By Doug Farley & Bill Lattin – Vol. 3 No. 9

CHILDS – This late 19th century lithograph of Jesus knocking at the door is one of several Victorian prints which hang in the Cobblestone Church. It is a variation on a famous painting entitled, “The Light of the World,” by William Holman Hunt, completed in 1853. Our example at the Museum is simply based on the text:

“Behold I stand at the door and knock. If anyone listens to My voice and opens the door, I shall come in to him and dine with him, and he with Me.”  Rev. 3:20

The print above, circa 1900, from a private collection, is much more like Hunt’s original painting, also based on the text:

“I am the Light of the World, the one who follows Me will not walk in darkness, but will have the Light of Life.” John 8:12

With these two texts in mind, biblical validation is given for what became a very popular evangelistic image, widely reproduced in many forms and places.

One of the most outstanding examples of this subject may be found in the Carlton United Methodist Church, off Archbald Road. Here Hunt’s famous painting was recreated in stained glass by Haskins Studio from Rochester NY, circa 1935, for the Waterport Methodist Church. When that church building was given up in 1988, the window was moved to its present location. It is the only stained glass window of this subject matter in any Orleans County church.

Great symbolism was used by the artist in portraying Jesus in this manner. In essence, He is knocking at your door, but because there is no latch on the outside, you must open it up from the inside in order let Him into your own heart. The lantern Jesus holds is the light which has become symbolic of Him.

Phillips Brooks (1835-1893) in his famous hymn, “O Little Town of Bethlehem” wrote, “Yet in thy dark streets shineth, the everlasting Light.” It portrays the moment when human destiny hangs in the balance, when Divine Love patiently waits upon human reluctance. Its basic message calls for a decision.

Jesus is dressed in a white robe which in itself is a symbol of light, faith, joy, life and purity. Over it is draped a red mantel which symbolizes divine love. This is fastened with a large breast plate which signifies His priesthood. A golden crown denotes Him as Christ the King. Entwined with this is a crown of thorns, which signified suffering and the crucifixion, while the halo reflects His holiness. He stands at the door of the human heart, barred with nails and rusty hinges. The threshold is overgrown with brambles as He approaches in the night time.

He brings a twofold light. The lantern represents the light of consciences, for it reveals sin. Its radiance sheds light upon the door, thicket and an apple on the ground-a symbol of the first sin. The other light is from Christ’s face which proclaims hope. His expression is one of tenderness, thus asking admittance.

“There’s a stranger at the door

Let Him in.

He has been there oft’ before

Let Him in.”

Now for a moment, we return to our first print located in the Cobblestone Church. In this variation we note Jesus is dressed in a yellow or golden colored mantel which symbolically represents the goodness and bounty of God. By contrast however, the color purple of the robe underneath symbolizes His martyrdom.

The famous painting that these works is based on are shown here. It is located at Keble College in Oxford, England. It measures a little less than 36 inches in height.

William Hunt (1837-1910), self-portrait, 1867

William Holman Hunt was born in London and studied painting at the British Museum and the National Gallery. In 1844 he entered the Royal Academy where he joined with two other artists, Sir John Everett Millais and Dante Gabriel Rossetti, to develop the Pre-Raphaelite theories of art.

In 1848 they formed the Pre-Raphaelite Brotherhood. During the 1850s, Hunt went to the Holy Land to portray scenes from the life of Jesus of Nazareth, aiming to achieve historical and archaeological truth. He returned to Palestine in 1869 and again in 1873 for further study.

The Pre-Raphaelite Brotherhood attempted to restore the artistic principles and practices regarded as characteristic of Italian Art before Raphael. They seemed to lower the exalted to the commonplace, but never aimed to protest injustice, ugliness or misery. Hunt strove to fuse truth, beauty and decorum in biblical and evangelical culture with which he was absorbed.

Another one of Hunt’s famous paintings is shown above.  It is entitled “The Scapegoat,” 1854, which has a most haunting aspect of its overall imagery.

We end the story with Hunt’s famous painting, seemingly a prediction, entitled, “The Shadow of Death,” 1870-73.

A 1.8-mile segment of the Erie Canalway Trail will be closed during work

Press Release, State Canal Corp.

GAINES – The New York State Canal Corporation today announced an embankment stabilization project along the Erie Canal in the town of Gaines, Orleans County, will begin the week of April 4.

The Canal Corporation and its contractor will be installing a “filter blanket,” comprised of layers of sand and gravel earthen material, along the canal’s northern embankment between Eagle Harbor-Waterport Road and Gaines Basin Road to mitigate water that is seeping through the embankment at this location.

To facilitate this repair, a 1.8-mile segment of the Erie Canalway Trail will be closed between the Eagle Harbor and Gaines Basin trail access points.

Throughout the duration of the project, residents will notice contractors, wearing hard hats and high-visibility vests, as well as trucks and heavy equipment operating at and near the construction site.

The seep being mitigated through this stabilization project is one of more than 200 known seeps on canal earthen embankments, which comprise approximately 125-miles of the Canal system.

The Canal Corporation continuously monitors and inspects these earthen dams on foot through “bank walk inspections” as well as using advanced technologies like drones and thermal imaging.

The work being performed along the Erie Canal in Gaines has been reviewed under a project specific State Environmental Quality Review (SEQR) evaluation and is not part of the Canal Corporation’s proposed Earthen Embankment Integrity Program.

