. It’s a Dean Martin album.”  

In “Lucy the Stockbroker” (TLS S3;E25) Lucy discovers that Mr. Mooney is really hypnotized, not faking. Viv says 

“He’s stiffer than Dean Martin.”

In “Lucy and Lawrence Welk” (HL S2;E18), Viv returns from the Universal Studios Tour and tells Lucy

“I saw...Dean Martin’s bartender.”

Lucille Ball adored working with Martin, despite the fact that their working styles were polar opposites. Ball was committed to rehearsals where Martin preferred to ‘wing it.’  Due to her great affection for him, she put up with it.

The first time Lucille Ball and Dean Martin appeared on the same television show (though not at the same time) came in 1950 on “Show of the Year: Telethon for United Cerebral Palsy” hosted by Milton Berle on NBC. It was broadcast from New York City with remotes from Philadelphia. (Photo, left to right: Gabby Hayes, Roger Clipp, UCP Poster Child, Jane Pickens, and Dennis James.)

Dean Martin never appeared on “I Love Lucy,” but his second wife did! Former Orange Bowl Queen Jeanne Biegger (billed only as Mrs. Dean Martin) appeared as herself wearing a Don Loper dress in 1955’s “The Fashion Show” (ILL S4;E19). The couple divorced in 1973.  Martin then married Catherine Hawn, but the unioni lasted only three years.  Martin’s first wife was Betty McDonald, who he married in 1941 and divorced in 1949.  Martin had eight children. 

“The three words you hear most around my house are 'hello,' 'goodbye,' and 'I'm pregnant.'" ~ Dean Martin

Dean Martin was one of the performers at the Friar’s Club Roast of Lucille Ball and Desi Arnaz on November 23, 1958. The event, held at the Beverly Hilton Hotel, was not telecast. 

It would be ten years before Lucy and Dean again appeared on the same show (again, not at the same time) with “The Bob Hope Buick Sports Show Awards” in 1961.  The show primarily took place in Los Angeles, but Lucille Ball’s segment took place in New York City, where she was appearing in Wildcat. 

Two years later, Bob Hope presented the “TV Guide Awards.” Lucille Ball is nominated for Favorite Female Performer, but is not present. A still photo of her is shown instead. 

Starting in 1964, Martin was the host of the television variety program “The Dean Martin Show”, which was characterized by his relaxed, easy-going demeanor.  Lucille Ball appeared on the show in 1966 along with singer Kate Smith. 

In return, four days later Dean appeared on “The Lucy Show,” playing himself and his own stuntman, Eddie Feldman. Lucille Ball said that this was her favorite episode of “The Lucy Show.” 

Both Lucy and Dean were part of “Jack Benny’s Carnival Nights” in 1968, although once again they do not share screen time. Martin does a quick cameo  playing the Amazing Sleeping Man!  The opening of the show was performed on the set of “The Dean Martin Show” complete with fire pole and sexy assistants! 

Martin was in attendance at the “20th Annual Primetime Emmy Awards” where Lucille Ball won her fourth (and final) competitive acting Emmy,along with  Bill Cosby (”I Spy”) and  Don Addams (”Get Smart”).

In 1968, Lucille Ball (and many other stars) makes a cameo appearance on “The Dean Martin Christmas Show” to announce the donation of toys to children in hospitals. The cameos are filmed without Martin present. 

A year later, the two were also on the bill for “Ann-Margret: From Hollywood With Love.”  Dean Martin and Dean Martin sing a medley of country western songs and then do a sketch where the gender roles are reversed. Lucy, appearing in a separate segment, plays herself and an autograph hound named Celebrity Lu. 

Lucille Ball (and dozens of other stars) make guest appearanced on “The Dean Martin Show’s” sixth season opener in September 1970. 

In “Jack Benny’s 20th Anniversary Show” (November 1970) Lucy plays Jack’s maid, Janet, while Dean plays himself. Martin knocks on Jack’s dressing room door to wish him a happy anniversary and dance “The Anniversary Waltz” with him. The bit lasts less than 30 seconds.  

Later in November 1970, “John Wayne’s Swing Out Sweet Land” featured Dean Martin as Eli Whitney (of cotton gin fame) and Lucille Ball as the voice of Lady Liberty. 

In February 1975 “Dean Martin’s Celebrity Roast" was dedicated to Lucille Ball. On the dais, Martin presents Lucille’s friends and colleagues Bob Hope, Gale Gordon, Milton Berle, Henry Fonda, Ginger Rogers, Jack Benny, and Vivian Vance.

