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October 1, 2025

Centreville Spy

Nonpartisan and Education-based News for Centreville

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Arts Design with Jenn Martella

House of the Week: “The Merryland”

January 3, 2024 by Jennifer Martella Leave a Comment

I have featured several properties on this street located on a peninsula along Plaindealing Creek leading to the Tred Avon River. During my previous trips, I always pulled over to admire this exquisite house so I am especially pleased to feature it today. The architectural style reminded me of the great houses on Long Island designed by one of America’s most famous architectural firm, McKim, Mead and White, who designed many craftsman style houses I have seen on many visits over the years to Long Island, NY.

Ironically, on the day of my tour, I learned this house was built by a contractor who was from Long Island and shared my passion for the craftsman style. His original intent was to renovate the existing house for his home since its foundation was closer to the water than is allowed currently. It was soon apparent that the best option was to build a new house onto the existing foundation and he retained Charles Goebel as his architect.

.

The front elevation is sheer perfection; the rectangular main wing is anchored by a gable with deep overhangs at each end with double window units below a bowed portion of the wall below the roof ridge. In between the gables is a hipped shed dormer centered over the front porch’s hipped metal roof. The front corners of the shed dormer’s walls are flared slightly as well as the bottom of the main floor walls as they float above the exposed brick foundation walls. The wood shake siding is broken by rows of shakes in a sawtooth pattern at the midpoint of the windows on both floors and at the bottom row for additional interest. Above the header of the first floor windows is a wide band of trim that extends the length of the house and is painted a deep teal color in contrast with the wood shake siding that is treated to maintain its natural color instead of weathering to gray over time.

A short hyphen with a circular window at the main floor and a single dormer window above connects the main wing with another gable wing that was once a garage. The color palette of wood shake roofing and siding, copper gutters and downspouts, deep teal bands, windows and window frames create pure harmony.

As I walked up the brick steps to the front porch, I admired how the curved steps with a slim black iron railing at each side are a graceful counterpoint to the house’s angular geometry and how the three bay porch supported by tapered columns has a wider middle bay, all the better to appreciate the custom wide mahogany carved door flanked by panes of leaded glass sidelights and full transom.

Too often, not all elevations have the same level of design excellence.  This side elevation follows the lead of the front elevation and gives no hint that it was a former garage as the headers above the openings of the former garage doors have been raised to accommodate perfectly sized transoms. The front elevation’s flared siding, bottom row of sawtooth siding, deep teal trim, copper gutters and downspouts are repeated here and the hipped shed dormer with triple windows is the finishing touch. The French doors with full sidelights are connected by a shallow brick stoop that meets a terrace of random sized stone with a curved outer edge that blends into paths to the front garden and to the rear waterside screened pavilion.     

The picturesque rear elevation opens up to the water with the main floor’s low sloped box bay rectangular projection with wrap-around windows and transoms, single, double and triple windows and a wide shed dormer at the second floor infilled with four windows. The massing and geometry of the three gables and a hyphen mirrors the front elevation. Off the side of the box bay projection are brick steps leading to a brick terrace that blends into the meandering stone hardscape. The waterside screened pavilion is a perfect spot for lunch or relaxing after a day on the water.

One of the Owners and their real estate agent met me at the front door and my attention was immediately drawn to the stunning vista through the foyer’s rear bowed wall with a deep recess that contains built-in millwork on either side wall below the low elliptical arched ceiling finished with stained wood beadboard. The foyer wall is beautifully detailed with trim dropped below the ceiling plane to create rectangular bays with walls painted a very light blue above a tall stained wood slat wainscot. I especially admired how the height of the tall baseboard matches the bottom shelf of the millwork, the wood floors that flowed throughout the house and the glimpse of the wrap-around windows at the rear wall of the house.

As I turned around to face the front door, I fully appreciated how the horizontal band of trim tied the room together and ends at the stair landing’s cap rail.  The oversized front door’s custom paneled design introduces the door designs throughout the house. The foyer is bathed in sunlight from both the sidelights, the full transom and the windows in the shed dormer over the front door.

Beyond the recessed millwork in the foyer is the delightful living room that has a sunroom feel with French doors at each side and windows and transoms at the rear wall. Next to one pair of French doors are the fireplace and the TV and on the other side is a wide opening to the kitchen. The neutral tones of the rug and sofa and the earth tones of the chairs create a relaxing gathering space.

I have written before of my preference of minimal upper cabinets and this kitchen is well balanced with a rear wall of windows for water views and a mix of glass fronted and solid wood doors on the upper cabinets. Food prep and washing up after dinner would be an easy chore with the wall of windows offering views of the water. The deep wood cabinetry, black countertops, light wood floors and stainless steel appliances would inspire even a novice cook. The island is detailed with turned wood supports and white bead board to accommodate two bar stools. The bowed ceiling plane of white beadboard is the perfect finishing touch.  Adjacent to the kitchen is a server for extra storage.

