“C.C.A.H.A. to Hold Library and Archival Conference in Indianapolis,” by S.M. O’Connor

The Conservation Center for Arts & Historic Artifacts (C.C.A.H.A.) in Philadelphia announced a two-day-long conference will be held in Indianapolis, “Off the Shelf: Access and Preservation in Libraries and Archives.” It will take place October 22-23, 2019, at the Indiana Historical Society, 450 West Ohio Street, Indianapolis, IN 46202.

The C.C.A.H.A. stated, “Innovative educational strategies have revolutionized how books and archival materials are experienced by diverse audiences, as a variety of communication styles and learning preferences are considered. Digitization, behind-the scenes tours, and adaptive exhibition environments relay the story for all. Even the work of conservators and librarians may be presented as part of the storytelling, as creative approaches to accessibility and collections care evolve. Yet, these approaches may seem at odds with preservation. The need for accessibility in libraries and archives requires a delicate balance between preservation and making materials available and understandable to a large audience with diverse needs. Strategies for promoting access with responsible stewardship in libraries and archives is the focus of this conference.”

Topics covered by the conference will include security issues in public access, digitization as access, opening special collections for audiences beyond researchers, sensory stimulation and visitor experience, and increasing understanding of collections stewardship. This two-day conference includes the opportunity to participate in Indiana Experience at the the Indiana Historical Society’s Eugene & Marilyn Glick Indiana History Center in downtown Indianapolis.

The cost is $275 for C.C.A.H.A. Members and $300 for non-members. One can register at: https://ccaha.org/events/shelf-access-and-preservation-libraries-and-archives. Funding for this program has been provided by the National Endowment for the Humanities and the William Penn Foundation.

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The Field Museum of Natural History in March, 2018

The Field Museum of Natural History’s entrance pavilions are at opposite ends of Stanley Field Hall, which has a north-south axis. The two porticos (porches) are each reached by two successive flights of stairs.

Both porticos of The Field Museum of Natural History are flanked by two small porches, which each have two caryatids (columns in the shape of maidens). On the facade, the wings are adorned with a colonnade of attached fluted Ionic columns. The building’s fluted Ionic columns have volutes (spiral-scroll-shaped crowns).

Each portico of The Field Museum is tetrastyle in antis with double-ranked fluted Ionic columns capped by volutes. An entablature crowned by a pediment rests atop the columns. The continuous frieze in each case is relatively plain. The wave-themed acroteria that crown the pediments are borrowed from the Palace of a Fine Arts, which housed The Field Museum until 1920 and now houses the Museum of Science and Industry.

The Field Museum of Natural History isn’t “just” a museum. Visitors can watch scientists at work through windows at the Daniel F. and Ada L. Rice DNA Discovery Center’s Pritzker Laboratory.

Mrs. Charles (Laura) Schweppe, a daughter and co-heiress of John Graves Shedd, the former partner of Marshall Field I who succeeded him as president of Marshall Field & Company, and who, under the guidance of Stanley Field founded the Shedd Aquarium, donated an exhibit of 100 bronze sculptures by Malvina Hoffman to The Field Museum. They represent every race, nation, and tribe in the human family (more or less). On January 9, 1933, the first group, Unity of Man, went on display.

In addition to the four figures Henry Hering (1874-1949) made for the corners of Stanley Field Hall, he also made the twelve plaster round lion head shield escutcheons that line it. These are replicas of the marble round lion head shield escutcheon he made for the pediment of the facade of The Field Museum of Natural History.

Christmas at Chicago’s Union Station

Credit: S.M. O’Connor Caption: This is a POLAR EXPRESS display in the Great Hall of Union Station.

Credit: S.M. O’Connor Caption: This is a closeup of the THE POLAR EXPRESS steam locomotive mock-up in the Great Hall of Chicago’s Union Station.

Credit: S.M. O’Connor Caption: This is the headlamp of THE POLAR EXPRESS steam locomotive mock-up in the Great Hall of Chicago’s Union Station.

Credit: S.M. O’Connor Caption: This Union Station Company rail car loaded with super-size gifts is part of THE POLAR EXPRESS mock-up in the Great Hall of Chicago’s Union Station.

Credit: S.M. O’Connor Caption: This is a Christmas tree in the Great Hall of Chicago’s Union Station.

Credit: S.M. O’Connor Caption: This Christmas tree in the Great Hall of Union Station in downtown Chicago has emblems of Amtrak, Metra, and historic railroad companies whose routes they now operate like Burlington.

Cinemas sculptor Alfonso Iannelli (1888-1965) Helped Design

This is the Pickwick Theatre Building, an Art Deco movie palace and office building erected in downtown Park Ridge, Illinois in 1928.

The architects were Roscoe Harold Zook and William F. McCaughey. Sculptor Alfonso Iannelli, who also worked on the Adler Planetarium, contributed to this building.

In recent years, the Vlahakis family, who’ve owned the building for 50 years, have been able to turn the building into a multiplex by adding smaller theaters around the original auditorium. The latest one, with a screen four times the size of the one in the auditorium, will open in time to screen INFINITY WARS in May, if all goes well.

The Catlow Movie Theater is a cinema that opened in downtown Barrington, Illinois in 1927. The Tudor Revival style of architecture is not confined to the facade of the cinema. As with the Pickwick Theatre in Park Ridge, Illinois, sculptor Alfonso Iannelli (1888-1965) played a role in the design and decoration of The Catlow Movie Theater.