… continuing from yesterday’s post …

“A faint description of this canyon is about as follows: from the water at the bottom, at the bridge, to the summit of the mountain, is twelve hundred and sixty-two feet. In descending, you have to make four turns. This elevation is inside of one mile of travel: from the first turn to the second, is about one-third of a mile; from the second to the third, about one-quarter of a mile; from the third to the fourth, is nearly half a mile.

“In traveling this canyon the road is wide and good; two teams can pass at any point. When you have made the descension, and stand on the bridge looking east, to a stranger, the sight is most wonderful. My toll for crossing the bridge was thirty cents, for horse, carriage, and cow.

“In ascending, after leaving the bridge, you have but one turn and this is to the left. I think this part is the most dangerous.

“The road is much traveled as there are many mines in the vicinity. This county is noted for its extensive mines. I have seen sixteen horses attached to one wagon. To this wagon, three others were attached. These are eastern-built wagons, made of the best of timber and hav[ing] double brakes. All the large teams have iron shoes made expressly for traveling these canyons. Even the stages are provided with them; they dare not depend on the brakes.

“You will remember the stage driver cautioned me not to go down the canyon without chaining my wheels. He knew I was a stranger and it was thoughtful of him in giving me the warning. I shall ever remember him for his kindness, and should he by chance ever get this book, he will remember me by my cow.”

It’s been a while since we caught up with Mr. Johnson on his travels across the continent. Let’s see what he’s up to …

On the morning of August 14, 1882, he “left Grass Valley for Reno, traveling the old trail known as Henness Pass, which passes through Nevada City, North Bloomfield, Graniteville, Jackson’s Ranche, Webbers Lake, Sardinian Village, and comes out on the old turnpike, by Silver Peak Mountain to Reno.”

After passing through Nevada City in the early morning, he stopped to give his horse and cow some water and grain. While stopped, he met and struck up a conversation with a couple who lived there but who were originally from Connecticut. Being from (and on his way back to) Massachusetts, Mr. Johnson chatted with them for a while.

Finally, he said, “‘I must go on, I am making too long a stop, I have so many miles to make per day.’ ‘How many miles a day do you travel?’ ‘When I travel ten hours, I make twenty-five miles; when but eight hours, only twenty miles; in this way I know the number of miles.’

“‘Stop and have some dinner with us,’ [said his new friends.] ‘Thank you; it will make a small day’s journey, I dare not travel in the night it is so hilly, [and] I have no brake on my carriage. When I have a hill to descend, I block the wheels with a rope.’ ‘You have one hill to go down, about six miles from here, that will make you shake. You have to get down into a canyon; don’t miss tying both wheels, should your harness break you would go where we don’t know; going down is worse than coming up.’

“‘Our dinner is ready, it is early, but some hot coffee will do you good,’ said the wife. I sat down and ate with these good people of Connecticut. It was eleven o’clock when goodbye was said on both sides.

“About three in the afternoon I met the stage, with six horses; it was a strong double-brake Concord coach. The driver stopped and said, ‘Stranger, chain your wheels before you go down the mountain, and be careful, you are a stranger to these parts, I think.’ ‘I am, sir.’

“In descending the hill to the first turn, I did not chain my wheels; at the turn I chained both and continued down to the bridge. I paid my toll and went on, up the opposite side of the canyon, which has but one turn.”

The latest issue of The Carriage Journal is in the mail now to all current Carriage Association members / subscribers!

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This issue includes features on harness makers, the history of sleighing in North America, and the (former) secrets of the Old Rocket coach, which were uncovered during its restoration. Plus all the usual departments (the news section, “In the Carriage House,” “In the Stable,” “Nuts and Bolts,” and more).

If you’re a current member or subscriber, look for your copy in your mailbox. If you’re not a current member / subscriber but would like to learn more, head on over to the About Us page on the CAA’s website.

Here’s the first of several carriage- or driving-related (or otherwise interesting) photos that I found in our Glimpses of the World book. The photo captions, naturally, describe the man-made or natural wonders shown but make no mention of any horse-drawn vehicles in the photos.

I’m sure we wouldn’t say anything about the automobiles that “interfere” with our modern photos of landscapes or buildings, either. I know I wouldn’t mention them and would usually rather they weren’t in my photos at all. Likewise, most of the photos in our old book don’t have any vehicles in them, but some of the streets were just too busy to leave the pedestrians, horses, and vehicles out of their portraits.

In front of the Paris Opera House, we can see a number of Broughams (serving as taxicabs, no doubt) and a three-abreast of gray horses hitched to a crowded Omnibus.

(To see a larger version of the photo, click on the photo once and then, when a new version comes up, click on it again.)

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This is the photo caption from the book:

“This is not merely one of the most magnificent structures of the French metropolis, but is the largest theatre in the world; not strictly so in regard to its seating capacity, which accommodates about 2,200 people, but in the area of three acres which it occupies in the very heart of the city. The first view of it as one approaches it along the boulevards can never be forgotten. Broad marble steps lead up to a facade adorned with groups of statuary representing Lyric Poetry, Idyllic Poetry, Music, Declamation, Song, and Dance. Above these are medallions of four great composers, and over these extends along the full width of the structure a loggia or gallery embellished with beautiful Corinthian monolithic columns and a marble parapet. Above the windows of this loggia, the eye beholds with pleasure medallion busts, in gilded bronze, of Mozart, Beethoven, Auber, Rossini, Meyerbeer, and Halevy, whose noble works are heard so frequently within the Temple of Music which they thus adorn. To right and left upon the roof colossal groups in gilded bronze stand radiantly forth against the sky, portraying the divinities of Poetry and Music with the muses in their train. While to complete the charm of this extraordinary building, there rises in the center a majestic dome above the crown of which we see, triumphant over all, the statue of Apollo holding aloft a golden lyre, which still reflects the splendor of the setting sun long after evening has begun to spread its shadows over the adjacent streets, which soon will burst forth from that temporary twilight into a blaze of artificial brilliancy almost as light as day, which makes the place of the Grand Opera seem like the diamond-clasp in that long belt of gaity, display, and fashion known as the Parisian boulevards.”

Quite a while ago, A.J. and I found a wonderful book in one of our local antique stores …
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It’s Glimpses of the World: A Portfolio of Photograghs of the Marvelous Works of God and Man, and it was “prepared under the supervision of the distinguished lecturer and traveler John L. Stoddard, containing a rare and elaborate collection of photographic views of the entire world of nature and art.” The photos were taken in the late nineteenth century, and the book was published in 1892.

Needless to say, there are a few old street scenes included in the book, which I’ll share with you here. Stay tuned.