Tourism Accommodations in Yosemite in the 1800s

Guest Post by KyLee Woodley

Public Health Service at work in the national parks, 1960s. National Library of Medicine #101547480

John Muir

Although national parks grew in popularity following World War Two, due to economic prosperity, increased leisure time, and the rise of the automobile, more than seventy years earlier, people were trekking into the woods in the summers to experience the natural wonders of our nation. Yosemite, which spans an impressive 759,620 acres and offers breathtaking landscapes and diverse ecosystems, stands out as one of the most beloved national parks. Naturalist John Muir, often called the “Father of the National Parks,” said, “Yosemite Park is a place of rest, a refuge from the roar and dust and weary, nervous, wasting work of the lowlands, in which one gains the advantages of both solitude and society.” But what good is having such lovely views if you cannot reach this place of solitude?

C. 1863 improved Lower Hotel

Two pioneers by the names of Walworth and Hite catered to Yosemite visitors when they established a hotel near Yosemite Falls. Construction began in 1856 yet was left unfinished until the following year. However, another hotel had been built farther up the Merced River, so the first was called Lower Hotel and the latter Upper Hotel. The Lower Hotel was constructed of white cedar planks split from logs. In the early days, it was little more than a large building with rooms divided by sheets. In his book To San Francisco and Back, Parson A. London described the hotels as “…very rough. When G——— and I were shown to our bedroom the first night, we found that it consisted of a quarter of a shed screened off by split planks…[with] no window, but we could see the stars through the roof. The door, opening out into the forest, was fastened with cow-hinges of skin with the hair on, and a little leather strap which hooked on to a nail.” There were not even beds. These early days remind me of camping.

The Lower Hotel was still in operation in 1875 with a new owner and a new name, Black’s Hotel. Naturalist John Muir wrote to a friend who was staying there, and he had this to say about the area and its visitors: “The Valley is lovely, scarce more than a whit the worse for the flower-crushing feet that every summer brings…Yet I find some fine and good-looking people among them.” He is referring to the tourists, and I cannot help but admire his kind regard when many a naturalist would be happy to shun intruders upon nature.

Sentinel Hotel (left background) by Thomas Hill

Above is the Sentinel Hotel, surrounded by other lodges and houses. This photograph, taken around 1875, inspired one of the final scenes in my book, The Bounty Hunter’s Surrender. Even in the black-and-white portrayal, you can almost hear the thunderous crash of the waterfall as it descends to the ground in the distance and feel the gentle rustle of the wind through the trees overhead. Sadly, many of these historic structures have been lost to time, but a few still stand in Yosemite and other national parks, preserving a glimpse of the past.

KyLee Woodley is a cheery romantic who loves to write about bygone days and heartwarming romance with a pinch of adventure. She lives in Texas with her husband and their three teenage children. On weekends, KyLee hosts the Historical Bookworm Show, a steadily growing interview podcast. Her latest release, The Bounty Hunter’s Surrender, is about an expecting widow, a rugged bounty hunter, and a set of secrets that might shatter her fragile heart. Set in a French chateau in the California countryside, this historical romance will appeal to readers who enjoy stories by Tamara Alexander and Mary Connealy.

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Art As An Olympic Event

 

By Suzanne Norquist

When I think of the Olympics, toned athletes and physical strength come to mind—sports competitions where results can be objectively measured. However, for a time in modern Olympic history, medals were also awarded to artists in the areas of painting, sculpture, music, literature, and architecture.

When the modern games started in 1896, the founder of the International Olympic Committee (IOC), Baron Pierre de Coubertin, believed art should be included. It had been part of the ancient Greek events because exercising the body and mind created harmony. A well-rounded individual would pursue both activities.

The baron couldn’t incorporate the creative events until the 1912 games, and only thirty-five artists participated that year. The artistic competitions didn’t achieve the goal of harmonizing body and mind since few individuals competed in both sports and art.

