Moment in Oddity - Japanese Spider Crabs
Although Diane and I love all critters, we also eat them and one mention of crab makes our mouths start to water. We do not have the opportunity to enjoy crab often, but there is a species of crab where just one single crab could feed us for several meals. This is the Japanese spider crab which is found off the waters of Japan in depths of 50 to 300 meters. The species only moves to shallower waters during the breeding season. They are scavengers by nature and can live between 50 and 100 years. These crabs are known as decorator crabs. They attach various sponges, algae and other items to their bodies to aid in their camouflage to help avoid predation. The Japanese spider crab is a slow moving creature however, happening upon one of these crabs could also elicit nightmares. The tasty delicacy has a carapace that can be up to 16 inches across and their leg spanse can measure up to 12.5 feet, making the Japanese spider crab the largest arthropod on earth and their size certainly makes them odd.
This Month in History - Transit Visas Issued to Jews (Suggested by: Duey Oxberger)
In the month of July in 1940, Japanese
diplomat Chiune Sugihara (shee-oo-nee Soo-gee-haa-ruh) issued transit
visas to Jewish refugees. Sugihara was stationed in Lithuania to gather
intelligence on German and Soviet troop movements. He witnessed Jewish
families seeking escape from Nazi-occupied Europe and began writing
visas for Jewish people to travel to Japan in order to seek further
refuge in other countries. Sugihara was ordered by his superiors to not
issue the visas, but he later stated, "I may have disobeyed my
government but if I didn't I would be disobeying God". With his wife's
support, Sugihara spent long hours issuing over 2,000 visas. Some
articles credit him with saving 6,000 Jewish lives. Some of the visas,
however, were never used and recent research has revealed that the
actual number of rescues cannot be substantiated. On occasion, single
visas were used for entire households as well. In addition to the travel
visas, Tokyo required travelers to have a final destination permit to
be allowed to travel through Japan. Dutch consul Jan Zwartendijk (Yawn
Svart-en-dick) who was also stationed in Lithuania at the time, stamped
thousands of Jewish passports to visa-free Dutch Curacao. The fees for
the refugees' transit across the Soviet Union was paid for by various
Jewish organizations. Once the refugees arrived in Japan, they left for
the United States, Australia, Canada and other countries. Some were
later imprisoned in Japanese controlled Shanghai until the end of the
war.
Frederic Remington Museum of Art
Frederic Remington created some of the most iconic Western art in the history of America. His art was able to bring the untamed frontier to the big city and today is evocative of the Wild West. Remington not only drew and painted the West, he lived it as well and he loved playing the role of pseudo cowboy. His art is showcased at the Frederic Remington Museum of Art in Ogdensburg, New York, a town where he grew up and would spend time in his adulthood. Even though Remington didn't live in the house that became the museum, it is said he haunts the place. And there is a legend connected to the house that also seems to have left behind a ghost story. Join us for the history and hauntings of the Frederic Remington Museum of Art.
Ogdensburg is located on the southern shore of the St. Lawrence River in New York. The Iroquoian were some of the first indigenous people here and they were followed by the Five Nations of the Haudenosaunee, which were the Mohawk, Onondaga, Oneida, Cayuga and Seneca. The French were the first European settlers to establish a presence and they built a mission named Fort de La Presentation in 1749. They named the colony New France. Parts of the French and Indian War would take place nearby and after the British won, France ceded its land east of the Mississippi to Britain. The British renamed the fort to Fort Oswegatchie after their Native allies. These allies would be driven out of the area after Britain lost the Revolutionary War by American settlers and they renamed the village Ogdensburg after a landowner named Samuel Ogden in 1796. The village was incorporated in 1817 and became the City of Ogdensburg in 1868. The house that would become the Frederic Remington Museum of Art was built here in 1810 and Remington would begin living in Ogdensburg in 1872.