Opposite the kitchen is the dining room and the current Owner told me they had removed the wall between the hall and the kitchen to open up the space and I could not agree more. The dining room depth can now accommodate a family meal or the table can easily be extended for larger family celebrations. I admired the trim around the doorways with a jamb of layers of molding in a grid pattern and the layer of “picture frame” molding around the room that blends into the window headers. The light blue walls between the wood flooring and ceiling, the front double window and side single window, the round table and rattan chairs create a charming area for memorable meals.

From the dining room, steps lead down to the spacious family room with only a hint of its being a former garage with the door openings now transformed into an elegant pair of French doors with full sidelights and transoms at the exterior wall behind the wrap-around sofa.  This is a true family room for both two-legged and four legged family members! Next to the pet area is the mud room with an exterior door for easy clean up. One side wall has built-in millwork with knee space for work or homework. The high baseboard and wood wainscot breaks down the volume of the room and the easy care flooring creates a subtle grid of pale colors.   

At the other end of the main floor are two bedrooms, one being this rear waterside ensuite with the bedroom’s double windows on each exterior wall for views. I admired how the rods for the window treatments are mounted close to the ceiling to accentuate the height of the room. Since this room has both an adjacent bath and closet it can also be a main floor primary suite. The front bedroom is next to a short hall past a closet to another bathroom.

The “L” shaped stairs end at a hall with a bowed railing overlook to the foyer below and a bowed wall beyond the hall with French doors opening into the primary suite’s bedroom. The interior architecture is delightful with the slight angle of the shed dormer ceiling over the four-unit windows behind the delicate black iron bedframe and the angled walls above high knee walls at each rear corner of the bedroom. The earth tones of the rug and coverlet and the light blue walls, wood flooring and ceiling create a soothing environment.

The sumptuous primary bath has an old house feel with a soaking tub under double windows in the gable wall and white porcelain freestanding dual sinks. Next to the lavatories is a mirrored door leading to a long walk-in closet. A short hall leads to the shower and the toilet compartment. The color palette of wood floors, white plumbing fixtures and the light blue beadboard walls and ceilings is striking.

Three other bedrooms, two baths and a large laundry complete the second floor plan. This bedroom is located over the family room below. Its charming interior architecture is created by the wide shed dormer with triple windows over the bed and the rear gable with a single window. The front wall’s gable contains a full bath.

My compliments to the Landscape Designer for this view of the landscaping reminded me of a visit to England’s Cotswold district. This path from the family room’s pairs of French doors lead to the fenced kitchen garden with raised beds. Beyond the kitchen garden is a two-car garage with an office space above.

“The Merryland” property contains 2.35 acres in a highly desirable Royal Oak neighborhood, a deep water dock, brick and stone terraces and a freestanding screened pavilion for relaxing by the water. Bravo to Charles Goebel for his design of the floor plan that is zoned so well, carefully thought out interior details and the exquisite exterior elevations of this magnificent house. These pictures should convince anyone that a design thoughtfully detailed and constructed to the highest level of craftmanship is well worth it!

For more information about this property, contact Leslie Stevenson, GRI and  Top Producer at Long and Foster Real Estate, 410-770-3600 (o), 410-253-7293 (c) or leslie.stevenson@longandfoster.com. For more photographs and pricing, visit www.OwnAMarylandHome.com, “Equal Housing Opportunity”.

Architecture by Charles Goebel, www.cpgoebel.com, (410) 820-9176

Photography by JM Real Estate Photos, Joe Messenger, 410-971-0027

Landscaping by Georges Green Thumb, 410-822-9255

Jennifer Martella has pursued dual careers in architecture and real estate since she moved to the Eastern Shore in 2004. She has reestablished her architectural practice for residential and commercial projects and is a referral agent for Meredith Fine Properties. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday afternoons.

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: Design with Jenn Martella

My Fair Lady Auditions at Church Hill Theatre

January 3, 2024 by Church Hill Theatre Leave a Comment

Church Hill Theatre proudly announces auditions for the time-honored musical My Fair Lady will be held on Sunday afternoon, January 21 at 3 P.M, followed by more auditions on Tuesday and Thursday, January 23 and 25 at 6 P.M.

This favorite Lerner and Lowe masterpiece is being directed by Sylvia Maloney, with Erin Bradley as Music Director, and Cavin Moore as Choreographer. Production dates are weekends beginning June 7, 2024, through June 23, 2024

My Fair Lady is based on the play Pygmalion by George Bernard Shaw, and opened on Broadway in March of 1956, featuring Julie Andrews and Rex Harrison in the leading roles. The story concerns Eliza Doolittle, a Cockney flower girl who takes speech lessons from professor Henry Higgins, a phonetician, so that she may pass as a lady. Despite his cynical nature and difficulty understanding women, Higgins grows attached to her.

The production has seven principal roles available, men and women, ages 20s through 60s, along with six supporting roles, but the most interesting roles are in the acting, singing, and dancing ensemble who have the opportunity to play four different characters within the show. The ensemble men’s and women’s ages range from teens to adults in their 70s. For the vocal audition, please prepare a song, similar in genre to the music of My Fair Lady, but not from the show. Please bring two copies of the sheet music. Auditioners should be prepared to read from the script and to learn a brief dance routine.  Technicians are also needed and are encouraged to attend auditions.  Character descriptions with vocal ranges and age information can be found on the Church Hill Theatre website, at www. churchhilltheatre.org. For additional information, call Sylvia Maloney at 410-778-3783 or email: [email protected].

