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A North American alternative to Québec in winter when seeking warmth is a visit to Louisiana, staying in New Orleans' French Quarter. The natives were friendly, Mardi Gras decorated streets at night were safe and Le Richelieu, an historic hotel on the eastern fringe of the Vieux Carré (old square) was quiet. With limited time, I opted for three Gray Line tours: a cemetery, plantation (Oak Alley) and the "Katrina Tour."
New Orleans was an historical all-time real estate bargain. Napoleon sold the entire Louisiana Territory for $15 million in 1803 which works out to four cents per acre or $7 for New Orleans. Donald Trump would be amused.
Street names echo the past: St. Louis named after King Louis XIV and the patron saint of the Bourbon kings (Bourbon St.), Toulouse after the duc de Toulouse, illegitimate son of Louis XIV, Dumaine, after the duc de Maine, another illegitimate son and the street where Tennessee Williams, the great U.S. writer lived and Ursulines, named after the religious order of nuns.
The St. Louis Cathedral rises above the centre of the French Quarter in Jackson Square.
Pope Jean Paul II worshipped here in 1987, the oldest continually active Catholic cathedral in America. Upon exit, you incongruously encounter tarot and palm readers, eclectic fortune tellers outside who take advantage of the large, inviting square. Also, there's a good chance you will hear street musicians in the city that invented jazz. Here, one encounters bronze sculptures paying homage to Louis Armstrong, Pete
Fountain, Fats Domino, Al Hirt and Jelly Roll Morton, the first composer and arranger of jazz.
Appropriately, I drank a "hurricane" at K-Paul's Louisiana Kitchen, the restaurant made famous in 1979 by chef, Paul Prudhomme, with his cast-iron skillet producing delicious Cajun blackened redfish. In the French Market, I drank chicory coffee at Café du Monde in the oldest coffeehouse in New Orleans and I
willingly sampled beignets (doughnuts) introduced by Acadians from Nova Scotia. At Antoines (circa 1840), I sampled my first delicious taste of crawfish. Yum! And at Harrah's Casino, there was an amazing array of grouper, mussels, crab, shrimp and gumbo, originally a traditional African okra soup. In the spirit of culinary investigation, I savoured a muffuletta, a huge sandwich made famous by Lupo Salvatore at his Central Grocery in 1910. It consists of olive salad, mortadella sausage, cappicola ham, Emmentaler cheese, Genoa salami,
Provolone cheese and round Italian bread that could easily feed two. Expect to add a few pounds on any visit to New Orleans!
Because of the low water table, residents in New Orleans who insisted on traditional underground burial, after a storm, to their dismay, often discovered the remains of the deceased floating away. This might have constituted a kinky tourist attraction, but they soon opted for raised vaults, and "cities of the dead" were employed for most internments. With dry land a premium, this ingenious burial technique allows family after family to occupy the same tomb. A
wooden coffin
is placed in the top vault. After a year, the remains are shoveled to a vault below and pushed to the back. If another relative dies before a full year is up, there is a convenient "layaway" plan whereby the new remains are temporarily placed inside a nearby wall. At St. Louis Cemetery Number 1, I observed many unique family vaults, one containing the remains of Marie Laveau, the "Voodoo Queen."
The Katrina Tour should be taken by global warming naysayer's. The breadth of destruction was difficult to fathom, but indelible watermarks remaining well above garages in subdivisions, emergency escape holes cut in roofs by axes, countless abandoned, gutted homes and hundreds of pristine white FEMA trailers revealed what
nature can ultimately fashion when man does not honour a sustainable relationship. Plucky natives
are on the rebound, but the population has been halved and requires more support from federal politicians. In that regard, Senator Barak Obama was in town the day of my Katrina tour.
Mike Keenan writes for QMI Agency (Sun Media) Canada's largest newspaper publisher, printing 44 daily newspapers as well as a web portal, Canoe.ca. Besides regular columns for the St. Catharines Standard, Welland Tribune and Niagara Falls Review. Mike has been published in the Globe and Mail, Toronto Star, Buffalo Spree, Stitches, West of the City and Hamilton-Burlington's View Magazine. His work is found in QMI published dailies such as the Toronto Sun, Ottawa Sun, Vancouver Sun, London Free Press, Calgary Sun, Winnipeg Sun and Edmonton Sun.