We should probably talk about Frederic Remington before we share about the museum created in his honor. First a little fun fact, yes, he was related to Eliphalet Remington who had founded the oldest gunmaker in America, the Remington Arms Company, which made the Remington Repeater Rifle. And he was related to famous mountain man Jedediah Smith. Frederic was born in New York in 1861 to Union Army Colonel Seth Remington who was off fighting in the Civil War for the first four year's of Frederic's life. Before serving in the military, Seth had been a newspaper editor and postmaster, so after the war, he moved the family to Bloomington, Illinois because he was appointed editor of the Bloomington Republican. In 1867, the Remingtons moved back to New York.
Seth had dreams of his son going to West point, but that was never going to happen. Frederic wasn't a good student and being that he was the creative type, he wasn't good at math. He loved the outdoors and was an excellent hunter and swimmer and he was a good horseman. Frederic was also a very talented artist. He started sketching soldiers and cowboys when he was still quite young. His father moved the family to Ogdensburg when he was eleven, so that he could attend the Vermont Episcopal Institute, which was a military school. Rather than push Frederic into a military future, Frederic got the opportunity to have a drawing lesson and he was hooked. Transferring to another military school didn't do anything either to foster a desire for a military life. Frederic spent most of his time drawing caricatures of his classmates. He wrote his uncle, "I never intend to do any great amount of labor. I have but one short life and do not aspire to wealth or fame in a degree which could only be obtained by an extraordinary effort on my part."
So, art it was and Frederic went off to study art at Yale University. While there, he found the style that he would pursue. He loved action and drew men boxing and playing sports. Still life bored him and he wasn't into classical art at all. His first published illustration was a cartoon of a "bandaged football player" and it ran in Yale's school paper, the Yale Courant. While Frederic was at school, his father contracted tuberculosis. As it got worse, Frederic decided to leave Yale and he did that in 1879. His father died the following year. He was only fifty. For a time after that, Remington drifted in life. He meandered through various jobs and proposed to a girlfriend, but her father rejected the offer. Frederic took his inheritance and headed for Montana with the intention of setting up a mining interest and when he didn't have enough money for that, he thought about setting up a cattle operation. He still didn't have the capital for that. But something that would prove to be wonderful for the world of art happened. Remington sat and marinated in the West. He got to see the bison roaming the prairie. He observed the Native Americans of the Plains. He witnessed confrontations between those tribes and the US Cavalry. There were the cowboys and the miners and the horses and unfenced cattle. Remington was getting an authentic taste of the American West of the 1880s. And he was going to share it with the world.
Remington's first commercially published piece was in Harper's Weekly. The money wasn't rolling in though, so Frederic decided to try sheep ranching in Kansas. That proved to be boring, so he sold the land that he had sunk his inheritance into and he returned to New York to get some money from his mother, only to return to Kansas and lose money on a hardware business. Then he tried being a partner in a saloon. In 1884, he went back to New York to fetch that young woman whom he had wanted to marry earlier. Her father was willing to let her marry Remington now, even though he seemed to be rudderless. So Remington made Eva Caten his wife and brought her back to Kansas. She wasn't thrilled with the saloon business. When Remington showed her his collection of sketches and revealed that drawing was his real interest, she packed her bags and headed back to Ogdensburg. This caused Remington to get more serious about his art and he started selling paintings. He realized that he really could make money doing this and he headed back to New York to reunite with Eva and he went to the Art Students League of New York to refine his skills. Western themes were becoming really popular, so everything was about to sync perfectly for Remington. He was 25 and it was 1886 when Harper's Weekly gave him his first full-color front page. The magazine would send him on various assignments through the years.
In his first year of being a commercial artist, Remington made $1,200 and he told a friend, "That's a pretty good break for an ex cow-puncher to come to New York with $30 and catch on it 'art'." Remington used various mediums in his work and he tried to get the most accurate colors he could to depict what the West really looked like. In 1887, Remington met a man who would become a good friend of his, Theodore Roosevelt. Roosevelt had just finished writing his book "Ranch Life and the Hunting Trail" and it was going to be serialized in The Century Magazine and he needed over eighty illustrations to accompany it, so he commissioned this young, new artist named Remington. Roosevelt himself was only 29 at the time. The two men became fast friends as they realized that they both loved adventure and the West. The two would remain lifelong friends. As his skill grew, Remington was able to take on more complex works and in 1889 he won a second-class medal at the Paris Exposition. The following year, he held a one-man show and it was at this time that he really put forward a public persona of being a cowboy and spoke like a cowboy and changed up his biography, throwing in a few myths of his escapades in the frontier. Harper's Weekly had him under a handshake agreement and they really embraced the pseudo-cowboy thing, launching a promotional campaign to that effect.