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: 6 Arts Notes, Arts

Delmarva Review: Connection by Sally Dunn

December 30, 2023 by Delmarva Review Leave a Comment

Authors note: “The events in this poem happened to me in the way it is written. Whether this is a commentary on how the homeless and the handicapped are treated is up to the reader’s interpretation. To me it is simply the life I’ve lived for many decades. The emotional frustration and disappointment of not seeing my family was offset by the quiet joy of connecting with my grandniece.”

Connection

Because it was raining and windy too
I covered myself with an orange poncho
and my wheelchair with billowing
clear plastic bags.

And because the driver
thought me a homeless person
(or so I was told later when I called)
the bus passed me by.

And because that bus passed me by
I couldn’t catch the connecting bus
nor the bus that connected after that
and my big trip ended before it began.

And because I missed my only chance
to see my family in over a year
I spoke to them all on the phone
in a series as they passed me around.

And because I hadn’t seen her in so very long
my oldest grandniece used her polite
‘talking with a stranger’ voice
until I asked if her new school
had a ski team and if she was on it.
Then she knew me.

And it was Christmas.

♦

Sally Dunn’s poetry has appeared in Schuylkill Valley Journal, North Dakota Quarterly, Plainsongs and Straylight Literary Arts Magazine among others.  Her poetry placed third in the Joe Gouveia Outermost Poetry Contest.  She lives on Cape Cod. 

“Connection” is from the 16th annual Delmarva Review, a national literary journal with roots in the Delmarva Peninsula. Editors cull through thousands of submissions to select the most compelling new poetry, fiction, and nonfiction. About half are from the Chesapeake and Delmarva region. It is available in paperback and digital editions from online booksellers and regional specialty bookstores. As a 501(c)(3) nonprofit, support comes from tax-deductible contributions and a grant from Talbot Arts with funds from the Maryland State Arts Council. Website: www.DelmarvaReview.org

 

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: 3 Top Story, Delmarva Review

Chesapeake Lens: Liquidity by David Sites

December 30, 2023 by Chesapeake Lens Leave a Comment


On a calm day, the Chesapeake Bay is a glassine highway to ports all around the world. “Liquidity” by David Sites.

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Filed Under: Chesapeake Lens

Spy Arts Diary: A Welcoming Debut and a Broadway Preview by Steve Parks

December 27, 2023 by Steve Parks Leave a Comment

The year 1965 was a very big deal in my life. I graduated from Easton Jr.-Sr. High School at what is now Easton Middle School across Peach Blossom Road from Easton YMCA and St. Mark’s United Methodist Church, where I attended Sunday school. My graduation date also corresponded with the Rolling Stones’ release of “(I Can’t Get No) Satisfaction.” And it was the time of my first paycheck in a career that spanned 55 years and still counting if you include my current free-lance forays. What I remember of that time and place is that entering the new Chesapeake Bay Maritime Museum was like wandering into the front yard of my grandfather’s farmhouse on Dutchman’s Lane. Only in this case, the lane was paved with pebbled stoneage.

Now, there’s a brand new gateway to the treasures of this museum dedicated to a way of life, a way of sustenance for landlubbers and watermen alike. My folks milked cows and grew corn. Here at the maritime museum, we celebrate those who harvested oysters and crabs–rockfish, too. What is new about the museum today is its entryway into a world most of us know, even lifelong Eastern Shore folks, only from restaurants and seafood aisles in supermarkets. I remember days when tides flowed out so fast that you couldn’t catch crabs fast enough to count. But we never did that for a living. We sold milk to Breyer’s ice cream on refrigerated trucks that hauled it back to Philadelphia. I was a farmboy and can’t tell you how I ended up reviewing musical theater, except that it was a lot less messy than milking 60 cows twice a day. 


What I so appreciate about the brand-new Visitors Center of Chesapeake Bay Maritime Museum is that it invites you into this realm most of us know little about firsthand. You drive into the museum’s main entrance, and there’s a parking lot, of course, and on summer weekends, it may be filled to the gills, as you might say in fish parlance. The exhibit now on display for an entrance fee, “Water Lines: Chesapeake Watercraft Traditions,” gives you a sense of what it takes to make a living by this means or to enjoy the sport of sailing, racing, or whatever on the bay. After that museum-style introduction, walk out onto the campus vista in front of you – the St. Michaels Harbor and Miles River, from which the British couldn’t shoot straight because they aimed too high due to lighting that fooled them. 

If you haven’t already done so, be sure not to miss the exhibit in the Steamboat Building just to your left as you exit the Visitors Center toward the harbor. “The Changing Chesapeake” is a wake-up call to what awaits us if we pay no attention to climate change. It’s a no-brainer to figure out that areas closer to sea level are at risk of inundation. It’s no exaggeration, for instance, that a quarter of Dorchester County will be under water within the lifetime of our next generation.