A year later it was Lucille doing the roasting, this time of her friend Danny Thomas. Also on Martin’s dais are Orson Welles, Milton Berle, and Gene Kelly.

Two year after that, in 1978, Lucille returned for yet another Dean Martin Roast, this time for her Beverly Hills neighbor, Jimmy Stewart. 

In 1975, on of the Lucille Ball CBS Specials was “Lucy Gets Lucky” starring Dean Martin. Ball plays Lucy Collins, who travels to Las Vegas to see her favorite star perform. To get into the sold out show she must work a variety of casino and hotel jobs!  

“NBC: The First 50 Years” (1976) was a four and a half hour extravaganza that naturally included clips of Dean Martin (who’s show was on the network) but also included Lucille Ball on “The Danny Kaye Show.”

“CBS Salutes Lucy: The First 25 Years” (1976) includes Dean Martin talking about how much he loves working with Lucille Ball. 

At the start of 1980, Lucille Ball and Dean Martin are just two of the many guests in “Sinatra: The First 40 Years” celebrating his 64th birthday and 40th year in show business. 

“Bob Hope’s Unrehearsed Antics of the Stars” on  September 28, 1984 featured Lucy talking about her audition for Gone With The Wind and Dean Martin in a clip of a sketch with Hope about airline pilots. 

In 1984′s “An All-Star Party for Lucille Ball” Dean Martin sings “When You’re Smiling” with special lyrics to suit the occasion: “When you’re Lucy, When you’re Lucy, You’re never off TV.”

Their last on-screen collaboration was to celebrate the opening of the Bob Hope Cultural Center at Palm Springs in “America’s Tribute to Bob Hope” in March 1988. Dozens of friends gather and offer comedy and musical performances to honor the building’s namesake including Lucille Ball, Dean Martin, George Burns, Ann-Margret, Dinah Shore, and Danny Thomas.

A further connection came offscreen when Lucille Ball’s son Desi Aranz joined with Dean Martin’s son Dino and Billy Hinsche to form a rock band known as Dino, Desi and Billy. 

“I want to be remembered as a damn good entertainer, nothing spectacular. A good entertainer who made people enjoy themselves and made them laugh a little. I want them to think 'He was a nice guy. He did pretty good and we loved him.'" ~ Dean Martin

[athingthatwantsvirginia]

Lily Briscoe, Remember?

PART TWENTY-SIX OF THE DO YOU SEE HER FACE? SERIES

Pairing: Jess Mariano x Original Character (Ella Stevens)

Warnings: drinking, smoking, plentiful pop culture references

Word Count: 3.7K

Summary: After a visit to a local bar, Ella catches up with Jess and spends a night in Philadelphia.

Twirling her cool water glass around and around on the grimy table, Ella smiled softly when a Strokes song came over the speakers. The bar was some hole-in-the-wall dive a few blocks down from the publishing house, still adorned with St. Patrick’s Day decorations although it was halfway through May. But Ella didn’t mind it. There weren’t rowdy swarms of college students or bachelorette parties. Instead, people in their late twenties sat around in black, square-framed glasses talking in buzzing tones. They had locally-made beer and a small, empty stage with just a stool, where independent artists played on the weekends. The air was salty with fries and early summer excitement. Matthew made conversation with her as Chris and Jess went up to order the drinks. Leaning back against the ripped vinyl booth, Ella listened intently as Matthew, sat across from her in a creaky wooden chair, told her about he and Chris meeting in high school.

“...so, we weren’t in the AV club or anything, but we definitely weren’t on the football team either-”

Chris led the way back to the table with a tray of beers and a hoot of satisfaction, Jess trailing behind his friend and rolling his eyes.

Stopping mid-sentence, Matthew turned to Chris and swiped a drink. Chris sat down beside him and was almost instantly chattering away. Matthew seemed kind, quiet, subdued. A good balance to Chris’s chaotic enthusiasm. Jess slid into the booth beside Ella, shrugging off his suit jacket, flushed in the stuffy air. Their upper arms touched, making her stomach do a flip. Even though it had been years since he lived at Luke’s, Jess still somehow had an aroma of pine.

“So,” Chris began, turning to Ella with a pointed look and a grin, “what do you do, Ella?”

“Oh, um, I’m a waitress.”

“And an artist,” Jess chimed in, taking a sip from his bottle.

Ella rolled her eyes and then shot him a teasing glare. “Not professionally. But I just graduated from Southern Connecticut State last week. Hopefully I won’t be filling sandwich orders my whole life.”