Photo Credits
Mike Keenan
If you go
Gray Line:
http://www.graylineneworleans.com/
Le Richelieu Hotel:
http://www.lerichelieuhotel.com/
New Orleans Convention and Visitors Bureau:
http://www.neworleanscvb.com/
St. Louis Cathedral:
http://stlouiscathedral.org/index.htm
The Vatican's Magnificent Mosaics
© By Mike Keenan
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It's oxymoronic, but when I travel, I regularly plan for serendipity. New Orleans was no exception. I didn't encounter Brad Pitt and Angelina Jolie pushing baby strollers outside their newly acquired digs, purchased in the French Quarter for a mere $3.5 million. However, returning to Le Richelieu hotel and passing nearby St. Mary's church beside the Ursuline convent, I scored big. The door open, I perceived a large-screen TV set at the altar. "C'mon in," welcomed a lady, so I did and lucked upon "An Evolution of the Human Spirit as Seen Through Mosaic Art," a presentation of the
Vatican Mosaic Studio and the Archdiocese of New Orleans'
Catholic Cultural Heritage Center at the Old Ursuline Convent." Thanks largely to Monsignor Crosbie W. Kern, rector of the St. Louis Cathedral, the Vatican Mosaic Studio presented their first comprehensive exhibition of art since the 16th century outside of their home court.
"How did you do it?" I asked.
"Easy. I simply asked, and they agreed," replied a beaming Monsignor. The display begins in a hall joining the church to the convent. Over 30 works, 20 never exhibited before and 10 produced for the first time, form a dazzling corpus that spans religious and secular themes, reflecting
pictorial art through the ages, including masterpieces from Renaissance to the modern and contemporary age. On the walls gleamed works inspired from famous canvases by Monet, Van Gogh, Chagall and Rouault.
20,000 tourists enter St. Peter's in Rome daily to gape in awe at its mammoth dimensions and Michelangelo's magnificent dome, but according to Angelo Comastri, Vicar General of the Holy Father for the Vatican City State, "they're often fooled by what seems to be painted surfaces decorating more than 25 altars and chapels." With construction of the new Basilica in the 16th century, a studio was needed for its decoration, and thus was founded the Vatican Mosaic Studio, responsible for decorating the St. Peter's with religious art as well as restoration
of existing works. In 1795, the Studio was authorized to create secular subject matter as well.
Monsignor Kern is the 43rd pastor/rector of the St. Louis Cathedral, oldest existing Catholic Cathedral in continual use in the United States, located in Jackson Square and worthy of a visit itself. He believes the exhibit tells the story of an evolution of the human spirit through mosaic art. "It helps us understand concepts such as beauty, truth, wisdom, and love. It helps in our quest to know God."
Earliest examples of mosaic art date from Babylon, six centuries before Christ; Greeks, Romans and every age since produced mosaics. I was enthralled as I toured, transfixed by stunning replicas inspired by artistic geniuses such as Bramante, Michelangelo, Maderno and Bernini, all responsible for St. Peter's original artwork.
Francisco Marchisano, Archpriest of St. Peter's, thinks that one of the essential qualities of mosaics is their luminous and translucent character as well as durability, and this was the major reason why the Studio was chosen to decorate the Basilica in Rome. Alfred C. Hughes, Archbishop of New Orleans delights in the first exhibition outside Rome, but also proudly notes that reopening the Ursuline Convent marks a milestone in New Orleans' post-Katrina recovery.
Ursuline nuns arrived in New Orleans from Rouen in 1727 to take charge of the royal hospital. The convent, a three story building, was completed in 1734 but rebuilt in 1745 thanks to King Louis XV. The adjoining St. Mary's church dates from 1845.
I talked briefly to Emanuela Rocchi, a young, enthusiastic Italian craftswoman, a member of the Vatican Mosaic Studio team. "To be surrounded by an infinite number of colours, to mold and give form is to harness life," she said. Wow!
Next time you travel, be open to serendipity. It happens even when heading back from a long
Gray Line tour to your hotel!
Mike Keenan writes for QMI Agency (Sun Media) Canada's largest newspaper publisher, printing 44 daily newspapers as well as a web portal, Canoe.ca. Besides regular columns for the St. Catharines Standard, Welland Tribune and Niagara Falls Review. Mike has been published in the Globe and Mail, Toronto Star, Buffalo Spree, Stitches, West of the City and Hamilton-Burlington's View Magazine. His work is found in QMI published dailies such as the Toronto Sun, Ottawa Sun, Vancouver Sun, London Free Press, Calgary Sun, Winnipeg Sun and Edmonton Sun.
Photo Credits
Mike Keenan
If you go
New Orleans Convention and Visitors Bureau:
http://www.neworleanscvb.com/
New Orleans Museums:
http://www.neworleansmuseums.com/
Old Ursuline Convent Museum: 1114 Chartres St., Ph: 504.529.3040
St. Louis Cathedral:
http://stlouiscathedral.org/index.htm
Wikipedia: http://en.wikipedia.org/wiki/New_Orleans
Wikitravel: http://wikitravel.org/en/New_Orleans
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