OK, so that’s a bummer for sure. But there may still be time to do something about it. And just to show what the historic spirit of St. Michaels is about, check out The Fool’s Lantern restaurant, paying tribute to the Revolutionary War diversion that spared the town of hostile onslaught. Talk about making America Great Again. Hey, you did that a long time ago, St. Michaels, so do it again. The sea is rising–time to rise again to the occasion.

cbmm.org

 ***

John Gallagher Jr. in Swept Away at Arena Stage

For a very different sea-going adventure, here’s your chance to see the next big – possibly – musical Broadway hit, “Swept Away,” with music and lyrics by The Avett Brothers. This East Coast premiere with a book by John Logan, whose Broadway credits include “Red” about the artist Mark Rothko, is directed by Michael Mayer, a Tony winner for directing “Spring Awakening,” which also won John Gallagher Jr. a Tony for featured actor in a musical. Gallagher now stars in the lead role in “Swept Away,” based on the story of an ill-fated 19th-century voyage out of New Bedford, Mass., ending in unspeakable tragedy that may or may not offer a chance at redemption. The show runs through Jan. 14 at Arena Stage in Washington, D.C. A review by the Washington Post said “Swept Away” has “proved itself worthy of a Broadway christening.” For Gallagher, a native of Wilmington, Delaware, this would be his fifth Broadway credit in a leading or major supporting role.arenastage.com

As the fraught 2024 presidential season opens with the Republican-only Iowa caucus on Jan. 15, a commentator with a sharp sense of humor and a perspective from outside an exclusively American perspective may be just the ticket. Not that Trevor Noah is on anyone’s ticket for president or VP. As a native of South Africa, the TV star who succeeded Jon Stewart on “The Daily Show” is constitutionally ineligible for those offices. But Baltimore’s Hippodrome Theatre of the France-Merrick Performing Arts Center has just the ticket for his particular illumination, with shows running Jan. 11-14. Not that his commentary is apolitical. Noah offers an effectively non-partisan perspective, however socially relevant his views may be. Whether you agree or not, it’s refreshing to laugh at each other’s foibles and consider that disagreement does not make folks of an opposite opinion your sworn enemy.
france-merrickpac.org
***
Main Street Gallery in Cambridge opens the new year with an aptly named show called “Serendipity,” dictionarily defined as “unplanned fortunate discovery.” First, if you’re unfamiliar, Main Street in Cambridge does not exist. The town’s only artist-owned-and-operated gallery is located on Poplar Street downtown. “You may discover a beautiful painting at a significant discount,” says director Linda Starling, “or a unique piece of knitwear perfect for a cold winter day.” Whatever the serendipitous surprises, the show and sale runs Jan. 4-Feb. 25, with Second Saturday of the month events planned for Jan. 13 when the gallery will stay open 5-8 p.m. during Cambridge’s Ice and Oyster Festival, and again for the same hours, Feb. 10 for pre-Valentine’s observance. Light refreshments and a chance to hear artists present brief chats about their works will be part of both free winter receptions.
mainstgallery.net
***
“Come to the Cabaret” at Church Hill Theatre. No, this is not a preview performance of the John Kander and Fred Ebb masterpiece to be revived once more on Broadway in April. But it is a chance to support a worthy local theater company with a one-night-only performance by local artists in a cabaret-style show preceded by an open-bar cocktail hour. It begins at 6:30 with curtain an hour later for $50 admission. Unlike the Broadway “Cabaret,” no Nazis or gorillas allowed.
churchhilltheatre.org
***
If you catch Improv Easton’s free First Night Talbot show at 7:45 p.m. at the Avalon Theatre’s Stoltz Listening Room – you may be inspired to see if you’re up to the improvisational challenge yourself. The next “Try-It” night is 6 p.m. on Jan. 16. Sign up by emailing [email protected]. Follow Improv Easton on Facebook or Instagram.


Steve Parks is a retired New York arts writer and editor now living in Easton.

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: 1A Arts Lead, Arts Portal Lead

Design with Jenn Martella- Contemporary + Craft

December 27, 2023 by Jennifer Martella Leave a Comment

 

This is the fourth house on a charming street in St. Michaels that I have featured and the only contemporary house in this eclectic mix of bungalows, the Dutch Colonial next door and several Colonials that give the streetscape such great curb appeal. Other factors in this desirable location are quick access off Talbot St. several blocks away from the commercial district, short walking or biking access to the St. Michaels Nature Trail and Back Creek Park. Now that the Environmental Concern property will be converted to a public park, this location will be even more desirable. 

 

When I arrived for my tour, I assumed that this property had been previously either a vacant lot or had contained a deteriorated dwelling that was demolished. The Listing Agent told me both the exteriors and interiors of the existing house  had been renovated.  As I walked up the steps to the front porch, I appreciated that the steps did not extend the full width of the porch so a discrete black iron handrail could be added at the wall if needed and how the round contemporary lights would illuminate the steps at night for safe access for guests. The board and batten siding adds texture and shadows in sunlight and deemphasizes the height of the one-story façade. The siding’s earth tones are accented by sleek black window frames, bright red cushions for the rattan seating and the red pots with seasonal accents. 

Behind the main house is a building that previously contained a single car garage and storage but now has been renovated into a guest house. The rear entry to the house has a spacious landing with steps overlooking the courtyard that connects the house to the guest house.

