“… put off your shoes from your feet, for the place on which you are standing is holy ground.” (Exodus 3:5b RSVCE)

_

Just imagining the scene conjures up a swirl of emotions.

Her plot was hatched even as she watched the workers pour the thick mixture into the square form and smooth it with a trowel. She knew this much, the job to be done must be carried out in secret.

As afternoon yielded to early evening, while her Mom was occupied with preparing dinner, she sensed her opportunity. Clutching the popsicle stick she’d retrieved from her toy box, the wispy young girl slipped out the front door and crept purposefully toward the still-damp concrete. The naughtiness of her intention was unfamiliar but somehow exhilarating.

She glanced in all directions before moving aside one of the orange cones and kneeling next to her target. She would employ a light touch…

—

I once had the grand opportunity to visit the Hermitage Museum in St. Petersburg, Russia. As I moved slowly from gallery to gallery, viewing works of art by many of history’s great masters, including Rembrandt’s “The Return of the Prodigal Son,” I was spellbound. I also found myself oddly preoccupied by two things: 1.) the realization that each of these treasures began as a blank canvas and later became a masterpiece; and, 2.) a fascination with the various artists’ signatures.

Not all artists choose to sign their work. Some, however, make the distinctiveness of their signature a true part of their artistry.

—

Our granddaughter Therese, known affectionately to friends and family as T, has a flair for art that was evident quite early in her life. Though never one to draw attention to herself, Therese clearly understands the value of a distinctive signature. 

When she was thirteen, Therese was commissioned by her Gramma (my wife, Marianne) to produce a painting of a bird. When we received the finished work, I noticed for the first time the uniqueness of Therese’s signature. Note the period (.) before rather than after the capital T.

—

I once heard a conference speaker compare the experience of viewing a great painting by one of the masters to viewing a digital reproduction of the same painting. He admitted that the reproduction would lack the original’s capacity to inspire awe. He went on to say, however, that the digital reproduction should not be easily dismissed since advancements in digital photography now afford us the chance to study great paintings even at the brushstroke level.

I wonder how many thousands of brushstrokes Rembrandt used when painting “The Return of the Prodigal Son.” And, I wonder how many Therese used in creating her early masterpiece.

—

I still live in the small town where I was born and grew up. Its streets, neighborhoods, and even many of its residents are well known to me. It is, after all, home, and my roots run deep.

Maybe it’s characteristic of my age, but when I take walks today on these oh-so familiar streets, what had originally been intended as cardio exercise often becomes instead a mobile meditation through space/place and time. Memories are easily triggered. I also seem to notice things – or, more precisely, the significance of things – I have somehow missed before.

Locally, the practice seems to have ceased; however, for many years, the companies responsible for creating sidewalks in our town actually signed their work by embedding a small company plaque in the freshly poured concrete.

On a recent walk, I saw this:

What captured my attention was the date on the plaque, 1928. My father and mother, who also grew up in this town, were born in 1925 and 1926 respectively. So, they were toddlers when this sidewalk was created; and, since our town spans only 1.5 square miles, they had almost certainly walked on this very same sidewalk when they were children, adolescents, young adults, etc.

In a stunning moment of awareness, I sensed that a part of each of their stories had played out right here decades before. I suddenly felt a closeness to my parents that warmed my heart. Perhaps they had even walked by here together when their love was new and still enchanting. If so, I like to imagine that they were holding hands.

While caught up in this rumination, it dawned on me that F. J. McQueeney had, rather distinctively, signed a blank (concrete) canvas in 1928. Thereafter, it would be up to countless “artists,” over many generations, to finish the masterpiece.

All of the moments of all the lives lived atop McQueeney’s work were the brushstrokes.

—

I keep a soft, squishy ball that’s about the size of a softball atop the bureau in my bedroom. Most of the time, I pass by without even noticing it. Other times, however, it will catch my eye, and I’ll pick it up, squeeze it gently between both hands, and feel its inscape in my heart.

There’s a history with that ball that can’t be seen but can yet be deeply experienced, at least by a sentimental grandfather. Borrowing a concept from my favorite children’s book, The Velveteen Rabbit, that ball has become “real.” My grandson Joseph made it so. (But, that’s another story.)

—

I now see that McQueeney’s sidewalk is likewise “real.” All of us who have traveled its firm path have made it so  – and continue to make it so.

Consider, if you will…

Boys, in 1956, pitching their baseball cards toward the small retaining wall on the far side of the sidewalk – brushstroke

A brother and sister, in 1933, drawing a marvelously imperfect hopscotch grid in front of their home – brushstroke

An elderly woman, in 1962, slipping and falling on an untreated icy patch, thus beginning a steady decline in her health – (a tragic) brushstroke

A committed jogger, in 1978, stopping to check the intricate tread on her running shoes after accidentally stepping in something unpleasant – (a smelly) brushstroke

A father, in 1989, teaching his 6 year-old how to ride a bike and letting go at just the right time (even though he’d sort-of promised he wouldn’t) – brushstroke

A lovely bride, in 1994, leaving her childhood home and climbing into the limousine that would whisk her to the church and to a new life – brushstroke

A 47 year-old heart attack victim, in 2006, being wheeled from his home to a waiting ambulance with his nervous wife at his side – brushstroke

And so on…

—

After countless other brushstrokes, my late sister’s name in that sidewalk panel has faded over time. Truthfully, it was barely discernible from the start. Perhaps she really did deliberately employ a light touch, or, the concrete had already hardened to the point that making a deeper impression was just too difficult.

When I pass that way, I’ll often stop to study the spot. I know exactly where her name had been literally etched in stone, but the clarity of “Christine” is no more. That realization brings me sadness. Still, its gradual fading, while disappointing to her younger brother, may be appropriate.

Perhaps our brushstrokes are meant to fade. Then again, perhaps they don’t fade at all. They simply become invisibly “real” by blending with countless other brushstrokes that paint the human story.

Christine’s name and her memory have now become part of that sidewalk panel’s inscape, brushstrokes of a collective masterpiece.

—-

Tread lightly on the sidewalks in your life, for they are truly holy ground.

Thank you, F.J. McQueeney.