In his personal life, Remington and his wife relocated to New Rochelle, New York, which would put them closer to New York City in 1890. It was the perfect spot because Remington could still enjoy open spaces and horseback riding, while still having the big city to facilitate his art with publishing houses and galleries. Remington tried to stay active because his success had led to indulgences that added quite a bit of girth to his frame and he would struggle with it for the rest of his life. The house was located at 301 Webster
Avenue on a hill known as Lathers Woods, named for Colonel Richard Lathers. Lathers built a few houses on his 300 acre estate as investments. One of these was bought by Remington. The house was designed in the Gothic revival style by architect Alexander Jackson Davis, with great views of the countryside and Long Island Sound. Remington called the estate Endion which was an Ojibwa word meaning "the place where I live." The house had everything the couple needed or wanted except a studio for Frederic. He used the large attic for a while, but eventually retained New Rochelle architect O.
William Degen in 1896 to plan a studio addition to the house. Remington would describe the studio to a friend as being "Czar-sized." In this studio, he would create most of his life's work, which included over 3,000 pieces. The studio was filled with items he had collected and he would dress models in genuine pieces for inspiration. The studio has been recreated at the Buffalo Bill Center of the West in Cody, Wyoming.
One of the famous moments in Western history that Remington documented in January of 1891, albeit after-the-fact, was the Massacre at Wounded Knee. He went through the tents of the wounded soldiers and got their stories. They had all thought that this was going to be an easy surrender of Big Foot and his warriors, but Big Foot's group fought back by concealing guns under blankets that they threw off when the 7th Cavalry arrived. An interesting paranormal tangent to this is that the medicine man of the tribe had given the warriors ghost shirts and told them that no bullet would be able to wound them if they wore the shirts. And the warriors believed him. Obviously, that wasn't true and Remington wrote, "Lying on his back, with a bullet through the body, Lieutenant Mann grew stern when he got to the critical point in his story. 'I saw three or four young bucks drop their blankets, and I saw that they were armed. ‘Be ready to fire, men; there is trouble.' There was an instant, and then we heard sounds of firing in the center of the Indians. ‘Fire!’ I shouted, and we poured it into them. Oh yes, Mann, but the trouble began when the old medicine-man threw the dust in the air. That is the old Indian signal of ‘defiance,’ and no sooner had he done that act than those bucks stripped and went into action. Just before that some one told me that if we didn’t stop that old man’s talk he would make trouble. He said that the white men’s bullets would not go through the ghost shirts. Said another officer, 'The way those Sioux worked those Winchesters was beautiful.' Which criticism, you can see, was professional. Added another, 'One man was hit early in the firing, but he continued to pump his Winchester; but growing weaker and weaker, and sinking down gradually, his shots went higher and higher, until his last went straight up in the air. Those Indians were plumb crazy. Now, for instance, did you notice that before they fired they raised their arms to heaven? That was devotional. Yes, captain, but they got over their devotional mood after the shooting was over,' remonstrated a cynic. 'When I passed over the field after the fight one young warrior who was near to his death asked me to take him over to the medicine-man’s side, that he might die with his knife in the old conjurer’s heart. He had seen that the medicine was bad, and his faith in the ghost shirt had vanished. There was no doubt but that every buck there thought that no bullet could touch him.”
Remington would be referred to as "The Soldier Artist" because of his extensive work with featuring soldiers and cavalrymen and their stories in his work. Frederic spent much of the 1890s traveling through Mexico and the US. He eventually made it to Florida where he discovered Florida Crackers, which were our version of cowboys. Remington wrote of his work, "My drawing is done entirely from memory. I never use a camera now. The interesting never occurs in nature as a whole, but in pieces. It's more what I leave out than what I add." Frederic definitely focused on the outside world of the West. Saloons and dance halls didn't really make it into his work and he rarely depicted women. Most of the females he drew were Native American. In 1895, Remington started working on sculpting. He asked his friend, Sculptor Frederick Ruckstull to teach him how to sculpt and his first armature and clay model featured a cowboy fighting to stay aboard a rearing, bucking bronco, with a stirrup swinging free, a quirt in one hand and a fistful of mane and reins in the other. He entitled it The Bronco Buster and it would be his most popular sculpture. He made $6,000 over three years on the piece.