 

With solid fencing along the side property lines, the courtyard becomes a private oasis with decking staggered through the landscape between the main house and guest house. The primary suite at the rear of the main house has another deck overlooking the plantings and the guest house has both a deep overhang and an umbrella for shade.  The red accent colors continue for the deck chairs, pillows and umbrella that perk up the earth tones.

 

When I stepped through the front door between the open plan dining and living area, I appreciated how the flat ceiling became a sloped ceiling accented with stained collar beams. I also liked the wall color as it is the one I have picked out for my own main floor walls for spring painting. The rear wall of the dining room has an opening to the kitchen beyond that becomes an interior “window”.

I stopped to savor the beautiful interior design with craftsman styled furnishings and artisan crafts that are very stylishly arranged. I have written before that my mother was a member of the Southern Highland Craft Guild so crafts are in my DNA and I knew immediately this tour would be a special treat and indeed it was. I also admired the many rugs over the tongue and groove yellow pine flooring found throughout the house.

 

The living room front wall’s rhythm of three windows with wood slat window treatments overlooking the front porch, the wrap-around sofa against the “wall” of the dining room’s sideboard, the contemporary lounge chairs, books, art and fireplace all create a room any bibliophile would enjoy. 

 

I coveted this beautiful gourmet kitchen with its flat and sloped ceiling planes, warm tones of the custom wood cabinetry and flooring, stunning leathered granite countertops, tile backsplash and stainless steel appliances. The top of the upper cabinets becomes a shelf for the Owners’ collection of silver ware. Behind the breakfast bar is a row of base cabinets for extra storage or a buffet for entertaining.

 

I recently helped my older sister choose finishes for her kitchen and I remember seeing this stunning leathered granite design in showrooms that would also be perfect for my house’s color scheme. How pleasurable it must be to sit on a bar stool and be warmed by the sun through the side window while enjoying breakfast or an informal meal. 

 

At the rear of the kitchen is a perfect breakfast prep area with the coffee pot and a microwave in the base cabinet next to the refrigerator. Every house needs a mud room and behind this kitchen is generous space for boots, wellies and jackets conveniently located by the rear door leading to decking down to the courtyard and the garage.

 

Across the hall from the kitchen is a guest ensuite and at the end of the hall is the primary ensuite. The primary bedroom’s sliding French doors with wood slat blinds for privacy lead to its private deck overlooking the courtyard. I loved this room’s design from the rug’s abstract earth toned geometric design, to the sleek contemporary wood chest of drawers and dresser, the deep terra cotta color of the chair, dark iron bedframe with a crisp white coverlet and the artwork. The five paneled door is a reminder of the former older cottage.

 

I admired the many colorful weavings and art picturing scenes of the west that accessorize the primary bedroom and most of the main rooms. A pocket French door leads to the adjacent bath and the high windows at the edge of the bedroom’s sloped ceiling provide privacy. 

 

From the primary bath,  the colorful weaving over the bed is partially visible and I loved the scale of the bath’s basket weave tile flooring that I have specified for one of my architectural clients. The glass front wall of the shower expands the space and sunlight/moonlight from the skylight and the pendant lighting provide ample lighting. The dark dual lavatory cabinet contrasts well with the lighter countertop.

The guest house at the rear of the property contains a single car garage and a guest ensuite. The living room and full bath are located on the main floor with a bedroom and office on the upper level. Part of the main floor ceiling is sloped with skylights and an accent window just below the ridge of the ceiling. Opposite the entry sliding glass doors is a row of cabinetry with a bar sink for guests that backs up to a full bath behind the wall. The wood work table and stools can do double duty as a dining space. What a great space for the Owner/Weaver to create wall hangings like the ones that adorn the side wall.    

 

Walking up the “L” shaped stairs to the loft level, I was pleasantly surprised the see the brightly colored walls. The knee walls are just the right height to serve as the bed’s headboard and opposite the sleeping area is an office area with a view to the sleeping area’s window. 

Being an architect, the architecture is usually the primary criterion that captures my eye but this house’s interior design was simply irresistible to me. Great location just outside the St. Michaels Historic District, with the bonus of the St. Michaels Nature Trail only two houses away that abuts the site of what will be a new waterfront Town Park. Walk or bike to nearby Back Creek Park with its charming wood covered bridge and launch your kayak after a picnic in the park. After your daily exercise, come back to relax on your full front porch or the private park-like courtyard between the house and the guest house. Both the main house and the guest house have been completely renovated so you can enjoy one level living in the main house with its compact center hall floor plan, great flow among the rooms, sloped ceilings that create volumes of space and abundant sunlight from windows and skylights. I could easily move into this house if it remained fully furnished-bravo to the Owners who selected the finishes, furnishings, accessories and art and created the beautiful wall hangings!

For more information about this property, contact Meg Moran, GRI, with Long and Foster Real Estate-Christies International Real Estate at 410-770-3600 (o), 410-310-2209 (c), or [email protected]. For more photographs and pricing visit www.megmoran.com , “Equal Housing Opportunity.” 