“You graduated already, Doogie?” Jess asked with a pleasant, surprised chuckle.

She shrugged. “Wasn’t too big a deal. I took summer classes and stuff.”

“What’s your major?” Matthew asked.

“Studio art,” she said. “Minor in history, though.”

Jess raised his brows, but said nothing. Apparently she hadn’t gone through only outward changes. He could smell her lavender perfume as he sipped on his cheap, watery beer. It was odd to see her in Keeley’s, a bar he’d frequented since arriving in Philadelphia. The feeling was not quite deja-vu, but his worlds were certainly colliding. In the back of his mind, he wondered where her necklace was, wondered where she was living. It was easy to feel like he knew her, maybe better than anyone, but they hadn’t spoken in so long. She could be married, for all he knew. Scanning her thin hands, he found no engagement or wedding rings. But an uneasiness still sat right under his skin, eager to be resolved.

Crossing his arms, elbows on the table, Chris leaned closer into the conversation. “That’s so cool! Do you have anything lined up? Seems like you should, considering how many people tried to buy your sketches today.”

She scoffed, continuing to turn her glass anxiously. A blush warmed her cheeks, and a nervous smile tugged at her lips as she averted her eyes down to the table. “Sort of. Grad school is where I’m headed now.”

“Really?” Jess chimed in. “Where?”

Clearing her throat, Ella raked a hand through her hair. Though Jess tilted his head at her, she refused to meet his gaze. “It’s funny, actually. I’ve still got some things to work out...but UPenn.”

“No way! That’s right down the road from us!” Chris exclaimed.

Ella’s smile widened marginally, and excitement rose in her chest. “Yeah, it’s weird. I had a few I was choosing between, and Penn reached out and...I only confirmed a couple weeks ago. A few days before I got your invitation in the mail. Since I was coming down here anyway, I scheduled my interview with the Dean for tomorrow.”

“Well, congrats,” Matthew said, raising his bottle.

“Thanks,” she replied, feeling slightly silly as she toasted her water against their beers.

Before another moment had passed, Chris got a page on his beeper. Apparently, the poet who had performed at the open house had left something of his behind and would need to be let in early the next morning. Matthew and Chris began commiserating amongst themselves about the performer, who was apparently less than a joy to work with. Biting on the inside of her cheek, Ella tried to suppress her smile. Too much joy made her nervous. It meant always waiting for the other shoe to drop. She’d had the odd mixture of anxiety and anticipation brewing in her stomach since opening Jess’s package. It was too much of a coincidence for her to be going to a school five minutes away from where Jess worked. Too perfect. She didn’t trust it.

Beside her, Jess was trying equally hard to hold in his emotions. She would be in Philly. Right down the road. She hadn’t been right down the road from him in what felt like forever. There were still so many unknowns. But he couldn’t help the swell of his heart. What were the chances? Plastering on a smug smirk, a mask to hide his exhilaration at her news, he nudged her gently with his elbow.

“So, you’re Philly bound?”

“Seems that way,” she said, nodding.

He hummed in acknowledgement, pausing to gaze at her for a moment. Freckles and Bette Davis eyes and a deep, raspy voice. So different but so familiar. She offered him a tiny smile, caught up in the moment. A swarm of pleasant butterflies fluttered in her stomach, and again, she wished they could kiss. Inside their private world, as they once had been.

“Y’know, I think it was fate,” Jess said, smirk growing. “Us both ending up here.”

She snorted a laugh and shook her head slightly. “Not all that idealist bullshit again, Mariano.”

“Hey, not everything changes,” Jess shrugged, taking another sip.

“Guess not,” she said quietly, a fond sparkle in her hazel eyes. “But I’d expect nothing less from a Hemingway fetishist.”

Jess rolled his eyes. “Whatever, Stevie Nicks.”

Instead of retorting, Ella snatched the beer sitting before Jess and took a long sip. Setting it down in front of him again, she winked and then began to hum along to Julian Casablancas’s lyrics.

.   .   .

“I’m serious. I was really planning on just getting a motel,” Ella insisted.

Shushing her, a finger on his lips, Chris shook his head. He stood in the tiny kitchen, rummaging through the rusty fridge for some drunk food. Matthew was tipsy, and had already retreated to his room. Chris, however, had managed to get absolutely wasted. They’d practically dragged him up the stairs in Truncheon to the apartment above, while he babbled loudly, complaining about his boyfriend being out of town for the open house. Now, as Jess and Ella argued about her sleeping in the apartment, he offered slurred interjections and cackles off to the side.

