Arizona's Summer Festival of Arts and Music at Flagstaff

BY: CHARLES FRANKLIN PARKER,JOSEPHINE MCDANIEL PARKER

Culture came to the northern highlands of Arizona in July, 1966, with an impact expected to create a new dimension of summer activities for the entire state and for vacationers from other regions. The Flagstaff Summer Festival had such an auspicious inaugural that Arizonans may well anticipate development of a festival comparable to those of other noted places. The First Annual Flagstaff Festival emerged from an idea nurtured by a group of citizens from various areas of Arizona aware of the need for the development of added cultural advantages for the Southwest. Inspired by the unique climate and unsurpassed scenic beauty of the Northern Arizona area, and aware of the special advantages of this region for summer activities, Flagstaff was chosen for this event.

Flagstaff, nestling at the foot of the towering San Francisco Peaks, is located on Interstate U. S. 40 and 17, in the center of Arizona's magnificent high country, and enriched with the presence of outstanding educational, scientific and cultural institutions. It combines setting, facilities and indigenous resources adequate for the successful creative eventuation of a Summer Festival combining the arts, sciences and humanities into a satisfying experience of cultural refinement.

Enhancing the Festival location is the availability to some of the world's most magnificent natural wonders, such as the Grand Canyon. Added to these natural phenomena are the ancient ruins of archaeological importance where one can see actual evidence of earlier peoples, as well as the extant cultures of the Navajo, Hopi, Apache, Hualapai and Havasupai Indian tribes who inhabit the Northern Arizona climes.

The important fact of the Summer Festival, however, is the festival itself. The week-long program of varied offerings in music, art and native crafts constitutes the valuable core of the cultural experience. The Festival program was so scheduled as to invite visitors to include visits to all of the surrounding areas; for inquisitive minds to be confronted with the natural geological exhibits at the Grand Canyon, Painted Desert, Petrified Forest, Meteor Crater, Sunset Crater; Oak Creek and Sycamore Canyons, San Francisco Peaks and the Snow Bowl; the archeological ruins revealing man's past at Wupatki, Walnut Canyon, Tuzigoot, Montezuma's Castle, and Navajo National Monument; the centers of creative study interpreting the anthropology of the extinct and extant cultures of the region at the Museum of Northern Arizona; and the continuing exploration of man's universe through the scientific research at Lowell Observatory, the Astrogeological Research Center, the U. S. Naval Observatory, and Northern Arizona University, Arizona's youngest university. Good weather affords an opportunity to combine much into an experience in sight, search and sound to engage, entrance, and enthrall. Or one can intersperse a morning or afternoon on the golf course or motoring through changing vistas of some of the world's greatest scenic country. All is conceived around a program of creative and performing arts of excellence.

The 1966 Summer Festival opened on Sunday afternoon, July 24, with a chamber music program by the Flagstaff Festival String Quartet at the Flagstaff Art Barn, where on the walls were hung the works of sixteen internationally known contemporary artists, and closed the following Sunday evening with the brilliant performance of the Festival Orchestra under the direction of Dr. Izler Solomon, renowned conductor of the Indianapolis Symphony. Between these two dates, music and art lovers from all over the state filled the auditorium at Northern Arizona University for concerts under the baton of Solomon featuring soloists Gwen Curatilo, of the San Francisco Opera; Grant Johannensen, pianist well known in Europe, South America and the United States; and Roger Ardrey and Michael Shott, Flagstaff musical

Arizona's SUMMER FESTIVAL Arts & Music at Flagstaff

artists; rare and fascinating open rehearsals under this great con-ductor; another concert by the Festival String Quartet on the evening program hosted by Lowell Observatory; and concerts by Northern Arizona University's Summer Music Camp Symphony, Concert Chorale and Honor Band, which were convening simultaneously with the Festival. The visual arts were represented by special exhibits at the NAU Art Gallery, the Museum of Northern Arizona, and the Art Barn.

An exciting potential for cultural development in the beautiful setting of Northern Arizona lured Izler Solomon as conductor for the inaugural season of the Flagstaff Summer Festival. A man with a world-wide reputation as an outstanding conduc-tor, a background of teaching in public schools and college, and six summers presiding over the Aspen (Colorado) Music Festival and Music School, Solomon is not satisfied to enjoy his unique record of achievement and the many honors bestowed upon him in his thirty-five years of public service.