Photography by Eve Fishell, Chesapeake Pro Photo LLC, 443-786-8025, www.chesapeakeprophoto.com, [email protected]

Jennifer Martella has pursued dual careers in architecture and real estate since she moved to the Eastern Shore in 2004. She has reestablished her architectural practice for residential and commercial projects and is a referral agent for Meredith Fine Properties. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday afternoons.

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: Design with Jenn Martella

Delmarva Review: Proposal by Emily Adams-Aucoin

December 23, 2023 by Delmarva Review Leave a Comment

Author’s Note: “Proposal” is an aspirational poem that came to me as I was considering, one December, what I wanted from my life, what would make me feel whole as a person. The ‘proposals,’ as I call them, came to me as exclamations that range from large to small in scope, though none are small enough so as to be immaterial. Here, at least in this poem, they exist as possibilities—if not in this life, in the next one.

Proposal

let’s get sober! let’s ignore our genetic
dispositions & recall every Christmas Eve
down to the pattern of the wrapping papers!
let’s set aside an hour & call some
therapists! let’s eat ripe peaches & lick the
juice from our wrists! why don’t we try to
believe in god one last time! we should
look at all of our days with astonishment!
why don’t we hold each other like the end
is coming! let’s kiss very tenderly
as the city burns! we should
say thank you more! let’s river ourselves
into the sky when it’s time! our stubborn souls
would stick close for so long! find me
as soon as you remember!
we should do this all again!

♦

Emily Adams-Aucoin’s poetry has been published in several anthologies, as well as in Electric Literature’s The Commuter, storySouth, Split Rock Review, Meridian, and Colorado Review, among other publications. When she’s not writing, Emily enjoys baking, gardening, and looking for poems that hide in the wooded area behind her home in south Louisiana. Website: www.emilyadamsaucoin.com 

 

Delmarva Review is a national literary journal with local roots in the Delmarva Peninsula. Editors cull through thousands of submissions annually to select the most compelling new poetry, fiction, and nonfiction. About half are from the Chesapeake and Delmarva region. The review is available in paperback and digital editions from online booksellers and regional specialty bookstores. As a 501(c)(3) nonprofit, support comes from tax-deductible contributions and a grant from Talbot Arts with funds from the Maryland State Arts Council. Website: www.DelmarvaReview.org

 

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: 3 Top Story, Delmarva Review

Eastern Point Sunset by Miriam Miller

December 23, 2023 by Chesapeake Lens Leave a Comment

The close of another Eastern Shore winter’s day can bring welcome solace and peace to the beholder. “Eastern Point Sunset” by Miriam Miller

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Filed Under: 3 Top Story, Chesapeake Lens

Looking at the Masters: Santa Maria in Trastevere and Pietro Cavallini

December 21, 2023 by Beverly Hall Smith Leave a Comment

Santa Maria in Trastevere, Rome (1130-1143)

According to an early Christian legend, in 38 BCE oil gushed from the ground in the Trastevere (beyond the Tiber) district of Rome. Some early Christians thought this event was the annunciation of Christ’s birth. A second legend states that the oil gushed from the ground on the night Jesus was born. Roman Emperor Constantine made the Roman Empire Christian in 312 CE, and he began construction of Christian churches.  St Jerome (342-420) wrote that people in Trastevere believed the oil spring was a sign of God soon coming into the world. The spring became a meeting place for Roman converts to Christianity. In the 4th Century, Pope Callistus I began the building of Santa Maria in Fons Olei (oil spring). It was completed by Pope Julius I in 340, and it was one of the first Roman churches dedicated to the Virgin Mary. Pope Innocent II (1130-1143) reconstructed the church and named it Santa Maria in Trastevere. The octagonal fountain in the center of the piazza was originally designed by Bramante, the architect of the new St. Peter’s (1506). 

Santa Maria in Trastevere (Apse)

To decorate the enlarged Santa Maria in Trastevere, Pietro Cavallini (1259-1330), an Italian painter and mosaic artist, was commissioned to create mosaics depicting the “Life of the Virgin” in the apse. Very little is known about Cavallini personally, but his work was praised for its technical skill and human qualities.  

In the mosaic at the top of the apse, Christ has raised up Mary to be the Queen of Heaven, and they sit enthroned together. Below, twelve white sheep, representing Christ the Good Shepherd’s flock, walk toward the Lamb of God, identified by the large gold halo. Cavallini’s scenes of the “Life of the Virgin” are below the sheep. The series begins with Her birth at the far left, and end with Her death the far right. The Christmas story begins with the second panel, ‘’Annunciation.’’ 

“Annunciation” (1296-1300)

Following the Byzantine tradition, the “Annunciation” takes place against the golden sky of Heaven. Cavallini depicts a bare-footed Angel Gabriel walking vigorously toward Mary, his multicolored wings stretched behind him. Gabriel’s right hand is raised in greeting Mary. Wearing a gold gown with a blue robe, Mary has been reading, and looks up with surprise. The face of God appears in the blue Heaven. The white dove represents the Holy Spirit. Three green plants grow are symbolic of the presence of the Trinity.  The vase containing three white lilies are symbols Mary’s joy at Christ’s birth, Mary’s sorrow at Christ’s death, and Mary’s glory as she is taken to heaven. The dish of green figs is symbolic of Mary’s divine fertility. 

