Pandemic Wandering, Day 3

Saturday, in Nashville

The real reason I made this trip was to go to Lane's Motor Museum. I won't rehash the saga of my last trip to Nashville to see it; anyone who knows me has already heard it twice, even if they don't remember it. Today, though, I got there.

I also got to the Parthenon, the only other Major Sight Worth Seeing in Nashville (in my estimation). It did not disappoint.

pardon their landscaping dust

In 1896, Tennessee had its centennial as a state. A year later (money being scarce, it took a while to get enough together) they put on a celebration, a sort of World's Fair, and as part of that, they built a replica of the Parthenon as it would have looked before the ravages of war and time had their effect. It was meant to be temporary, and was built out of cardboard and glue. When the time came to tear it down (as they did with all the other buildings of the Centennial Celebration), the city of Nashville refused to let that happen. The building had wormed its way into the civic heart. So instead of tearing it down, they rebuilt it, this time out of concrete cleverly formulated to mimic the golden colour of the original. It's used as an art museum.

As a building, it's a glory. It doesn't have the dramatic setting of the original, up on its hill, but it has all the majesty. It is an excellent demonstration of what was so great about ancient Greek architecture. As an art museum, it's less impressive. There's a modest collection, mostly of landscapes donated by some rich guy a century ago, and it hosts other small travelling exhibits; small, because there's only one room on the one floor to exhibit in. The exhibition on show today was a particularly good example of how horribly bad modern art can be when an art-school graduate gets a bit of a name in toney art circles.

There is, though, a second floor, and when you ascend the stairs to it, you are astounded. It's a single large high-ceilinged room, a re-creation of the Temple of Athena as it would have been 2500 years ago in Athens, right down to the gaudy gigantic gilded statue of Athena. It is magnificent.

The statue of Nike in Athena's hand is 6'4" tall

That took up a much bigger chunk of my morning than I had anticipated.

Then came the Lane Motor Museum, the thing that drew me back to Nashville in the first place. I go to a lot of car museums. I love looking at the stylings of cars and how they've changed over the decades. The earliest cars were unadorned machines, but it didn't take long for appearances to become important in selling those machines, and by 1920, automotive design had developed into a Thing. Back then, many cars were sold as chassis and motor, and the purchaser hired a coachwork company to put a body on it. Manufacturers noticed, and soon they were offering bodies that, they hoped, would attract buyers to their cars. By the end of the Great Depression and the start of World War II, coachbuilders were either out of business or subsumed into manufacturing companies. (Think "Body by Fisher.") Very few have survived independently to the current era.

No, not a Thunderbird;
an Audi

And styling tastes vary greatly from company to company, and from country to country. That's why this particular museum was such a draw for me: it specialises in exhibiting European cars. (Others I've seen like that are the Tampa Automobile Museum and the Mullin Automotive Museum in Oxnard, California.) Besides getting to see the different paths that foreign designers took, I also enjoy seeing the convergences between their tastes and American stylists' tastes. Right now, for example, you can look at any new car lot and see how American automotive designs have taken cues from designers in Germany and Japan, Italy and England; before, designers in those places took cues from Detroit.

And, of course, some of those foreign designs look just a little wacky to me.

1951 Hoffman (Germany)

1958 Tatra (Czechoslovakia)

1950 Lloyd (Germany)
vinyl skin over plywood

1991 Nissan (Japan)

As do some of the American designs I've seen.

1950 Martin Stationette (USA)

Those are fun to look at, but it's really for the exemplars of beauty that I go to car museums, the marriage of elegance and technological innovation. Foreign car stylists solve those marital problems in different ways from their American counterparts, and I like seeing how they do it.

And here, once again, is a link to the photo album for this trip. I apologise for the quality of the 150 or so car pictures I took today, but the building housing the collection has lots of windows and so lots of glare. You can take some comfort in knowing that I've deleted the worst of them.

Tomorrow, I head off to start counting counties, in eastern Tennessee and Kentucky; and I may even get to Ohio, but I doubt it.