It is anticipated that this stabilization work will be completed in May ahead of the Canal’s opening on Friday, May 20.

The Canal Corporation appreciates the public’s patience while this work is completed.

By Bill Lattin & Doug Farley – Vol. 3 No. 8

GAINES – This circa-1875 Victorian print of “The Chubby Cherubs” hangs in the Cobblestone Museum’s Ward House. It’s shown here in its original rustic style or Adirondack frame.

Who is not familiar with this famous duo?  The cherubs are not only popular in today’s world, but were reproduced many times over in the 19th century. These two cute little fellows actually date back to the 16th century and were the creation of one of the greatest artists of all time, Raphael.

Although recognizable on their own, many people do not know that these cherubim are actually a small detail extracted from a much larger painting, known as “The Sistine Madonna,” shown above. This painting was commissioned in 1512 by Pope Julius II for the church of San Sisto, Piacenza.

The commission required that the painting not only depict the Madonna and Child, but also Saint Sixtus and Saint Barbara. It is an oil on canvas and measures 104 by 77 inches. Raphael is known for painting around 40 Madonnas, but this is thought to be his last and most extraordinary one.  He was 29 years old when this great masterpiece was completed in high Renaissance style.

In 1753, the painting was sold for $45,000 and placed in a Dresden Gallery where an entire room was allotted for it. After World War II, it was relocated to Moscow for a decade before being returned to Germany.

Here we see a small hand colored print, circa 1875, of the Chubby Cherubs.

Now, regarding the legend about these two children in this famous painting. One story is that these were children of a model that Raphael worked from, and they frequently came into his studio to watch. Another story is that they were just street urchins who peered through an open window into Raphael’s studio. He supposedly portrayed them as they rested their chubby arms on the window sill.

Two small portraits painted on porcelain, circa 1890.

In a photographic print from the 1870s, shown above, we catch a glimpse of Raphael’s workshop studio. The artist is seated in the middle with a drawing tablet. A model for the Sistine Madonna, holding a baby, is standing on a platform. In back of her, to the far left, we see one of these chubby children posed in the usual manner just looking on. To the right in this picture, a church cleric appears to be looking over Raphael’s shoulder, and of course, other people are doing various things within the studio.

It is said that these two cherubs were added to the painting as Raphael finished his work. They may have been introduced to give depth to the piece, throwing the larger figures more into the background. As early as 1913, an art critic declared that “No cherub or group of cherubs is so famous as the two that lean on the altar-top indicated at the very bottom of the picture.”

These two chromo-lithographic prints mounted on canvas appear in original frames circa 1870.

Heavily marketed for decades, the cherubs have been featured on stamps, postcards, T-shirts, bath towels and wrapping paper. A child’s mug from the 1870s depicts one of these cherubs and a modern note card shows both of them.

Shown above is a contemporary wristwatch depicting the cherubs.

Raphael Sanzio (1483-1520) was born among the Apennine Mountains on the borders of Tuscany and Umbria. At the age of 17, he entered the studio of Perugino, and at age 19 he began to paint independently. At age 21 Raphael visited Florence, where he learned the precision of Michelangelo and Leonardo da Vinci.

This self-portrait, an oil on wood panel, was done in 1509, when Raphael was 26 years of age. He was enormously productive, running an unusually large workshop as seen in a previous picture showing the interior of his studio. His last 12 years were spent in Rome, where he worked for two Popes. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central and largest work of his career.

The double portrait above shows Raphael at left with his fencing master. This painting, an oil on canvas, was completed in 1520, the same year Raphael died at the early age of 37.

Raphael left an immense amount of work for being so young, and as a result, remained and continues to remain an inspiration for artists. Our last illustration, an engraving by F. M. Spiegel, dated 1886, shown above, was surely inspired by Raphael’s Chubby Cherubs.

By Doug Farley and Bill Lattin – Vol. 3 No. 7

GAINES – Surely one of the most recognizable and renowned fine paintings of the 19th century is “The Angelus” by Millet, an image that was widely reproduced. The Cobblestone Museum has two such images on view.

The one above, circa 1885, is a lithograph which was affixed to canvas on stretchers and put into a style of frame normally used for paintings.  This gives it a more realistic appearance as a painting. Our rather dark colored version here hangs in the Cobblestone Ward House dining room.

The other example at the Cobblestone Museum which is represented below, appropriately hangs in the Vagg House. This particular print dates to circa 1925 and is also in its original frame.  A companion print, “The Gleaners,” by Millet hangs nearby.

The reproduction of this famous painting remained very popular with the general public over many decades. The original painting was completed in 1859 by Jean-Francois Millet, and is an oil on canvas, measuring only 25½ by 21¼ inches. Certainly, through improved printing techniques of the Industrial Revolution, great art such as this became accessible to middle-class people.

In these two small porcelain vases, circa 1900, we see transfer images of The Angelus on one, and The Gleaners on the other.

The imagery of these two peasants praying in a potato field was a popular sentimental 19th century religious subject. Although Catholic in origin, the subject matter seemed to cross all denominational boundaries.

The print below dating to 1890 was originally mounted in this frame with an oval format.

The potato diggers have stopped their evening work to pray because of the tolling of the Angelus Bell that they hear from the church spire in the distant village.