Cavallini was able to depict credible facial expressions and to give his subjects reasonable body proportions for his time. He also demonstrated his skill depicting an elaborate architectural structure to hold Mary’s chair. Artists’ ability to create three-dimensional images was severely limited at the time. Cavallini clearly had been tackling the technique, and the “Annunciation” shows what he accomplished.

“Nativity” (1296-1300)

 

Cavallini followed the Byzantine tradition of placing the “Nativity” in a cave, rather than in a stable. The Greek Byzantine artists chose the cave because caves were used for the stables in the east. The eight-pointed Star of Resurrection appears in the blue globe of Heaven. In this setting it is called the Star of Bethlehem.  Having given birth, Mary lies beside Jesus. His halo represents the Trinity. The ox and the ass look at the Child, and He looks back at them. Joseph is portrayed in the classical pose used to represent contemplation.

Above the cave, two angels lean in to witness the scene. A single angel announces the birth to a shepherd, showing him a banner containing the words, “I bring you great joy.” The shepherd’s flock and dog are placed in the foreground. The sheep drink from a stream of water. A shepherd boy pipes a tune. The figures are nestled in a pocket of earth. 

A small yellow building labeled Taberna Meritoria refers to the location of the oil spring and the eventual site of Santa Maria in Trastevere. In the 3rd Century, early Christians asked Emperor Alexander Severus (reign 222-235) if they could build a retirement home for veterans on the site. Cavallini depicted black oil running from the front of the structure. 

“Nativity” (detail)

 

The shepherd boy, cheeks puffed and eyes wide from blowing, plays his horn for the sheep. They seem to listen intently and perhaps smile.  Cavallini achieves a three-dimensional image by variations of skin tones on the boy’s face, neck, arms, and legs. His fingers are in the correct position for playing the flute. His calf muscles are delineated. His brown boots and purple tunic also have dimension. The white coats of the sheep are shadowed with gray, achieving a shaggy look. A small lamb and ewe, nuzzle each other. Cavallini’s skill is evident.

“Adoration of the Magi” (1296-1300)

 

Mary, in her familiar blue cloak, holds Jesus on her lap, although He is suspended not sitting. Still learning to depict human anatomy, Cavallini has not been able to make Mary’s hand support the Child. Unlike other twelve-day old babies, Jesus typically was depicted as physically capable of responding to others. He reaches out His arms and recognizes the Magi. The eldest of the three, with a gray beard and hair, kneels to present his offering of gold. The middle-aged one, dressed in a gold robe, presents a chest of frankincense. The youngest bows and offers a container of myrrh. All three are elaborately dressed, especially in decorative white leggings and jeweled boots. Cavallini has depicted their dignity and their respect.

Twelve days have passed since the Nativity, and Cavallini has taken the opportunity to place the Holy Family in an architectural structure in the scene, rather than in the cave. The eight-pointed star of Bethlehem appears above.  The white marble structure has a Roman round arch doorway with two ledges that project from it. Cavallini has attempted to depict the room behind the door. He was successful in making the façade of the structure three-dimensional. However, all his figures are too large to enter the building. Joseph looks on quietly beside the structure. At the upper left, the walled town of Bethlehem sits on the top of a mountain. The brown road the Magi traveled from the city to see the Child is depicted. Fresh water springs forth at the lower end of the road.  

Cavallini’s commission at Santa Maria in Trastevere was significant because he was one of the most respected artists of his time. Pope Boniface VIII had designated the year1300 to be the first Jubilee of the Church. The churches to be visited by millions of pilgrims were St. Peter’s and St. Paul’s in Rome. Santa Maria in Trastevere was added specifically to include a church dedicated to Mary. Cavallini’s advances in naturalism and perspective influenced artists for decades. Despite his prestige, Cavallini signed his works modestly pictor romanus (Roman painter). 

Beverly Hall Smith was a professor of art history for 40 years.  Since retiring with her husband Kurt to Chestertown in 2014, she has taught art history classes at WC-ALL. She is also an artist whose work is sometimes in exhibitions at Chestertown RiverArts and she paints sets for the Garfield Center for the Arts.

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: Looking at the Masters

Marble Man: Sculptor Sebastian Martorana Brings the Public and Private to Life

December 21, 2023 by Val Cavalheri Leave a Comment

Academy Art Museum (AAM) is currently hosting an exhibition that challenges traditional notions of sculpture. Sebastian Martorana: Public/Private finds humanity – mostly in marble – and offers museum-goers a glimpse into the artist’s unique perspective. 

The exhibit name is more than just a window into Martorana’s dual artistic focus. It also explains how most artists find an approach to their work. “There are those pieces that are inspired by public things, things outside of ourselves,” said Martorana, “and then artworks that are inspired by things that are really much more personal; individual things that are more home and family oriented.” The decision to showcase Martorana’s work in two individual yet interconnected gallery spaces at AAM reflects this dichotomy of an artist who is interested in the intricate nuances of the human condition and the sociopolitical realities of our lives.