Jess, having only drunk two beers over the course of the day, rolled his eyes at his friend. “Go to bed, man.”

“Make me, Jess,” Chris replied jovially, retrieving a box of fried chicken from behind the half-and-half. Straightening up, he shot them both a smug grin and made for the bedroom he shared with Matthew. “Have fun, kids.”

“Good luck fighting that sweater off your head,” Ella quipped, not able to stop the words before they left her mouth. Chris, for all his exuberance, was wearing deceptively stuffy clothes. A button-up with a patterned sweater over it, khakis.

Again, Chris only laughed. “She’s feisty. Let’s keep her forever.”

Smiling thinly, Ella gave him the finger. He blew her a kiss before entering the dark room and shutting the door loudly behind him. Ella winced slightly. She knew Matthew was probably already asleep in one of the room’s twin beds.

Jess ran a hand down his face, standing amid the cluttered mess of their living room.

Ella turned back to Jess, crossing her arms over her chest as an amused crease formed between her brows. “How’d you end up living with them again?”

“Long story.”

“I would imagine.”

“He’s usually not quite so intolerable, but it’s been a big day,” Jess said apologetically. “And he’s still super pissed his boyfriend had to go outta town for work.”

Ella shrugged. “Hey, no problem. I like them. But, yes, it has been a big day. And I don’t want to keep you up any longer. So, why don’t I just stay at a motel?”

Shaking his head, Jess gestured for her to follow him and led the way to his bedroom. “Yeah, right. It’s past midnight. You can just crash with me. Not like we haven’t shared a bed before.”

A heavy sigh escaped her lips. “Are you sure? At least let me take the couch. I’ve been sleeping on one for two years, anyway.”

“At Lane’s?” Jess asked, switching on the ceiling light as they entered.

Surveying the bedroom, a smile immediately came to Ella’s lips. The living room was an absolute mess, but he’d managed to keep his own room decently clean. In the small space, he had only a queen-sized bed, pushed against the wall with the windows, and a dresser, on top of which his boombox sat. Piles of books and CDs littered the scratched wood floor, mostly in the free corners. A framed poster of Nietzche hung above his bed, and she burst out laughing when she saw it, before she could help herself.

“What?” Jess asked, brows furrowed.

She pointed to the poster, then bit down on her thumb nail to stifle her giggles. “Nothing, I’m just glad you’re becoming self-aware.”

He rolled his eyes playfully. “Already overstaying your welcome, Stevens. The bathroom’s the first door on the left when you walk into the apartment. You can get changed, brush your teeth, whatever.”

Nodding, Ella slipped off her shoes near the door and put down her heavy shoulder bag. It only took a minute of rifling through before she found the pajamas and toothbrush she’d packed for the short trip. Since she was little, she couldn’t fall asleep before brushing her teeth first. Clutching the supplies in her arms, she turned back to Jess. He’d taken off his suit jacket and tossed it down on the bed, was unclasping his watch and setting it down on the dresser. He looked so grown up in the yellowish overhead light, bright against the dark green walls.

“This is really okay with you, Jess?” she asked, sounding shyer than he’d ever heard.

“Yeah,” he replied, flashing her a reassuring smile. “What kind of host would I be otherwise?”

Smiling back, Ella nodded again. “Thank you.”

“You’re welcome.”

As she left the room, Jess let out a breath he didn’t know he’d been holding in and ran a hand over his mouth. He thought back to the night she’d let him sleep over, dragged him from the freezing back seat of his old car into her warm bedroom. It was the least he could do. Truly. But anxiety squeezed his insides tightly. He tried to shake it off. Ella herself had said he didn’t need to be nervous. He changed into some sweatpants and a t-shirt quickly, running his hands through his neat hair and turning it messy. When she returned, face washed and teeth brushed, he was just flicking on his bedside lamp and pulling back the blue comforter. He recognized the Bowie t-shirt she wore from some vague memory.

“No KISS shirt?” he asked.

She chuckled as she stuffed her dress and toothbrush into her bag near the door. “Oh, I never travel with that. Couldn’t bear for it to get lost.”

“Oh, right, my mistake,” Jess said. “You can turn out that switch, if you want.”

Ella turned off the overhead light, left only in the glow of his nightstand lamp. Before the nausea could overtake her, she powered through the shakiness of her hands and came to sit across from him. It didn’t need to be strange. She’d just gotten her best friend back. And they could sleep in the same bed as they had so many times before.

