Viewing San Antonio through a Spaniard’s eyes

Murals by Spanish artist Daniel Munoz, or SAN, transform window frames bricked in long ago on the back of the former home of the Beethoven Maennerchor in Hemisfair into points of interest. SAN peered into the city’s past and how it contributes to the city of today in recognition of the San Antonio’s Tricentennial. The mural on the back of what is now Magik Theatre was commissioned by the city’s Public Art Department and Luminaria working in conjunction with Ink and Movement in Madrid.

These cellphone snaps represent a small sampling of SAN’s images. Love the way he captured the man peering into the dime store to represent the impending desegregation of the lunch counter in San Antonio; four Blacks broke a major color barrier when they were served there on March 16, 1960. Wonder if the muralist knew the 97-year-old former Woolworth’s, regarded as a landmark in the history of the Civil Rights Movement, is endangered by the current version of the Alamo Comprehensive Interpretive Plan. The building’s significance for the community is obvious even to someone from another country.

 

‘Just the Facts:’ A fence by any other name still smells the same

The July 23 editorial, “Deep breath, just the facts about the Alamo,” in the San Antonio Express-News shocked me.

“Just the facts?”

Perhaps the editorial board of the paper received a totally different presentation than the one about the “Alamo Comprehensive Interpretive Plan” presented to San Antonio Citizen’s Advisory Committee? Perhaps the plan the members saw is different from the one on the Alamo website?

The first “fact” claimed by the Express: “There will not be a fence around Alamo Plaza downtown.” These are the Editorial Board’s words. This sentence does not appear in the plan itself.

Planners, who initially wanted to lock up the plaza at night, now want to “organize people” when the museum is open. They refer to some of this “management” as “fences almost not seen.” The image below isolates a portion of the softly blurred rendering above depicting what the Express terms as simply “rails,” clear barriers topped off by a rail as opposed to an actual picket fence, that will prevent people approaching from Houston Street from walking straight into the plaza and disrupting the “managed” people inside.

On the left is a rendering representing a tall gate, in a fence line “hidden” in landscaping, that presumably would be open after museum hours.

On the north and west sides are 42-inch so-called “rails.” As the plan proposes to lower the floor of the entire plaza 16 to 18 inches, tourists will feel protected from San Antonio’s foot traffic by a barrier more than five feet in height. 

And on the southern edge, an actual “fence” is depicted camouflaged in the landscaping with, look closely as it is painted in a pale gray, an extremely narrow gate thrown open to allow public access… after “managed” hours.

The Editorial Board can call this anything they want, but it all looks like fencing off Alamo Plaza to me.

Presenters made it sound as though the goal during the hours the Alamo is open is to “choreograph approaches” so everyone enters the “railed-in” area through an entrance by a new museum on the west side of the plaza. This appears to be the exit as well. Presumably, this management is designed to promote museum attendance, perhaps a paid experience? This is also where the general public heading north or south will be funneled into the “Alamo Promenade.” So, with every visitor to the Alamo, including large tour and school groups, and all passersby converging, emerging and merging at this one sidewalk-width point on the “Alamo Promenade,” will we not have absurd pedestrian traffic jams? This is a serious question I would love answered.

“Fact” Number Two: “People will not be shut out from this historic and public space. Protests and assemblies will continue at Alamo Plaza. It will remain open to the public.”

Essentially, all of the non-existent fencing sketchily depicted above will sever Alamo Plaza into two parcels – the Alamo fortress footprint on the north and the smaller Plaza de Valero fronting the Menger Hotel and RiverCenter Mall on the south. Planners make absolutely no secret of the goal of attempting to keep protesters out of the northern portion. Plaza de Valero is the designated area for “public expression,”  traditionally referred to as the exercise of free speech.


Fact Number Three: “Closing Alamo Street does not mean there won’t be a north-south connection for vehicles across downtown. The plan proposes a nearby alternative for traffic.”