Remington spent seven days a week in his studio, but he was becoming bored as 1900 rolled around and he longed for a war to get started, so he could be a heroic war correspondent. Frederic lived in this kind of illusionary world where war would be good because as he told a friend he had "done nothing but potboil of late." Frederic had done a self-portrait of himself as a lean cowboy on horseback, but he was far from that and it would prove his undoing. He weighed in at nearly 300 pounds. That year, he bought an island on the U.S. side of the St. Lawrence River that he could use as a summer residence and place to live Crusoe-like, although it had a substantial cottage and outbuildings. He called it "Ingleneuk" and said of it that it was "the finest place on earth." Remington also took to writing novels, but that wasn't as successful, so he focused mostly on sculpture and painting. In 1908, he decided to sell the house in new Rochelle and before he did that, he built a bonfire in the front yard and burned dozens of his oil paintings that had been used for magazine illustration. Apparently, he did this as a statement that he was done with illustration for good.
At the beginning of 1909, the Remingtons bought 45 acres in Ridgefield, Connecticut and they built a home and studio there. Although the house still stands today and is a National Historic Landmark known as the Frederic Remington House, Frederic didn't live in it for very long. In December of 1909, Remington had to have an emergency appendectomy and his extreme obesity led to complications and peritonitis and he died on December 26, 1909. Eva would survive him by nine years. The house where the Remington Museum is located was built in 1810 and as we said in the intro, Frederic never lived here. He probably was in the house though as his friend George Hall had owned the house. Frederic's wife Eva was definitely in the house. She lived there with her sister Emma as guests of Hall from 1915 to 1918, when Eva passed away. Most of the items in the museum came from Eva Remington's 1918 estate. These items include scrapbooks, photographs, Remington's library, his easel, his paintbrushes, his hockey stick, his elk's tooth cufflinks and even the cigars that were in his pocket before he died. The Museum opened in 1923 as the Remington Art Memorial. That name changed to its current name as the Frederic Remington Art Museum in 1981.
There are claims that the museum is haunted and there seem to be at least two ghosts here. Newspapers began reporting hauntings at the museum in the 1940s according to museum director Laura Foster. Frederic Remington is one of those ghosts. His full bodied apparition has been seen and objects do move around as though he is back at work in his studio.
The other spirit is believed to belong to a woman named Elena Ameriga Vespucci. You might recognize the name Ameriga from a previous This Month in History when we talked about America being named for Amerigo Vespucci, an Italian explorer and navigator who called what would become the Americas as the New World. Cartographer Martin Waldseemuller in 1507 wrote on a map of the New World the Latinized form of Amerigo, which was America and later cartographers followed suit. Elena was a direct descendant of Amerigo. She also ended up the the mistress of George Parish because of a card game. This is a legendary story, meaning that some of it may just be lore, but regardless, Elena is a fascinating character. She was raised in a Florentine convent until the age of seventeen. Then she was told that she would be moving on to serve as maid of honor to the Grand Duchess of Tuscany and she was having none of that. There was a secret group that had formed to obtain Italian independence called "La Jeune Italie" and she ran away and joined that group. In 1832, she took up arms and was described as having "great gallantry" and she suffered a severe injury at the hands of an Austrian dragoon. These political activities got her in trouble and she was exiled to France where she sought refuge at the court of France.
When given the chance to head over to her family's name sake, she jumped and traveled to the United States where she petitioned for citizenship and a land grant. Elena was beautiful and very charming, so it didn't take long for here to insert herself into the political circles of Washington, D.C. and she got Senator Thomas Hart Benton to petition the Senate on her behalf and he said, "She is without a country,
without fortune, and without protection. She asks that
we grant her a corner of the land which bears the name of her glorious
forebear, and for the right of citizenship among those who call
themselves Americans." Congress was actually forbidden to do that, so nothing came of this.