“Since I’m already taking advantage of your hospitality,” she began, eyeing the half-empty pack of Marlboros on the floor by the bed, “could I maybe borrow a cigarette?”

Smirking fondly, Jess nodded, reaching down to grab the pack and the lighter. He lit hers for her as she held it between her lips, and then his own. He cracked open the window and flicked ash out into the May midnight.

“What’s got you smoking?” he asked.

She sighed through her nose in white streams. “My interview with the Dean tomorrow. I mean, I’m already in. And they contacted me because of my portfolio. But, I don’t know. Anything could happen.”

“But it won’t,” Jess said. “It’ll be fine. You’re Lily Briscoe, remember?”

A weak smile crossed her face and she gave an unconvincing nod. Then, she looked back up at him curiously. “What about you? Still smoke as much as you did in high school?”

Jess shook his head. “No. Almost never. But I may have panicked about this whole open house thing last night.”

“Looked like it went great,” she said, tapping ash out the window, sitting cross-legged.

Shrugging, Jess leaned back against the wall behind his bed. “We’ll see what that lady from the paper writes.”

“Who cares what she thinks?” Ella asked.

“People who could spend their money here,” Jess answered, chuckling breathily.

Waving a dismissive hand, Ella took a final drag of her cigarette. She crushed it out on the windowsill, where she saw the small, circular remnants of smokes past, before throwing butt out the window into the dumpster below. “Maybe. Seems like you’ve got a pretty decent underground following already.”

“And you call me the idealist,” he said, shaking his head and tossing out his own cigarette.

She laughed lightly, following Jess’s lead as he closed his window again and got under the covers. Soon, they faced each other with their heads against Jess’s pillows. They smelled like him. After shutting off his lamp, Jess regarded Ella in the dim light. He felt like he’d stepped through a door into a memory or a dream.

“Speaking of Truncheon, tell me about the book,” she said quietly.

“Which book?”

“Your book, Sherlock,” she teased.

He sighed, swallowing dryly. “What do you want to know?”

“Everything,” she replied. “I mean, when did you write it? How did you write it? Did ever end up getting a computer, or-”

“Woah, Stevens,” he interrupted, snickering at her rapid-fire questions. “I started writing it when I was still in Stars Hollow.”

She furrowed her brows. “What?”

“Yeah. That notebook I came back for when I picked up my car? I sort of...started before I left. I took a break in California. But I started taking advantage of the library computers when I got back to New York.”

“So, it really was an On The Road thing.”

“Not quite so ambitious,” he said. “But, once I read that Stephen King book you got me...I just got started.”

“And you never told me?” she asked.

He only shrugged in response.

Ella shook her head slightly, watching him with furrowed brows. “Curiouser and curiouser, Mariano.”

“I wanted to surprise you with it.”

“Well, you did.” She thought she saw a flush rise to his cheeks, but couldn’t quite tell in the low light. Something indecipherable flashed across his eyes as he hesitated. She took the lead instead. “Hey Jess?”

“Hm?”

“I’m so fucking proud of you.”

Jess rolled his eyes, really blushing now. His face went scarlet, and he uttered a nervous chuckle. “Thanks, Daria.”

“Anytime, James Dean.”

Ignoring the flip of his stomach, Jess let the compliment roll off him like water and faced her earnestly. “Did you say you were still livin’ with Lane?”

She nodded. “Yeah. It was just...easier than getting my own place. A smaller chunk of the rent to pay. Especially with how many classes I was taking, and it was right across the street from Luke’s. At some point, we upgraded to a futon, so it was a little easier to sleep.”

Jess snorted. “I’m pretty sure you could fall asleep in the middle of a tornado, get transported to Oz, then back to Kansas, and wouldn’t wake up the whole time.”

“Be that as it may,” she said pointedly, “it was pretty okay. But Lane and Zach are getting married in a couple weeks. It would be time to move out even if it wasn’t for grad school.”

“Lane and Zach?” Jess asked, brows furrowed in surprise. “What about that Dave guy?”

Ella sighed softly. “He went to California for college. Eventually, they broke up. And she was on and off with Zach and...I don’t know. He’s not the worst guy. And I know there’s no talking her out of it, anyway.”

“People are gonna do what they’re gonna do,” Jess agreed, thinking back to his own mother’s last wedding.

“I’ll miss her, though. Without Lane, I would probably still have majored in history. Ended up teaching at Stars Hollow High.”

“No way.”