Two concerts with soloists Grant Johannesen and Gwen Curatilo preceded the final all-orchestral concert. Wednesday evening's concert, with the brilliant pianist Johannesen as soloist, provided a reunion between him and Conductor Solomon, since the two have worked together on many occasions over a period of years. Solomon says of Johannesen, "He is magnificent!"

Gwen Curatilo, soprano of the San Francisco Opera Company, was the featured soloist on Friday evening at the second major concert by the Flagstaff Festival Symphony under Solomon's direction. Under contract with the San Francisco Company since 1960, Miss Curatilo has had extensive experience with other opera companies and on national television and is proficient in straight dramatic roles.

Flagstaff provided the artists in joint recital on Tuesday evening. Roger Ardrey, baritone, and Michael Shott, pianist, are popular recitalists in the Southwest, both are on the faculty at Northern Arizona University, and both have unusual, exciting backgrounds. Most Germans probably wouldn't claim to be beneficiaries of the American Army of Occupation following World War II, but Michael Shott is an exception. Born in Berlin, he had become well known in Bavaria as soloist, accompanist and pianist to chamber music ensembles before he became director of the American Army Chapel Services for the Army of Occupation. A friendship which developed out of this position was with Dr. Chester L. Hunt, professor of social studies at Western Michigan University, who sponsored his entry into the United States in 1950. By 1964 he had earned his doctorate in music and the coveted performer's certificate from the Graduate School of Indiana University, while earning a living as pianist, organist and choirmaster in churches; had obtained American citizenship; and had served with the U. S. Army as a communications specialist with NIKI Defense Headquarters. He is now associate professor of music at NAU.

Dr. Ardrey likewise has a background of experience atypical of the traditional college professor. He served for four years with the U. S. armed forces, where he acted as assistant director and one of the baritone soloists of the U. S. Air Force and Singing Sergeants, premiered the NBC performance of the television opera, "The Cage," by Thaddeus Jones, and was a member of the Washington Opera Society. Upon return to civilian life in 1961 he joined the staff of NAU, which was a true homecoming, as he is a native of Flagstaff. Currently, he is director of opera workshop at the University. He had returned prior to the Festival from a tour of Western Europe and the Middle East as soloist with the famous Roger Wagner Chorale. This tour performed in major cities of twenty countries.

Two scheduled appearances of the Summer Festival String Quartet were unexpectedly popular with Festivalgoers. Long

Considered a form of expression of the performing arts with appeal limited to a select few, this chamber music group dispelled this belief by playing to a standing-room-only audience at their first recital at the Art Barn the opening Sunday afternoon of the Festival. Further proof of their popularity was an equally large following at their second performance at Lowell Observatory Thursday evening. This was most gratifying to the Festival committee and to many in the audience who infrequently have the opportunity to hear and enjoy chamber music. Music and the spheres were blended dramatically that night on Mars Hill. Dr. Henry Giclas of Lowell Observatory took the audience on an incorporeal journey to the planets with his lecture on the history, notable first discoveries and present research of the seventy-five-year-old Lowell Observatory. Best known to the lay person was the discovery of the planet Pluto. Dr. Percival Lowell started as early as 1902 the intricate mathematical calculations that would lead to the discovery of an object he reasoned must be out in space beyond the then-known farthest out planets Uranus and Neptune. He died in 1916, and it wasn't until fourteen years later, with the aid of a telescope built especially for the purpose, that his "object" was sighted. This was only the third time in recorded history that a planet has been discovered by mathematical computation. The first was in 1781, when William Hershel discovered Uranus, and the second in 1846, when Adams and Leverrier mathematically predicted Neptune and Galles located it from his post in Berlin.

A broad program of research continues at the Observatory. In addition to the visual and spectrographic observations long in progress, there are several photoelectric programs in operation. The Planetary Research Center, made possible by a grant from the National Aeronautics and Space Administration andfinished in 1965, is to serve as a center for planetary research first started at the Observatory in 1894 by Dr. Lowell. Its fireproof vault will store as complete a collection as possible of planetary photographs collected world-wide, and the facilities will be available to qualified scientists from home and abroad. Staff members at Lowell are joined each year by students from many colleges who come there for special study and research with "the masters" and return to their own college or university to finish their academic course for a degree. Moon mappers also work at this astronomical complex. Telescopic observations of the moon are translated into map form for the U. S. Air Force at the Aeronautical Chart and Information Center, a building designed by a Lowell staff member. Observation and photographic work is carried on at six telescopes on Mars Hill, and a seventh one at a location twelve miles to the southwest, on Anderson Mesa. Many unique pieces of auxiliary equipment are made at the instrument shop for use on the telescopes. This is another very important but little known work done at Lowell.