I sure hope they engage an amazingly talented traffic engineer to work out the automobile traffic patterns. As someone who understands what it is like today to sit through multiple lights heading north on Navarro or south on Losoya or St. Mary’s or to crawl along behind horse carriages on Presa Street, I will let this rendering demonstrating “enhanced connectivity” speak for itself.

“Fact” Number Four: “A decision has not been made about razing five buildings across from Alamo Plaza.”

I am labeling this false because these buildings have always been in the crosshairs of those who are uncompromising in their desire “to restore the Alamo footprint as much as possible.” The way the plan is presented makes it obvious the consultants have made their decision. Certainly, the Editorial Board has made itself clear during the past several years about its desire for the mission footprint to be restored.

While offering token lip-service to “tell the in-depth history of the Alamo area to the present day….;” the redesign of Alamo Plaza is all about the 1836 battle. The plan blatantly labels the five referenced buildings as “non-contributing structures” that must be “addressed.” In the rendering below, they are addressed by erasure. Historic landmarks are reduced to flattened camel-colored rectangles with no mass.

And, voila! Instead of adaptive reuse of valued historic landmarks whose worthiness is well-documented, you now have a vacant lot for the “rail” representing the original western wall of the compound and a new museum facility.

While theoretically the decision has not been made on the buildings’ fate, the planners desire to demolish is obvious. The public presentations are called “conversations,” but are they mere shams?

According to an article in the Rivard Report by Iris Dimmick, City Councilman Roberto Trevino, who serves on the Alamo Management Committee and co-chairs the Citizens Advisory Committee, a study will be commissioned to determine the merit of preserving the structures. As though their history and condition is an unknown.

Dimmick reports Council RepresentativeTrevino:

…said it’s unlikely that other major components of the plan would change.

The design team “picked up where the master plan left off,” Trevino said. “Continuing the debate (about road closures and managed access), I don’t think that’s in line with the guiding principles.”

However, he said, pedestrian access, in general, is something on which the team is still working.

While the plan does indicate the buildings’ fates have not yet been sealed, the plan offers no alternative pedestrian routes than the ones illustrated. Fencing off the footprint is the only option presented for consideration.

The Editorial Board of the Express-News terms much of the opposition raised to the plan “hyperbole:”

Yes, the plan does include landscaping, rails and some hidden fencing to control pedestrian flow to the site. That’s far different from “restricting access” as the San Antonio Conservation Society has asserted. It’s about crowd control and guiding visitors during daytime hours when the Alamo itself is open to the public. Outside of those hours, people can still visit the plaza and admire the church.

I vehemently disagree. Call a fence a fence.

And the time to disagree is now. Because if San Antonians are quiet, the next version of the plan will pick up where this plan left off. Much like Trevino indicates road closures somehow already are a done-deal, the fencing closing off Alamo Plaza, a dedicated city park, will get cemented into the plan. And, if you value the historic landmarks lining the west side of the plaza, the time to express that is now.

Both my opinion and that of the Editorial Board of the Express-News are biased. I urge you to read the plan to make an informed decision about the “facts.”

If you have concerns about the plan, please consider signing the online petition the San Antonio Conservation Society has made available: Save Alamo Plaza! at change.org.

Postcard from Rome, Italy: Insertion of banker’s mistress in Raphael fresco a cheeky move

When Pope Julius II (1443-1513) slipped on the papal “ring of the fisherman,” the banker from Siena who helped with the Pope’s expenses prior to his election was not forgotten. Pope Julius II appointed Agostino Chigi (1466-1520) treasurer and notary of the Apostolic Camera, the Papal Treasury. Forging strong financial ties throughout Western Europe, Chigi’s financial operations employed up to 20,000.

On his way to becoming the richest man in Rome, Chigi needed suitable quarters on the Tiber on the Vatican side of the river. He commissioned a painter from Siena, Baldessare Peruzzi (1481-1536), to design his palace on Via della Lungara in 1508.

