Travelogue 501 – May 29
Another River
I may not have distilled the spirit of old Glasgow, but I've discovered a few notable places. I've discovered another river, the Kelvin, that winds down through the west side. I've taken a few painful jogs in the early morning, up the very steep hill across Sauchiehall from my hotel, along the high road on the top of that ridge, and to the pedestrian walkway over the buzzing corridor of the M8. On the other side, I'm a few blocks from a higher stratum of residences, just south of Woodside Terrace and the Park Circus, and then I'm into the grassy hillsides of Kelvingrove Park.
I've been fortunate with Scottish weather. The sun makes its appearances, wards off the rain. The hillsides and paths of the big park are blessed with spring color. There aren't many people out. The majority of the ones who are seem to be dog lovers. On both of the mornings I run, I encounter proud owners of whining whippets meeting and chatting in a meadow. I'm not sure if this is a Glasgow fetish, but it's funny to watch the nervous little dogs scampering around. On one morning, I'm almost bowled over by a loping wolfhound, his shoulder higher than my waist.
The park road descends toward the narrow Kelvin rushing among its fringes of greenery, the auspicious, twisting Kelvin that lent its name to the exact quantity of absolute zero – via William Thomson, who took the name Lord Kelvin when honored by the crown. Absolute zero curves through the park in an urgent drive to join the Clyde. On top of one steep hillside is a beautiful Gothic Revival structure belonging to the university, its long facade of red sandstone, its towers and arches overlooking the park. On the opposite side of the park is the Kelvingrove Museum, another Victorian sandstone beauty, three floors of spacious galleries inside. They say that the architect jumped from one of the towers to his death when he discovered that the building was put up backward. Not true: the museum was meant to face the park, rather than the street.
One gallery is devoted to the Glasgow boys. a group of influential painters working in the 1880s and 90s. Their subjects were local, their cause realism and naturalism. Their influences were an odd mix of Whistler, Japanese print, and French Realism. They had a fondness for rural scenes, for portraiture, and for gold on the canvas. Two of them, George Henry and E. A. Hornel made a big splash in Germany with their masterpiece, 'Druids Bringing in the Mistletoe' in 1891. A few years later the two spent time in Japan, studying the arts. 'Druids' is a compelling piece, notable for the faces – the artists studied skulls purportedly Druid for the piece, -- for the textures that would became Hornel's signature style, and for the sculpted gold used for the Druids' jewelry.