In one gallery, you will encounter “Trumppet,” a provocative cartoonish bust in white marble mounted on cedar wood. Across the room, “Permanent Separation Anxiety” depicts a squished teddy bear carved from smudged, salvageable marble. Neither could be classified as huggable.

Yours, Mine, Ours

A lighter atmosphere will be found in the adjoining gallery with pieces such as “Baby Boots on the Ground” and “Work Mittens,” alongside busts of the “Friendly Ghost” and “Kermit” (the Muppet frog). The showstopper, “Yours, Mine, Ours,” is where the artist’s playfulness collides with precision – hyperrealistic marble bath towels hang on metal racks so convincingly, you almost want to reach out. Resist. However, touching (or sitting) is encouraged with “New Construction,” a marble-imitating-brick-imitating bench in the middle of the gallery floor. 

Martorana passion for sculpting came about not through being inspired by other artists in his family – there were none – but through exposure to art books, museums, and images of Renaissance-era stone carvings. While growing up in Northern VA, his passion for art blossomed thanks to the Virginia Governor’s School Program, a publicly funded summer program. This was followed by a Bachelor of Fine Arts in Illustration from Syracuse University, including a semester in Florence. He earned his Master of Fine Arts at the Maryland Institute College of Art’s Rinehart School of Sculpture. Beyond creating commissioned architectural sculptures and more expressive personal works, he is an adjunct professor at the Maryland Institute College of Art. 

Free Sample Bucket

And it is here that he passes on an important life lesson for those students who want to experience the success he has: “I tell them, being an artist is expensive. So, find a job that accentuates or subsidizes that interest instead of a completely separate job. It’s difficult if you are trying to make it as an artist and also have to work full-time in an office, grocery store, or coffee shop. Those are exhausting jobs and don’t necessarily have anything to do with your creative process. If you want to be a metal worker, a sculptor, a welder, or weaver or something like that, find a job that is in some way in that field.”

Martorana speaks from experience. After college, he became a full-time apprentice in a stone shop outside Washington, D.C. The immersive experience allowed him to master the technical aspects that enabled him to translate his creative vision into marble.

Much of Martorana’s stone carries a history of its own. Rather than faultless blocks from suppliers, the artist sources architectural salvage from Baltimore’s ‘perpetual cycle of construction and decay.’ “The stone has its own unique narrative,” he said, “another interesting layer, conceptually.” Using recycled material lends depth to his exploration of the public and private worlds. From this storied stone, Martorana creates an array of textures, examples of which can be seen at the AAM academy. 

Friendly Ghost

However, his artistic abilities extend beyond marble and include granite, limestone, slate, and sandstone. He admits that ‘”The type of stone I pick for a sculpture is sometimes defined by the stone itself.” Besides sculpture, he is also adept in wood carving, architectural design, and letter carving, the latter a skill that also sets him apart from others. “Easily 50% or more of my annual revenue,” he said, “is carving letters. There are a lot of carvers that only do letter carving but not sculpture; there are a lot of carvers that only do sculptural architectural work, not letter carving. But the lettering is just often what’s needed for a project. So I’ve done a lot of it. Besides, it’s a very demanding discipline. If you screw something up, it’s really obvious.” Martorana generally avoids using letters to define his artwork, although one of his lettered pieces is in the exhibition. “I’ve always wanted my work to be more global, universal, in the sense that anyone can look at them and hopefully draw something out of it. If I’m writing something in English, only English-speaking viewership will be able to understand what I’m doing.”

Clearly, there is no lack of understanding of the depth of Martorana’s portfolio. It includes significant projects for the U.S. Federal Reserve and St. Patrick’s Cathedral, as well as exhibitions in galleries and museums. Notably, his sculpture, “Impressions,” was featured in the exhibition “40 Under 40: Craft Futures” at the Renwick Gallery of the Smithsonian American Art Museum over a decade ago, when he was still in his 20s. The piece is now part of the Museum’s permanent collection. “To have any artwork in that collection in those buildings is certainly very, very surreal,” he said. “That show was an incredible experience and definitely opened opportunities.” 

You can say that one of the doors it opened was the Academy Art Museum’s. But as pleased as they are to include his work, he is equally enthused about AAM. Their motto of ‘Where Art is for Everyone’ resonates strongly with him. “It’s really easy to say but a lot harder to do. In recent years, many museums have moved to this model. But it’s harder for a smaller private museum to have free entry for everyone all the time. I took it for granted to be able to go to D.C. and walk into places that were completely free. The Academy Museum is doing that same thing, and it’s a real rarity that I hope people appreciate and take advantage of because it’s just not as common as you think.”

So go check out Sebastian Martorana: Public/Private. See how Martorana infuses life into the cold and unyielding medium of marble. Don’t be surprised if what you ultimately find is a glimpse of humanity and the connections binding us. And if Martorana has ignited your artistic spark, then take advantage of another ember he’s giving you. As you leave the gallery, by the door, there is a paint bucket, ‘Free Samples,’ the sign says. Reach in, take home a piece of marble, and tell your own story.

Sebastian Martorana: Public/Private running through March 24, 2024, at Academy Art Museum, 106 South Street, Easton, Md. Admission is Free.

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: 1A Arts Lead, Arts Portal Lead

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