In the Catholic tradition, the Angelus Bell sometimes referred to as the Ave Bell, was typically rung three times a day at 6 a.m., noon and 6 p.m. This tolling consisted of nine rings each time, with three rings followed by a pause, three more rings followed again by a pause, and ending with a final three rings.

An older interpretation commemorated the Resurrection of Christ in the morning, his suffering at noon, and the Annunciation in the evening. In 1907, the Orleans Republican reported an interview with a local Polish resident, then a member of St. Mary’s Assumption Church, who described the frequent ringing as follows:

“At the hour of work it rings to remind them that God has given them the strength of labor. When it rings at noon, Poles are again reminded of the Giver of Temporal Blessings, and at night it calls for Expression of Thankfulness for what God has done for the people throughout the day.”

Here we see a decorative plate in the Museum collection, circa 1900, about 10 inches in diameter.

As a side note, when a church bell is tolled, it does not swing or move but rather is rung by pulling a second rope which hits the bell with a large hammer.

Jean-Francois Millet (1814-1875) was the first child of Jean-Louis-Nicolas and Aimee-Henriette-Adelaide Henry Millet. They were members of a farming community in the Village of Gruchy, in Greville-Hague (Normandy). He first studied painting in 1833 with Paul Dumouchel, a portrait painter in Cherbourg.

By 1835, he was able to move to Paris, where he studied at the famous Ecole des Beaux-Arts. In 1840, his first painting, a portrait, was accepted at the Paris Salon. In 1841, he married Pauline-Virginie Ono, but she died of consumption two years later. In 1853, he married Catherine Lemaire and they would have nine children.

Millet became one of the founders of the Barbizon School of Landscape Painting in rural France during the mid-19th century. Other noted artists of the group included Corot, Daubigny and Rousseau. Barbizon is a small village near Paris.

The Barbizon style is realistic, but done with great respect for technique of brush work and use of paint for speaking on its own behalf. It is a style which bespeaks the oncoming Impressionists in the later 19th century. Millet spoke of The Angelus as follows:

“The idea for The Angelus came to me because I remember that my grandmother, hearing the church bell ringing while we were working in the fields, always made us stop work to say the Angelus Prayer for the poor departed.”

This miniature plate, only 1½ inches in diameter, was probably a souvenir that an American tourist acquired on a trip to France in the 1940s.

This great painting is a reflection of the simplicity of peasant life, so dependent upon the rhythms of life and the Catholic faith. It was actually commissioned by an art collector from Boston, MA, and was somewhat finished in 1857. However, Millet later added the church spire in the distance and changed the title which originally was “Prayer for the Potato Crop.”

When the purchaser failed to take possession of it in 1859, Millet later sold it receiving only $400. Other well-known and famous paintings by Millet include The Sower, 1850, and of course, The Gleaners, 1857.

(Left) The Sower, Millet, 1850              (Right) The Gleaners, Millet, 1857

The popularity of The Angelus remained steadfast even into the 1950s, with the paint-by-numbers version below.  We can only add that real artists, those with training, scoff at renditions such as this. It does however show the undying appreciation of The Angelus theme.

“The Bells of Angelus call us to pray with sweet tones announcing the Sacred Ave.” 1st Verse of Lourdes Hymn.”

Bear Hunting, Currier & Ives, undated

By Doug Farley, Cobblestone Museum Director – Vol. 3 No. 5

GAINES – The Hamlet of Childs is probably one of a very few locations in Orleans County where one can still find a bear trap from the early 1800s.

At one time, a necessary evil in pioneer days, bear traps have now become a rarity in the modern landscape of Orleans County.

The bear trap at the Cobblestone Museum is about 200 years old.

Since trees were heavily abundant in the “Black North,” Orleans County provided a perfect sanctuary for animals. Wolves and bears were numerous in the area and often posed a safety problem for the settlers.

In order to catch them, traps were often used. Bear traps were made by blacksmiths from the area. Food was placed inside the trap, under the pedal, and the bear would sniff it, go for the food and then would get caught.

The settler or farmer would check the trap and shoot the bear if caught, as the trap would not kill the bear. Bear traps were set to protect livestock: chickens, pigs, and cows, and set to protect the farmer, his family, and their food supply.

The bear trap in question is now a treasured artifact at the Cobblestone Museum. The story of how this pioneer necessity survived the ages will be told, again, here.

The first known written telling of this story took place in 1879 in the “Historical Album of Orleans County, NY.” The “Historical Album” was written to record and commemorate the first 50 years of Orleans County History. Our bear story was contained therein, and dates to the early 1800s. So, to “stick with the facts,” we’ve quoted it here verbatim:

“Nearly every pioneer has his “bear stories.” Were all these to be repeated here they would be like Mark Twain’s misfortunes, “somewhat monotonous.” One, however, may be related: Some thirty years since, Mr. George Batchellor, of South Barre, went some distance into Tonawanda swamp, with a neighbor, to assist him in bringing out a bear which he had killed.

“On his way the nails in his boot-heel grated upon something which gave a metallic sound. On examination he found that some moss had been scraped from what proved to be a large bear-trap. It was lying with its jaws downward, nearly covered with muck, and the roots of trees had grown through the jaws and springs in all directions. One of these, a black-ash root, was nearly as large as a man’s wrist. The trap was but very little corroded.