Only two athletes won medals in both. In 1912, American Walter Winans won a gold medal for the sculpture of a horse pulling a chariot and a silver medal for sharpshooting. Hungarian Alfréd Hajós won a silver medal in town planning design in 1924 after winning two gold medals in 1896 for swimming.

The artistic community didn’t embrace the competition since it wasn’t their idea. All of the art had to be sports-related. How many ways were there to sculpt or paint athletes? And what kind of music qualified?

In 1932, Canadian Tait McKenzie entered four sculptures of shot putters. “Shot Putter Preparing.” “Shot Putter Resting.” “Shot Putter Ready.” “Shot Putter The Hop.” He didn’t receive medals for any of these. However, he won a bronze medal for something called “Shield of the Athletes.”

That same year, Belgian painter Nelly Degouy submitted paintings entitled “Do Exercise I” through “Do Exercise VIII.” None of these won awards. Others entered similar sets of work. Individual paintings were titled things like “Ice Hockey,” “Golf,” “Rugby,” and “The Ski Jumper.” More curious titles included “Camping,” “Sun Bath,” and “My Children in the Woods.”

And how many ways are there to design sports stadiums, swimming pools, or Olympic villages? A single project could yield multiple entries. For example, in 1928, the University of Pennsylvania provided fourteen entries for athletic facilities, including interior and exterior views of different parts of the complex.

Architectural designs that had already been built could compete. In 1928, the Olympic Stadium where games were held that year won the gold medal. Maybe it’s just me, but it seems like the judges may have been biased.

Judging for these art events was a bit haphazard. Host cities would establish a jury to judge the submissions. All three medals (gold, silver, and bronze) were sometimes awarded. Other times, just one, and it might not even be gold. There might be a silver but no gold medal if none of the art was considered worthy of the higher award.

In the early days, music was judged in written form rather than performed. How did one show that a musical composition was sports-related anyway? Many entries included some form of the word Olympic in the name. There were Olympic-related marches, hymns, and chants. This was the category where the fewest medals were awarded because of the difficulty of judging.

Unlike other forms of art, literature is language-based. Works could be submitted in the original language, but a translation or summary in English or French was also needed. How can a story or poem be judged based on a translation or summary? There was a limit of 20,000 words, so the longest pieces were novella length.

In 1912, a German piece titled “Ode to Sport” won a gold medal. It was the only literature award that year. In 1920, medals were given for “Olympic Songs,” “Olympic Games of Antwerp,” and “The Praise of the Gods.”

The art competitions ended after the 1948 games. Olympics are supposed to be amateur competitions, but artists used them as a form of advertisement to sell their wares. Pieces would be sold after the competition.

The official Olympic medal count no longer includes the medals for these competitions. Many artists were older than the athletes, skewing the average age. And some countries won more art awards.

Art exhibitions are still part of the official Olympic experience. However, they are no longer competitive events.

Had the art events continued, I could have entered a novel. I would just have to write one with a sports theme.

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”Mending Sarah’s Heart” in the Thimbles and Threads Collection

Four historical romances celebrating the arts of sewing and quilting.

Mending Sarah’s Heart by Suzanne Norquist

Rockledge, Colorado, 1884

Sarah seeks a quiet life as a seamstress. She doesn’t need anyone, especially her dead husband’s partner. If only the Emporium of Fashion would stop stealing her customers, and the local hoodlums would leave her sons alone. When she rejects her husband’s share of the mine, his partner Jack seeks to serve her through other means. But will his efforts only push her further away?

 

Suzanne Norquist is the author of two novellas, “A Song for Rose” in A Bouquet of Brides Collection and “Mending Sarah’s Heart” in the Thimbles and Threads Collection. Everything fascinates her. She has worked as a chemist, professor, financial analyst, and even earned a doctorate in economics. Research feeds her curiosity, and she shares the adventure with her readers. She lives in New Mexico with her mining engineer husband and has two grown children. When not writing, she explores the mountains, hikes, and attends kickboxing class.