With Pope Julius II (1443-1513) summoning Michelangelo (1475-1564) to Rome in 1508 to cover the ceiling of the Sistine Chapel, frescoes were in vogue. Peruzzi turned to mythological themes for inspiration for Chigi’s main hall, named Galatea after a sea-nymph. Astrological scenes in the ceiling were surrounded by golden stars reflecting the position of constellations on the date of Chigi’s birth.

Raphael (1483-1520) was hired to finish the frescos there and in the loggia of Cupid and Psyche. The lives of putti fluttering about the ceiling appear perilous, demanding defensive maneuvers against ferocious beasts. And there, almost within the shadow of the Vatican, Chigi’s mistress brazenly posed in the buff as one of the Three Graces, the one on the left above perched atop fluffy cloud. I believe her flip side is captured as part of the same trio in another triangle in a photo below.

Invitations to parties hosted under these scenes were among Rome’s most desirable, with the guest list combining the pope and cardinals, princes, the wealthy elite, poets and artists. To demonstrate his wealth, the flamboyant Chigi was known to cast silver dishes over the wall toward the Tiber at the end of feasts; although the frugal banker in him would prearrange to have servants with nets down below to catch the falling tableware for recycling at the next soiree.

In 1579, the palace was purchased by Cardinal Alessandro Farnese (1520-1589), who evidently saw no need to interfere with the frolickers in the frescoes. Farnese’s career was launched when he was only 14 with his appointment as a cardinal by his grandfather, Pope Paul III (1468-1549). Lucrative appointments within the church allowed the cardinal to accumulate great wealth under several popes. Chigi’s villa became known as Villa Farnesina and is now a museum.

Directly across the street from the gardens of Chigi’s villa, Cardinal Domenico Riario commissioned construction of a palace in 1510. Presumably the neighbors coordinated their party schedule so the extremely narrow street was not impossibly clogged by guests’ carriages. This palace was rebuilt completely in 1736 for Cardinal Neri Corsini (1685-1770), named a cardinal by his uncle, Pope Clement XII (1652-1740).

Among the notable occurrences in what is now known as Palazzo Corsini was the death of Queen Christina (1626-1689) of Sweden. Christina was only six when her father, King Gustavus Adolphus (1594-1632), found himself lost in thick smoke behind enemy lines while leading a cavalry charge during the Battle of Lutzen during the Thirty Years’ War. The Protestants won the battle, but not before the King suffered fatal wounds.

Christina’s mother did not handle the loss well, demanding that her husband’s coffin be kept open in a room in a palace so she could visit it often and saving his heart in a separate keepsake box in her room. Officials were not able to bury the decomposing king until 18 months after his death. Not surprisingly, her mother was deemed unfit for the regency or for raising her daughter.

Instructions left behind by King Gustavus Adolphus were for his daughter to be educated as a boy would be. An excellent student, Christina mastered nine languages. But, with all her studies, Christina failed to pick up many of the prevailing attributes of femininity, often dressing as a man would. Her refusal to marry and her close relationship with a lady-in-waiting sparked continual rumors.

While Sweden emerged as a major European power following the signing of the Peace of Westphalia ending the Thirty Years War in 1648, Queen Christina seemed tired of the weight of the crown and abdicated in favor of a cousin in 1654. She secretly had converted to Catholicism, so Rome would be more to her liking than her Protestant homeland. Rome celebrated her arrival and conversion, with Pope Alexander VII (1599-1667) confirming her in the Vatican Basilica.

In Rome, she rented the palace from the Riario family and plunged herself into attending and hosting social affairs, collecting art, meddling in papal politics and even conspiring to wear the crown of Naples. Alternating between masculine attire and gowns with daring décolletages, she kept Rome guessing as to who reclined with her in her chambers under the fresco of “The Judgement of Solomon.” A cardinal frequenting the palace was chastised by the pope. Christina never married, and, when she died, her sole heir was her steadfast friend, the cardinal.

The Corsini family sold the property in 1883 and donated the entire art collection to the state. The Corsini museum is operated in tandem with another palace (more later) as the National Gallery of Paintings. The extensive gardens behind the palace are now the Botanical Gardens of Rome.