“Some years afterwards Mr. Batchellor learned from a man who assisted the owner of the trap in his hunt, that 22 years previous to the finding of it, it was set in the usual way, with a clog attached, in the town of Byron, Genesee county; that a bear was caught in it, and that they followed his trail through a light snow 7 or 8 miles to within 80 rods of where the trap was found, and that they here abandoned the pursuit because night was approaching, and the melting of the snow rendered the trail indistinct. Mr. Batchellor has the trap in his possession still…” (1879)

Asher & Adams, New Topographical Atlas, 1871

So there we have it, a nearly 200-year-old story of a missing bear who walked from Byron to Barre with his foot caught in a metal trap. To bring this story more up to date we need to take a look at the Batchellor family and how the trap came to be in the collection of the Cobblestone Museum.

As the “Historical Album” indicated, Mr. George Batchellor lived in the Town of Barre. What the book neglected to report was that George Batchellor was an early resident of the county, and proud owner of a cobblestone home. (As an interesting aside, most of us have heard of the “Six Degrees of Separation” theory that states that anyone on earth is connected to any other person on earth by a chain of no more than six people. I think the degrees of separation between any person and a cobblestone home owner is actually much smaller.)

The Batchellor cobblestone home, located on Old Oak Orchard Road, was built in the 1830s by Ogden Sears and his wife Betsey (Harding) Sears. Mr. Sears was a cooper by trade in Connecticut before coming to Barre, though once there, he worked as a farmer. To build his substantial stone residence, Sears picked up the stone on his own land, burned the lime used in erecting it, made the plaster and mortar and carried it to the workmen in a sap-bucket. The beautiful cobblestone house was constructed using glacial stones (fieldstones) of various sizes and red sandstone quoins.

The Sear’s daughter, Betsey, married the aforementioned George Batchellor, and the newlywed couple lived happily ever after in the Sears cobblestone home (complete with bear trap) and lived out their lives there.

Photo courtesy Richard Palmer, 5306 Oak Orchard Rd., Barre

The home passed down through several generations of the Batchellor family and is now the residence of Jack and Debby Batchellor, proud Patron Members of the Cobblestone Society & Museum. Jack’s family has lived in the home for 7 generations, nearly 200 years. He is probably the only man who lives in a cobblestone home that was built by his great-great-great grandfather.

Published 1966, Cary Lattin

In more recent times, the Batchellor family decided to put the famed bear trap into the public domain so it could be preserved and enjoyed for posterity by a larger audience. Its first home was the Buffalo Historical Society Museum. But later, Barre Town Historian, Helen Mathes, actively lobbied to have the bear trap transferred to the Cobblestone Museum where it would be closer to its original  home. The donation took place in the 1970s.

Fast forward to 1979, and Former Cobblestone Museum Director, Bill Lattin, remembers when artifacts were being placed in Farmers Hall for public display. The bear trap was among the valued artifacts that found their new home within those walls.

At that time, Mickey Burroughs and Mike Kilborn had summer jobs as interns at the Museum. While examining the bear trap, curiosity got the better of them, and they requested permission to set the trap and test it out. Bill Lattin agreed as long as the experiment was undertaken under his watchful eye.

So, the trap was set, and one thing led to another, and the duo decided they would like to spring the trap. Bill selected a suitable old broom stick, which quickly became kindling when the powerful jaws of the bear trap clamped shut!

Photos courtesy of Kelly Dudley

GAINES — State Sen. Rob Ortt, center, and Assemblyman Steve Hawley, right, present a proclamation from the State Legislature on Wednesday evening to Mark Tillman in honor of the Tillman family’s long-time operation of Tillman’s Village Inn.

The family closed the popular restaurant on Dec. 30 after 70 years of service.

The restaurant earned numerous awards over the years, including from the USA Beef Council for menu excellence. The Village Inn was well known for its prime rib, steak and lobster. It also was a premier wedding destination in Orleans County through the ownership of brothers Mark and Tom Tillman, according to the proclamation..

The Village Inn also hosted numerous community events over the years, including the Orleans County Chamber of Commerce awards event and Legislative Luncheon.

“Mark, Tom and the whole Tillman family have shown the true meaning of investing into a community,” the proclamation states. “Their departure from the Village Inn will truly be felt by the Western New York hospitality community and most important the entirety of  Orleans County.”

Mark Tillman and his wife Susan hold the proclamation from the State Legislature.

By Doug Farley & Bill Lattin – Vol. 3 No. 3

GAINES – For our forth image in this series we have selected the print entitled, “Alice Blue Gown,” which hangs in the Vagg House at the Cobblestone Museum campus.

The print measures 11 by 14 inches and is a portrait of Alice Roosevelt Longworth, eldest child of President Theodore Roosevelt. She was born in 1884 and died in 1980.  During her early lifetime, she became very popular as a trendsetter and remained a Washington, D.C. socialite most of her life.

This picture became immensely popular in the 1920s and it was widely published in various sizes. The original painting which this print was copied from was created by English painter, Arthur Paine Garratt. However, during the 1920s, Garratt spent several years in New York. He is best remembered as a fine portrait artist, with considerable success during his lifetime.

Arthur Paine Garratt (1873-1955)

Many of Garratt’s female subjects were elegant, high-society ladies who expected a high degree of finish and detail in their portraits. Lavish gowns of exotic textiles were usually a feature. This painting of Alice was no exception. She was a beautiful young girl who was the equivalent of a princess and whose style signature were her azure blue gowns.

