Below: portrait of a ram at Plimoth Plantation in Massachusetts.
If you watched my experiment with a whale oil lamp, you know that I have an interest in nineteenth century whaling. There are two fine museums dedicated to that bygone industry, located in the Massachusetts coastal towns that feature in Melville’s novel, Moby Dick: New Bedford and Nantucket. Having sailed out to Nantucket recently, I visited the museum on the island.
Pictured below are examples of scrimshaw from the collection—in this case whale teeth—laboriously engraved by sailors, as well as the once ubiquitous whalebone corset.
“When he descended the earth-cliff at some point a little north of Eastham village and its ‘salt pond,’ Thoreau found what he had come to see,” wrote Henry Beston in his introduction to the 1951 edition of Cape Cod by Henry David Thoreau. “There lay the unbroken miles which had stirred his interest when he had seen them on the map, there stood the outer beach.”
What Thoreau first called The Great Beach in Eastham, Massachussetts is now part of the Cape Cod National Seashore. I have been summering on the Cape and walking a great deal, a little ways in Thoreau’s footsteps. Below: Salt Pond and the Atlantic.
In my opinion the high point of television as a medium—even an artform—was the British detective programming of the 1980s through the mid-1990s. I am thinking obviously of Sherlock Holmes with Jeremy Brett and Poirot with David Suchet, but also programs that ran for only one or two series like Campion with Peter Davison and A Dorothy L. Sayers Mystery with Edward Petherbridge and Harriet Walter.
In the United States these programs were broadcast on public television as part of the Mystery! anthology produced by WGBH in Boston. The episodes were introduced in a wrap-around segment by host Vincent Prince, and later Diana Rigg. Anyone who watched Mystery!—especially if they were growing at the time, like me—will inevitably remember the opening credit sequence designed by illustrator Edward Gorey.
At the time that Mystery! premiered in 1980 Gorey was coming off of his greatest commercial success, the 1977 Broadway revival of Dracula, which he designed. (I was born three days after it closed in 1980, but my parents saw it.)
In 1979 Gorey bought a 200-year old sea captain’s home in Yarmouth, Massachusetts. He had been living in Manhattan where he attended every single performance of the New York City Ballet. After the death of NYCB founder and choreographer George Balanchine in 1983, Gorey moved permanently to Cape Cod. He lived the last seventeen years of his life there and it remains a museum and gallery of his art.
His work on Mystery! is represented in a collection of storyboards and animation cells from the title sequence and a poster for the tenth anniversary in 1990. I think Joan Hickson and Edward Hardwicke appear surprisingly recognizable in the artist’s style.
The Edward Gorey House is open April through December at 8 Strawberry Lane, Yarmouth Port Common.