Car Rentals CovingtonDiscount Car Rentals in Covington |
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Things to do in Covington
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Railway Museum of Greater Cincinnati
Newport Aquarium |
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Local Restaurants in Covington
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Cincinnati Art Museum
Carnegie Visual & Performing Arts Center |
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Taft Museum of Art
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Cincinnati Reds Hall of Fame & Museum
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Cincinnati Museum Center at Union Terminal
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May 12, 2011
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The
Roman Catholic Cathedral Basilica of the Assumption is sitting
majestically in Covington, Kentucky, named as one of the minor
basilicas in the nation, began by the Diocese of Covington's
third bishop, Camillus Paul Maes in 1894. The construction was
stopped in 1915, even though the church isn't finished, still to
this day. The magnificent exterior was inspired by the Notre
Dame Cathedral in Paris, and the interior, equally beautiful,
was modeled after the St. Denis in France. The church is home to
the first and third biggest rose windows in the world, and the
recent renovation of the church would earn it a 2002
Preservation Award from the city's preservation association. The
interior rejuvenation would commission the Conrad Schmitt
Studios to clean the gorgeous stone ribs, walls and tracery,
with studio artists completing the plaster restoration and
certain of the faux stone paintings. In December, 1953, the
cathedral was raised to the rank of minor basilica by Pope Pius
XII. The inside of the cathedral has numerous murals that were
created by local resident, Frank Duveneck. The cathedral's north
transept window is the world's biggest stained glass window,
measuring 67 feet by 24 feet, representing the fifth century
Ecumenical Council of Ephesus in which, Mary was declared to be
the mother of God. At the architectural center point, the high
altar is located, with Verde marble surfaces that may contain
ancient sacrificial stones. Usually, churches that attain the
title of basilica are done so because of their dignity,
antiquity and historical significance as centers of worship;
while the distinction of being minor or major is dependent upon
the pope. There are four major basilicas in the world today, and
they are all in Rome, while this minor basilica is only one of
35 in this country. It was elevated during a Solemn Pontifical
high mass celebrated by the most reverend William T. Mulloy,
D.D. in 1953. The Gothic architecture is relevant to the
economic and cultural views held by the world during the Middle
Ages, constructed with the contributions of pious and
self-conscious merchants, the cathedrals would become the
physical centers of the growing commercial cities, and the
church was the focal point of a religious life for the
communities. The most unusual and bizarre elements of a
cathedral are the strange gargoyles that are used to divert
water away from the roofs, as well as becoming personified human
qualities that are antithetical to the behavior of virtuous
Christians; and the Covington cathedral has 26 of these
gargoyles watching over them that were carved in Italy. 
The
Carnegie Visual and Performing Arts Center in Covington, Kentucky is
a multidisciplinary arts venue for all people that offers
educational programs, art exhibitions and theater events to the
northern Kentucky and Greater Cincinnati region in their
state-of-the-art facility. It reflects a threefold scope, with the
Carnegie Galleries, beneath a beautiful Beaux arts dome, the Eva G.
Farris Education center and the recently rejuvenated Otto M. Budig
theater; thus making the center the biggest arts venue in northern
Kentucky. The center began in 1972, in a former Carnegie library
that had been built in 1904, and listed on the National Register of
Historic Places. The old library is an outstanding example of French
renaissance or Beaux arts style, with a turn-of-the-century
translation of the classical style that was seen in ancient Roman
and Greek structures. The impediment sculptures that were created by
Covington artist J. C. Meyerburg highlights Minerva, the goddess of
invention and wisdom; and accompanied by two young people, one that
represents the useful arts while the other represents the fine arts.
The magnificent interior contains two floors, connected by an
exquisitely carved dual winding staircases, with circular balcony
and open rotunda that looks out over the main floor below a
beautiful amber glass dome. There is a wonderful theater adjacent to
the museum that was modeled after a 19th century French opera house.
The magnificent ceilings are very extravagant, especially for a
library, but now it is perfectly matched for the museum. The last
time the building was used as a library, was December 31, 1973, and
like all other historical sites in the area, it was supposed to be
razed to make room for modern parking areas or sterile office
buildings. The Northern Kentucky Arts Council was able to save it,
and in 1971, the Carnegie structures were added to the register, so
the council moved into it and converted it into a nonprofit
community arts center. The building is truly a spectacular artistic
structure and how anyone could have even imagined tearing it down
for any purpose is unimaginable, and the fact that there were many
more, makes you wonder what is going on in the minds of people
today, when they could be saving so many buildings and houses for
further use, regardless of what that might be.