The press constantly followed her around to record many of her escapades. Her portrait would suggest a demure young woman but quite the contrary was true. Her father, the President, once said, “I can run the country, or I can control my daughter, but I cannot do both.” She often smoked in public which was a “no-no” for women at the time. She had a pillow in her salon embroidered with the statement, “If you don’t have anything nice to say, come sit by me.”

In the portrait above, we note that it is signed in the lower left corner, “Arthur Garratt.” It is entitled, “An Old Sweetheart of Mine.” No publisher is noted on this print which measures 11 by 15 inches.

“Alice Blue Gown” is purposely displayed in the Vagg House (shown above) which represents the Teens, ’20s, and ’30s through its furnishings. Our print appears to be in the original frame which we believe is circa 1930. Framing of this time period is much more simplistic than picture frames of earlier decades.

It is not unusual to find “Alice Blue Gown” in antique malls today, because it was once so popular. This small 5 by 7 inch copy was framed in an octagonal frame.

The painting likely partly inspired the song “Alice Blue Gown” written by Harry Tierney with lyrics by Joseph McCarthy.  It was sung by Edith Day in the 1919 play “Irene.”  It became a top seller in 1920 and was revived several times in the following decades.  You can listen to the 1920 recording by clicking here.

We end this story with a portrait of Alice Roosevelt Longworth done by Peter Hurd in 1965. This is a Tempura on Masonite and hangs in the National Portrait Gallery at the Smithsonian Institution.

By Bill Lattin and Doug Farley – Vol. 3 No. 2

GAINES – For our third famous painting from the 19th century we have selected what is known as “Pharaoh’s Horses,” or “Pharaoh’s Chariot Horses.” The painting seen here has hung in the Cobblestone Museum’s Ward House for over 30 years.

It was done, no doubt, by an amateur painter around 1890. We might add that it was poorly executed as the lower left area is supposed to represent “a wall of water.” We also note that this painter chose to use a monochromatic color scheme of yellow ocher.

John Frederick Herring, Sr. (1795-1865)

By 1900, this popular image was widely viewed with nearly ubiquitous fake paintings and prints. It is also most usually seen as a “tondo,” meaning in round format.

Many of our readers might be a little more familiar with this image, rather than the images shown in Parts 1 and 2 of this series. However, in today’s world, it is mostly forgotten and its meaning is often not understood.

The original “Pharaoh’s Chariot Horses” was painted in 1848 by John Frederick Herring, Sr. He was born in London, while growing up, he took great interest in drawing horses. In 1814, he moved to Doncaster in the north of England where he was employed as a painter of inn signs and insignias on the sides of coaches.

In his spare time, he painted portraits of horses for inn parlors. His talent was soon recognized by wealthy customers and he began painting hunters and racehorses for the local gentry. In 1845, Herring received a commission from Queen Victoria, who remained a patron for the rest of Herring’s life.

In order to get a better understanding of this painting we need to go to the biblical Book of Exodus to find answers contained in the description of the Ten Plagues of Egypt.

The Lord said to Moses, “Why are you crying out for help?” Tell the people to move forward. Lift up your walking stick and hold it out over the sea. The water will divide, and the Israelites will be able to walk through the sea on dry ground. (Ex. 14:15-16)

This large painting measuring 32 x 34 inches is an oil on canvas in tones of grey. It would have been done by a Sunday Painter in the 1880s. Unlike most copies it is rectangular in format. Note the waves of water in the lower left corner. The painting hangs in the home of Bill Lattin.

…and the Israelites went through the sea on dry ground, with walls of water on both sides. The Egyptians pursued them and went after them into the sea with all their horses, chariots, and drivers. (Ex.14: 22-23)

The oil on canvas shown here measuring 24 inches in diameter was done around 1890 by Harriet Wyman Kilner from the Town of Shelby. She was a Sunday Painter who often copied other artists works. Known as “Aunt Hattie,” she was an older sister to Bill Lattin’s Grandmother Wilson. This painting is now currently owned by local art connoisseurs. We note that it was largely done in tones of blue.

The Lord said to Moses, ‘Hold out your hand over the sea, and the water will come back over the Egyptians and their chariots and drivers.’ (Ex. 14:26)

Here we have another oil on canvas by a Sunday Painter dating to the 1880s. It measures 12 inches in diameter and belongs to a local collector. This piece was done largely in tones of brown.

The water returned and covered the chariots, the drivers, and all the Egyptian army that had followed the Israelites into the sea; not one of them was left. But the Israelites walked through the sea on dry ground, with walls of water on both sides.  (Ex 14:28-29)

We judge this print measuring 20 inches in diameter was published around 1900, and appears to be in its original frame.

In all of the images we see, it is obvious that the horses saw what was coming at them as there is great fright in their eyes.  Moses parting the Red Sea and the Children of Israel “passing over” onto dry ground, is still celebrated by Jewish people today, as part of their observance of Passover.

This small print measuring 6½ inches in diameter was published in the 1890s and is mounted in its original frame.

The popularity of this picture was widely accepted, especially by Protestants, who were often reluctant to have other overtly religious pictures in their homes, mainly because of anti-Catholic sentiment.