The Countess of Blessington said of Elena that she was "interesting and original, full of animation…She possesses a certain wild, unsteady energy and cleverness…tormented with a constant desire to excite attention." She was described as "of fine features, symmetrically formed, of the perfect Italian style of beauty, with more of Juno’s characteristics than of Venus’ peculiarities in its excellency. Her figure was commanding, full, strongly set up, and finely moulded"...her eyes were "wonderfully brilliant," and her hair “black as jet and of extraordinary length and abundance." With all of this in her favor, she decided to follow a suggestion made to her to go to the American people for help in starting her new life, so she visited several major cities in America and it was written , "Her path was strewn with roses, open hands, and confiding hearts." Even though it seemed that Elena would become a national icon, she abruptly left in 1840 and sailed for Europe declaring that she didn't want any money that wasn't a gift. This leads us to believe that perhaps she was told that money given to her was a loan or something. Whatever the case, the "New York Evening Star" did not take this ingratitude lightly and a bitter exposé was written about Elena and she was accused of having an affair with the Duke of Orleans.
Elena would return to America though and this time she claimed to be Contessa Helene America. She had landed in Boston and started working the social circles there and no one seemed aware that she was Elena. They all fell under her spell once again. At some point she met a wealthy German merchant named George Parish. The two were living in what was described as "immoral intimacy" in Ogdensburg, New York. And here is where we get our legend. How Parish and Elena came to be together seems to be the result of a card game. Elena as Contessa had become the paramour of Martin Van Buren’s playboy son John. John liked to gamble and he and Parish got embroiled in an intense night of poker playing at the LeRay Hotel in Evans Mills, N.Y. John wasn't having any luck and he had lost all his money, so he put Vespucci up as a bet and wagered ownership of her on a toss of his last gold coin. Parish won the toss and he got the girl.
Now we're not sure if this story is true because Parish and Vespucci really seemed to love each other and spent twenty years together. Elena spent much of that time as a recluse because of all the wagging tongues about the two living in sin. The bliss would come to an end in 1856 when George's older brother died in Germany. His brother had been Baron von Leftonberg and now his family needed him to assume the roleand to find a bride. Elena wouldn't fit that bill, so he packed her up and sent her off to France with an allowance. The couple would never see each other again and Vespucci was devastated. She died in Paris in 1866. It was discovered by a man named C. Edwards Lester, while he was researching a book on the explorer Amerigo Vespucci that Elena's family were living in genteel poverty and that her stories about being raised in a convent, her time at the court of the Grand Duchess, her role in the Italian resistance, her intimacy with the French royal family were all just made up stories. She was actually a child that was hard to control whom he wrote had been "the mistress of some dozen men."
Now how Elena gets connected to the museum is that Parish and her had lived at this house for those twenty years. This was the happiest time of her life and that is why her spirit seems to have come back across the ocean. In 2015, a psychic named Freda Gladle visited the museum and did a walk through with museum volunteer Donna Wright. Wright shared that she didn't believe any full-time spirits resided in the main museum, but she thought that she and Gladle did
encounter some residual energy, although it sounds intelligent to us. They decided to try to communicate with the female spirit at the house and they did make a connection. When they asked if Elena had been won in a poker game, she responded very firmly, "I was not won in a poker game." This spirit claimed that she had actually lost money during the poker game and then had to quit because she had no money left. What was interesting about this investigation is that it was dovetailed with a simultaneous Clarkson University study of the air
quality. Several undergraduate students, under the guidance of Shane
Rogers, an associate professor of civil and environmental engineering,
were investigating the claim that airborne organisms could provoke
paranormal experiences.
Frederic Remington lived a larger than life kind of life and so it is no wonder that his spirit would continue on here on this plane of existence. Much of his belongings are located at the museum. Is it possible that he has returned to his belongings? And did Elena Ameriga Vespucci come back here as well? Is the Frederic Remington Museum of Art haunted? That is for you to decide!