The capacity crowd at the Art Barn recital came early and stayed late to view the exhibit of paintings and sculpture, as well as to enjoy the chamber music. Types of expression ranged from stark realism to abstract expressionism and nonobjectivism in the works of the artists Francisco Corzas, Marilena Klonaris, Carlos Merida and Francisco Zuniga, Karel Appel, Philip C. Curtis, Albert Christ-Janer, Jerrold Davis, Julio de Diego, Paul Dyck, Lin Emery, John Hultberg, Paul Jenkins, Hubert Long, Fletcher Martin and Richard Florsheim.

Some of the work exhibited undoubtedly was familiar to visitors to the Barn, since the artists are renowned, but likely it is safe to say that much of it was new to most of the visitors. All had the mark of the professional, despite the great range of differences in subject, style and media.

A second exhibit as part of the Festival program was held at the Art Gallery at the University of Northern Arizona. Assembled and hung by Jon Hopkins, professor of arts and humanities and director of the Gallery of NAU, the exhibit was themed "Arizona: Past and Present." The exhibition dealt largely with the Arizona landscapes of both the 19th and 20th centuries. Originally, this show had been conceived as a supplement to the history department's workshops dealing with Arizona. When it became known that the Summer Festival would take place at the same time, it was decided to expand the exhibition to one of more major importance.

The core of the exhibition was composed of a selection of art objects from the collection of Mr. and Mrs. John Favour of Prescott. Among the painters represented were Tepec, Gerry Pierce, Rose Mary Mack, Lillian Wilhelm Smith, Kate Cory, and Frank Holt. Of special interest from the Favour collection was an original plaster of a head by Emery Kopta and a bronze cast of the same figure. Other Arizona artists whose works also were hung are Earl Carpenter, John Mathews and Roger Holt of Jerome; Al Nestler from Sedona; Helen del Grasso and Dorothy Fratt of Phoenix; and Blair Armstrong, Phillip Leavitt and John Armstrong of Scottsdale. Through the courtesy of Dr. Edward Danson of the Museum of Northern Arizona, paintings by Widforss, Akin and Borg were on view. A display of books dealing with the Southwest by the national awardwinning Northland Press of Flagstaff were on display and completed this special Festival exhibit.

The venerable and renowned Museum of Northern Arizona was the third mecca of the graphic arts at the Festival. It participated with the Festival by offering its top quality Navajo Show, the eighteenth in its history as an annual event, as a part of the program of graphic arts. For these highly informative and entertaining shows the Museum brings in top-notch Navajo craftsmen to demonstrate the various arts of the tribe, as well as displaying galleries of excellent Indian and Southwestern oils, pastels and water colors. The permanent collection of the Museum is remarkable in character, quality and inclusion. The collection of Hopi Kachinas is the finest in the world.

Rug weaving, silver smithing, basket weaving and pottery making probably are the most popularized crafts of the Indians. A lesser known but very significant art is that of sandpainting. This area is a very exacting one, bound by strict rules and traditions since it is a religious ceremony performed by the medicine man for the curative powers attributed to it. Great skill is required to let the fine sand flow gently between the thumb and forefinger of the artist to execute the picture on a background of smooth natural sand with the finely pulverized red, yellow and white sandstone and charcoal. The sandpainter blends these primary pigments to obtain other shades such as blue, pink, gray and brown, just as an artist working with oils blends to get the desired colors. All sandpaintings are oriented to directions and, interestingly, to the four points of the compass the Navajos add two more directions up to designate the sky world above and down to designate the underworld. These two areas are the abode of many creatures and spirits, mostly beneficent, in the Navajo's religion. Stylized spirit deity representations called yei bechai are used in sandpaintings, and in that category always have religious significance and meaning. (These figures have become popular for use in rug weaving, but in that capacity have only secular meaning.) The Museum of Northern Arizona's three annual Indian Art Shows Junior Indian Art in April and May, Hopi Craftsman in early July, and the Navajo Craftsman the latter part of July show a parallelism for the long tradition of interest in the visual arts in Flagstaff with the community's historic musical interest. It was in the patio of the Museum that the first invitational art show in Flagstaff was staged in 1929 by Mary-Russell F. Colton, wife of Dr. Harold S. Colton, and with him cofounder of the Museum. It is true that this first art show and those of today deal mainly with subjects and materials indigenous to the high country and Indian domains, but from these early beginnings have emanated the inspiration and impetus for other art forms and expressions and the cultivation of art consciousness on the part of many of Flagstaff's citizens.