Therefore, “Pharaoh’s Horses” was much more acceptable and popular in rural 19th century America than any of Raphael’s beautiful paintings of the Madonna and child.  Above we see a copy of Raphael’s famous “Madonna of the Chair,” done on porcelain, circa 1890.

This 3½ inch diameter painting in a Florentine frame belongs to a local collector. It was probably originally purchased by an American tourist on a trip to Italy. Raphael did a number of Madonna portraits in the early 16th century. In this one, Mary is seated in a chair holding baby Jesus while John the Baptist looks on. Now in the 21st century, there is more public recognition of this than the once very poplar Pharaoh’s Horses in the 19th century.

We end this story with an illustration which shows a conclusion to Pharaoh’s Horses and the Parting of the Red Sea.

The prophet Miriam, Aaron’s sister, took her tambourine, and all the women followed her, playing tambourines and dancing.  Miriam sang for them: “Sing to the Lord, because he has won a glorious victory; he has thrown the horses and their riders into the sea.”  (Exodus 15: 20, 21)

In this rare engraving we see in the foreground, Miriam with tambourine leading the women in joyful triumph. In the middle ground we observe Moses with walking stick, and Aaron, both standing on a cliff. In the background note the sea and pyramids in the far distance. This Victorian print measuring 9” in diameter dates to around 1880 and is in a local private collection.

By Doug Farley and Bill Lattin – Vol. 3 No. 1

GAINES – For a number of years this oil painting on canvas, measuring 22 by 36 inches, in its original frame, has hung in the back of the Cobblestone Church under the organ loft. It is correctly entitled, “The Parting of Ruth and Naomi,” and was undoubtedly done by a “Sunday Painter,” around 1890.

It is, of course, a copy of a famous painting from the late 19th century by Philip Hermogenes Calderon (1833-1898) who began his training in painting in London in 1850 and also studied in Paris in 1851, inspired by the Pre-Raphaelites. Throughout his career, his subjects were often historical, biblical or literary in theme.

This is a close-up picture of the painting in the Cobblestone Church.

We may ask, “How did this painting become so famous and popular back in the day?”  Perhaps that question is answered by the accompanying chromo advertising card measuring 5×6 inches. The front shown here is what our Sunday Painter copied.

But it is the obverse side (back) that tells the story. Yes it was Charles E. Hires of Root Beer fame who truly brought this image into public recognition at the time. Every reproduction that Hires had printed carried the biblical quote from Ruth 1:16 (Old Testament):

“And Ruth said, Intreat me not to leave thee, or to return from following after thee: for whither thou goest, I will go; and where thou lodgest, I will lodge: thy people shall be my people, and thy God my God…”

Shown above is a second chromo lithographic advertising card. In fine print, at the lower left on the front of the card, it states: J. Ottmann Lith. Co. NY.” The earlier card shows “Donaldson Brothers Lith. NY.” The color scheme varies quite differently between the two printers.  We also note that the obverse side of the second example, while carrying the same information as the first, is in its own format.  We believe the colors in our first two examples are more true to the original painting by Calderon.

The framed print shown here is one of those 15×20 inch souvenirs. “Donaldson Brothers, NY” were the printers. Framing of this piece appears to be original from the 1890s. Credit on the print is: “Published and copyrighted by Charles E. Hires Company.” You may wonder, “Why does this picture hang in the Cobblestone Church?”

It was just fifty years ago that Bill Lattin, the first director of the Cobblestone Museum, made an inquiry. He noticed regularly placed nails in the church walls centered between windows and doorways. He asked Homer Brown, then in his eighties, “Why are those nails there?” Homer’s answer was, “There were pictures there.”

Now it seems Homer had attended the church as a child, prior to the Universalist Church being built at Albion in 1894. Those missing pictures and other furnishings were sold at an auction in 1934. Consequently, over the years, to make the interior of the Cobblestone Church more authentic in appearance, prints and this painting of appropriate subject matter for a Universalist Church have been acquired by the Cobblestone Museum.

The biblical quote on the print of Ruth and Naomi is sometimes used as a reading during wedding ceremonies. Therefore, our Sunday Painter’s work fits well for the Cobblestone Church which is often the scene for weddings, as shown above.

We include here a copy of one of Calderon’s most noteworthy and well-known paintings. It was completed in 1856 and is entitled, “Broken Vows.” It appears the beautiful young woman behind a fence, shown wearing a wedding band, overhears a tryst between her mate and another woman. We see obvious tension in the genre story. Likewise, in our painting of Ruth and Naomi, we also see some tension between them. Another similarity with these paintings is Calderon’s desire to show women wearing rich, silky clothing. “Broken Vows” is in the extensive art collection of the Tate Gallery in London.

The theme of Ruth and Naomi was a very popular subject matter, especially during the second half of the 19th century. We show a couple examples below From Bill Lattin’s antique collection.

This 10” tall pitcher with a salt glaze and pewter cover perhaps dates to the 1860s. It depicts Ruth clinging to Naomi while Orpah rests on the ground. The pitcher is marked on the bottom: “Naomi and her Daughters-in-Law.”

In this beautiful Parian-ware rendition we see Naomi, Ruth and Orpah. On the base it is entitled, “Naomi and Her Daughters-in-Law.” This  figurine measures 13” tall and was published circa 1860. It is not uncommon in antiquing today to find images of just Ruth alone. This particular piece of statuary would have been a focal point in someone’s parlor 150 years ago.