The
James A. Ramage Civil War Museum in Ft. Wright, Kentucky was created
to describe the untold story of Cincinnati and northern Kentucky's
involvement in the Civil War, even though there were never any major
battles fought here. The folks of the region did band together to
resist a very strong push by the Confederate Army in 1862, hoping to
forge farther into Northern territory. The museum has been located
on one of the key locations of that resistance, Battery Hooper,
sitting on 17 acres of historically memorable lands, with stories,
memorabilia and passages. The museum doesn't just concentrate on the
Civil War, but it gives honor to the Black Brigade, the history of
the town and Fern Storer's kitchen. It wasn't too long ago that the
city of Ft. Wright, Kentucky was contacted about a recent piece of
land that had just been put on the market. That piece of land had
been the home of Fern and Sheldon Storer and sat atop a hill that
had been involved in that historical resistance. It was one of the
31 battery locations that assisted in the defense of the city by
General Henry Heth and 6000 Confederate soldiers in September, 1862.
Without hesitation, the local men and soldiers began working
together to build an eight mile defensive line that went from Ludlow
to Fort Thomas, to stop the invasion of the state. These men would
dig rifle pits, cut trees to create a clear line of fire and use the
limbs for barriers against the invading infantry and erected forts.
The Confederate soldiers marched within a couple of miles of Fort
Mitchel, that is called Fort Mitchell today, and watched for two
days, until they realized that the defenses were much more than they
could fight against, especially since the Union had mustered 22,000
troops and 50,000 militia. The southern boys left during the night
and sure made the right decision. That property, and the house that
sat upon it was an important historical place, since Fern Storer was
a well known food editor for the now closed Cincinnati Post from
1951 until 1976. Fern had been known to test recipes, meticulously;
according to her former home/food editor, Joyce Rosencrans. Fern
took great pride in the accuracy of her food sections and passed her
principles down to Joyce. Fern passed on in 2002 and
left her house and 14.5 acres to the Northern Kentucky University
foundation, which in turn sold it to the city of Fort Wright. The
city announced plans to develop the historic site into a passive
park that concentrates on the Civil War's history and the Hooper
Batter is only one of six left in the region out of the original 31.
The
Vent Haven Museum in Fort Mitchell, Kentucky is the only museum of
ventriloquial figures and memorabilia in the world, started by
William Shakespeare Berger, a Cincinnati businessman and amateur
ventriloquist. Vent Haven, with vent being short for ventriloquist,
is located in a private house and numerous outbuildings in a
southern suburb of Cincinnati, with Lisa Sweasy, the curator, being
a walking encyclopedia of ventriloquism facts and history. She knows
about dummy-phobia and tries to put visitors at ease, somewhat
difficult with hundreds of dummies staring wide eyed at you, always
smiling and sitting. She has had her share of frightened people that
exclaim the dummies are staring at them, causing Lisa to wonder why
these folks would even bother to come here. She explains that
ventriloquism is 90% uplifting, cute and funny, stating that clowns
are much more scary. Except for the few dummies that have pointy
teeth and no eyelids, but they are everywhere, staring out into
space with the same look day after day. You can walk through room
after room filled with the dummies just sitting in their chairs,
with the occasional dummy heads sitting along a shelf, waiting for
some dummy to lose his head. Some of them wear top hats, some are
radical stereotypes, with the black dummies taking some of the
attention away from bad ventriloquists, others have soldier's hats,
or graduation cap and gown, some famous replicas like Jimmy Carter
and Ronald Reagan. There are more boy dummies than girls, showing
the visitors of today just how biased the whole business was in the
early days, with some having exaggerated Adam's apples and almost
all of them wearing that harsh glaring make-up, with eyes more often
than not, popping almost out of their heads. The mechanical jaws are
perhaps the scariest parts of them, while Lisa explains that the
dummies had to have exaggerated faces so that the people in the back
of the theater could see their faces better. That is why the dummies
look different when pictured up close or not too far away. Lisa
isn't happy with the way Hollywood has depicted the dummies, saying
that Magic with Anthony Hopkins was a bad movie, while Dummy with
Adrian Brody was a good one, and the Chucky films have made a mess
of the whole art, poisoning the minds of an entire generation that
could have been potential ventriloquist fans. If you ever want to
see just how many dummies and variations there are, then you will
certainly find them here. There is one grinning red monkey dummy
that has been valued at $30,000, and another that resembles Hitler
that is never put out for display. 