“I’m not so sure. But just seeing Lane play with the band all the time...she looked so happy. Even though she had no money and her mom was pissed at her. I thought maybe actually trying to do what you love wasn’t such a crazy idea,” she explained, voice husky and tired, but so lively.  

It made Jess smile. “That’s great, Eleanor.”

She shrugged again and cleared her throat, wincing slightly. “Ugh, Jesus. Smoking is never worth it. I don’t think I’ve smoked since...since the last time we saw each other. The morning after you left.”

His face fell. There it was. Finally. “I’m sorry, Elle.”

“For what?” she asked dismissively. The past was past.

“For that night. Everything. I don’t know what I was thinking.”

“It’s okay, Jess.”

“Luke gave me this stupid self-help book and I read it and we kinda went to the wedding together and I got...mixed up.”

Smiling softly, Ella shifted in her spot to move a little closer to him. “I’m gonna need more details on that self-help book later.”

He uttered a self-conscious scoff.

“But, really Jess, it’s okay. I understand. And...I just...I wasn’t ready,” she said finally, struggling for her words. “After I moved out of my dad’s house...I still needed Lane. And Lorelai. And Luke. I always thought getting away would fix everything. But...I wasn’t ready for you.”

A sad smile tugged at his lips. “I don’t think I was ready for you, either.”

Breathing deeply, Ella let the moment pass between them. Forgiveness, maybe? On both sides? She wasn’t quite sure what it was, but she knew it made her feel calmer. Maybe ripping old wounds open was worth it if it meant they would finally get the chance to heal.

“I bet you started breaking hearts when you got here though. What with the starry-eyed starving artist thing you’ve got going on,” she said. She knew it was a flimsy attempt at being sly, but she just couldn’t bring herself to ask him outright. And he was letting her sleep in his bed. That was a positive sign. But she needed to know for sure.

He chuckled slightly and shook his head. “Not really. Turns out, people don’t flock to the guy with nothing but a shitty final draft and a duffel bag to his name.” Then, after a beat of silence, sirens blaring from somewhere off in the distance of the city, he spoke again. “What about you?”

The inquisitive, almost hopeful, tone in his voice made her heart skip a beat. “Nothing extraordinary. A couple dates. Guys. Girls. Never got anything to stick.”

“Hm.” Jess paused, watching Ella watch him.

The sound of the singing crickets mixed strangely with the murmur of the city, even in the early Monday morning hours. Ella tried to remember each detail of the present moment. Lying beside Jess in Philadelphia, preparing to go to grad school, finally out from under the thumbs of her father and Stars Hollow. And in love. She decided on it finally. Nothing had changed. She loved Jess as she had for so long, even if she had never truly realized it. Maybe she had, but was too scared to admit it. She thought back to the day he took her to the Met, riding back home in his car, nothing but the dark, empty highway around them. She’d almost said it then. But she hadn’t. Even then, though, she’d been completely his. All or nothing. Do or die.

Slowly, she brought her hand out from under the covers and placed it on his cheek. She stroked his stubbly skin with her thumb. The boy who’d turned into a man all on his own, who had always been so guarded and so kind. Who gave her a bed when she was drunk and bought her charcoals on Valentine’s Day and took her to museums and wrote books for her and hung her drawings on his wall. Who she had taken to a private movie and driven to the emergency room and kissed as an Interpol song played and brought in from the cold. The give and take which had always been there, making her feel safe. Easy. Home.

Taking a moment to close his eyes, Jess quieted all the thoughts screaming in his head.

“I missed you,” she whispered.

“I missed you too,” he replied, too overwhelmed to say much of anything else. He remembered the night on the bridge when they’d decided to try together. How the nerves had made his stomach churn. But she’d taken his hand in hers. She’d made the first move. And made his whole being feel calm. She had cared for him when he couldn’t care for himself. It made him feel like a teenager again. Her touch. Her voice. Her mind.

He wound his arm around her waist and brought her closer, hugging her tightly. They were silent and comfortable. Eventually, Ella’s breathing deepened and Jess felt her muscles relax, holding her. Outside, he could see the full moon reflecting light against a clear night sky. And he felt so content he could barely shut his eyes for a second, fearful of missing anything.

[delporteart]

Six years ago this was up at the Philadelphia Sketch Club... One of the models came and posed in front of the painting... can you tell which one she was in the painting?

Copyright - Thomas Del Porte

www.delporteart.com

[philamuseum]

Want to see art in a new way? Join us for Second Saturday Sketch at the Rodin Museum and learn from the works of the master of modern sculpture. 

Photo by @alyssacwangerll