Let us end with a more updated story concerning our subject. We are all familiar with the well-known celebrity, Oprah Winfrey. Allegedly, Oprah’s name was supposed to be Orpah, after the daughter-in-law of the biblical Ruth, but her doctor mixed up the letters and spelled the name Oprah when filling out her birth certificate. It was never corrected, so Oprah it is!

Photos by Tom Rivers

GAINES – Charles Prentice Jr. takes the oath of office this morning in the Gaines Town Hall. He is joined by his wife, Laural, who is holding the Bible.

Orleans County Clerk Nadine Hanlon administered the oath.

Prentice, 57, is a retired state corrections officer and also has worked as a paramedic for 40 years, currently working part-time with the Le Roy Ambulance Service.

Chuck Prentice signs the oath of office in the main meeting room of the Gaines Town Hall. He won a Republican primary last June and then the general election in November. He replaces Bruce Schmidt, who retired from the position.

Prentice completed a 40-hour training last month through the New York State Magistrates Association.

He will preside over town court three times a month, including for the first time on Jan. 12. He also will do arraignments at all hours of the day.

Other town officials starting new terms on Jan. 1 include Tyler Allport as town supervisor, Susan Heard as town clerk, and James Kirby and Kenneth Rush on the Town Board.

By Doug Farley & Bill Lattin – Vol. 2 No. 47

Pictured here is Mr. George Morton Pettit of Maple Ridge Road, Medina, standing next to an ancient mortar.

GAINES – It’s not known for certain, but one can make an educated assumption that the Cobblestone Museum’s oldest artifact might be its “mortar.”

This “mortar” is not the typical lime mortar we discuss when we look at the “glue” that holds cobblestone buildings together.  This 800-year-old “other” mortar is a Native American tool that the museum acquired in 1993.

The story of this Indian relic was first reported by former director Bill Lattin in an article that he penned in 1993 while serving as Orleans County Historian entitled, “Mort’s Mortar.”

Webster’s Dictionary describes a mortar as “a strong vessel in which material is pounded or rubbed with a pestle.

In 1993, Mr. George Morton Pettit gave this artifact to the Cobblestone Museum at Childs, N.Y. He also related this known history about how it had been passed down in his family.

The Pettits, that is, Henry who was George’s great-grandfather, bought their farm in the Town of Shelby in 1850. George M. Pettit was the fourth generation to grow upon this farm, preceded by his father Clark Pettit and his grandfather also named Clark Pettit.

It seems that Henry Pettit discovered the mortar near a spring in the woods on his farm over a century ago. Being intrigued with this unusual hollowed-out stone, he placed it near the well pump and watering trough in the dooryard.

Mr. Pettit remembers vividly his dog “Shep” of many years ago using this millennial artifact as a water dish! He also recalls when wheat harvest came and they shocked up the bundles they would sometimes find arrowheads on the ground in the general vicinity of where the mortar had been discovered years before. It seems likely that some Native Americans had an encampment in this area several centuries ago.

In due time, Mr. Stanley Vanderlaan (shown above), local archaeologist and an authority on local Indian artifacts and lore, examined the mortar. He indicated that he had never seen one quite like this and indeed, if it was a mortar, thought it rather crude.

However, he felt it possible that it could be as much as 800 years old and probably represents an agrarian culture. Mortars and pestles were used by Indians to grind corn and other grains that they raised.

This mortar, shown above in current setting, appears to be made of limestone and obviously displays some tooling marks around the upper portion. It also sits flat upon the ground and would appear, because of its heavy weight, something which was intended to be more stationary, rather than moveable.

Another interesting connection between this 800-plus year old Indian mortar and the Cobblestone Museum is Mr. Vanderlaan’s assumption that the original pestle for this mortar would most likely have been, none other than, a “cobblestone,” which even then, were abundant in the fields occupied by the Native Peoples.

It goes without saying, that the stone pestle which was originally used is long gone, but the mortar remains as silent testimony to the ancient inhabitants of this area.

‘We will miss you and never forget you.’ – Tillman family

Photo by Tom Rivers: Mark Tillman, front right, will close Tillman’s Village Inn after today. He is pictured with some of his employees today including Kim Achzet (front left), an employee for 33 years. In back from left: Marty Wolfe, manager of Fair Haven Inn, employee for 13 years; David Sharp, employee for 7 years; Victoria Mortensen, general manager and employee for 21 years; Tracey Frasier, employee for 15 years; and Sammy Davis, employee for six years.

GAINES – Today is the last day of business for Tillman’s Village Inn after 70 years of operation by four generations of Tillmans.

Mark Tillman, 66, is retiring. He has been working at the restaurant since he was a young boy, first sorting beer bottles for his father, Bill.

Mark lived upstairs at the Village Inn the first three years of his life, and his parents used the liquor room as his nursery when he was a baby.

Tillman has been full-time at the Village Inn since 1977 after serving three years with the Marine Corps. His daughter Samantha has joined him in recent years at the VI.

Mark said the business is still successful and isn’t a “Covid casualty” like many other restaurants around the state and country, which had to close the inside to customers for months due to Covid restrictions.

Tillman wants to retire while “I still have some spring in my step.” The building is for sale.

Mark said closing the business has been difficult and emotional due to the close relationships with so many customers and his employees.

“We’re nothing without the community,” Tillman said today.

He has followed his father’s example of taking on any job that needed to be done at the restaurant. He strove to offer quality food without making people feel they needed to dress up fancy.

Mark motivated his staff by offering respect, rather than fear.

“It’s how you treat people,” he said.

File photos: Tillman’s Village Inn is the only remaining stagecoach stop on Ridge Road still serving the public with food and lodging. It’s been in near continuous operation since 1824. The Tillmans served about 4 million pounds of prime rib over the years.

Mark wanted to retire about two years ago but wanted to see his employees through the early days of the Covid pandemic, when the community and state faced high unemployment. He believes the employees are in demand now and better able to transition to other jobs. But it’s still hard for him to say good bye to the staff. Two of the current waitresses have been at the VI for more than three decades. June Avino has worked there nearly 38 years and Kim Achzet has been with the Village Inn for 33 years.

Victoria Mortensen, the general manager the past five years, started as a server 21 years ago.

She praised the Tillman family for their trust and confidence in her.

“Knowing the Tillmans has been one of my greatest blessings,” Mortensen said. “To start as a server and work up to general manager, for that I will always be grateful.”

The Village Inn has enduring popularity, she said, by offering quality food at affordable prices.

“It’s a beautiful venue and it’s a great place to work,” Mortensen said. “Everyone gets along. It’s like a family.”

Mark is the third generation to run the business. For many years he worked next to his brother Tom with Mark managing the dining room, the staff and the books while Tom ran the bar and kitchen.

The two have taken out an ad in this weekend’s Pennysaver thanking the community and their employees for all the support over the seven decades.

“There is never a good time to say goodbye to a successful business where many of you, your parents, grandparents and beyond celebrated ‘LIFE,’” the two brothers write in their message. “However, this IS the time, to both say goodbye and thank you. You made the Tillman family and the Village Inn family shine for over 70 years. We will miss you and never forget you.”

The Tillmans bought the Village Inn in 1951 when it was a dilapidated structure at the intersection of routes 98 and 104.

This large dining room showcases the original timber frame construction of the carriage barn with antiques and historic photos. The original inn has been enlarged by incorporating two historic barn structures that previously serviced the horses and carriages of early visitors. The hand-hewn beams were shaped by axes and machetes nearly 200 years ago. Tillman displays many artifacts from the bygone era – saddles, harnesses, food barrels and many historical photos. The restaurant’s liquor license is framed from the early 1900s. In 1905, the license cost $150, a fee payable to the state.

Tom and Mark’s grandfather Sam and their father Bill took on the challenge of running the restaurant 70 years ago. They were from Rochester and recruited their buddies from Kodak to help upgrade the building.

The Tillmans built a thriving business often serving 600 to 700 people a night, a destination restaurant known for prime rib. Many wedding receptions, banquet parties, first dates and funeral receptions have been held at the Village Inn.

Mark Tillman said he feels honored the site was a venue for such important gatherings in so many peoples’ lives.

He also praised Norbert Hausner, a Rochester architect, who helped design renovations and expansions at the Village Inn, bringing the family’s vision to reality. The family never wanted a sterile party house atmosphere. It wanted the building to honor its historical roots as a stage coach stop on the Ridge.

“In 1951, our parents and grandparents traveled from their homes in Rochester, to a small farming hamlet in the center of Orleans County to chase a dream,” Mark and Tom write in their thank you message to the community. “You – our customers and staff – made that dream a reality in helping establish a WNY institution in hospitality.”

Provided photo: Cobblestone Society Membership Secretary Gail Johnson receives the 2021 Volunteer of the Year Award from Sue Bonafini, assistant director of the Cobblestone Museum.

GAINES – The Cobblestone Museum has recognized two dedicated supporters for their service to the museum, which is a National Historic Landmark in Gaines.

Toni Plummer, a member of the Board of trustees, was presented with the Proctor Award, which is given annually to someone who goes above and beyond to assist the museum in an extraordinary manner.

Plummer was praised for embracing the museum’s role “to educate as well as entertain.” She arranged for visits by boards members to see other museums and how they’ve navigated issues that are relevant to the Cobblestone Museum’s future goals and growth.

Her idea of hosting future Ladies Luncheons at the Vagg House led to a successful trial run this past fall, with help from some fellow trustees, said Sue Bonafini, the museum’s assistant director.

Plummer also was a key organizer in the Christmas Tour of Homes, a pre-Covid holiday favorite, Bonafini said.

Plummer also led the Marketing Committee and updated the museum’s gift shop to include products from many regional vendors. She also served on the Nominating, Personnel and Strategic Planning Committees in the past year, as well as the Executive Committee.

Gail Johnson was named “Volunteer of the Year.” She serves as membership secretary and on the executive board.

“She works tirelessly behind-the-scenes as head of the Membership Dinner Committee to complete necessary work for the event’s success,” Bonafini said. “She interacts with businesses and private donors to secure auction items. Each component of the evening, including registration tickets, bid slips and more, meets her vision for this important fundraiser and most often touches her hands before it reaches yours.”

Johnson in recent years has spent hours preparing envelopes for all bulk mailing projects. She has become the “go-to volunteer” when an individual is needed to sell or collect tickets at events, Bonafini said.

She also serves on the Strategic Planning and Welcome Center Committees, and has been critical in securing support for the Welcome Center. That project has $575,000 committed to the $750,000 fundraising goal.