Lewis J. Ruskin, art patron and chairman of the Arizona Commission on the Arts and Humanities, served as honorary chairman for the Festival. He was the first to suggest the Festival and joined others in urging the Flagstaff community to go forward with plans for the 1966 venture. He had shared with the local committee in making contacts and arrangements for participating artists and in gaining support for the Festival from art enthusiasts and community leaders throughout Arizona. His own personal acquaintance and wide range of information concerning the arts brought forth resources of magnitude and consequence to assist the local effort. It was Lewis Ruskin, more than any other person, who was the protagonist for the summer Festival in Arizona's northern highlands with the broad concept of its ultimate growth as a state-wide, regional, national and even world-renowned festival of performing and visual arts closely related to the humanities and sciences. Flagstaff, as we have noted earlier, held all of the necessary potentials.

In speaking of the results of the Flagstaff Summer Festival of 1966, Lewis Ruskin stated, “It was a tremendous achievement to put together such a fine overall program in the relatively short time available. Arizona and the Southwest have long needed such a major cultural event, and now that one has been successfully launched, in Flagstaff, I look forward to its becoming one of the finest and most popular festivals of music and art in the country.” To Paul E. Weaver, Jr., chairman of the Festival committee, and his co-members Dr. John M. Stilley, Dr. Otto Franz, Henry Giclas, Norman Sharber, Michael C. Purcell, Mrs. H. H. Metzger, Dr. Eldon Ardrey and Dr. Edward B. Danson, the week of July 23 to 31 must stand as a memorable experience justifying all their effort and personal sacrifice in time and energy. All of them, for there were no drones in this busy hive, must believe now that they gave of themselves for the inaugural for an event that will be a growing shadow of their faith, vision, dedication, activity, guidance and endurance. Certainly there were inadequacies in the first Festival, but these are inherent in an initial effort, and from the experience of this year, the guidelines for the future have been established and the pattern of seeking for excellence is the goal for the future. We, who shared as completely as spectators can in the entire Festival program and events, are delighted that Izler Solomon is to return to give dynamic leadership as Musical Director of the Festival in the 1967 season.

One man responsible for much of the success of the Summer Festival is Pat B. Curry, the Executive Secretary of the Com mittee, Conductor of the Flagstaff Symphony, Director of the University's Summer Music Camp, and member of the music faculty of Northern Arizona University.

As those directing the Festival look to the future, two major changes are anticipated. The period of the Festival will be lengthened from one week to four weeks in July, 1967. The program will be expanded both in depth and breadth, more emphasis will be given lectures in the humanities and sciences, the introduction of ballet and other performing arts such as opera and the classical theater; use would also be made of classic films, enlargements of the showings in galleries anticipating the possibility of loans from throughout the United States and the museums of Europe.

One of the vital demands made by this year's successful Festival is more adequate quarters for the concerts. The NAU Auditorium, while serving nobly, admittedly does not meet fully the future's requirements. However, the projected Creative Arts Center at the University may well be the answer and certainly the attitude of Dr. J. Lawrence Walkup, University President, is such as to make certain everything that is possible will be done to assist the Festival in its development.

Everyone involved with the Festival management seems to be in complete agreement that quality and excellence, rather than quantity and mediocrity, are to be the goals. Lewis J. Ruskin put it all in these words, “When you lower standards you are lowering your ultimate influence and enduring value.” With a fine beginning for one week last summer and with an assurance that future plans are premised upon excellence, the Flagstaff Summer Festival is destined for a glamorous future and to become a mecca for those appreciative and hungry persons seeking nurture and stimulation from the greatness of the classical heritage that has expressed and conserved the noble artistic creativity of man through the centuries the espoused purpose of the Flagstaff Summer Festival for 1967 and the many years ahead.

The Museum of Northern Arizona

The Museum of Northern Arizona and the Research Center located three miles north of Flagstaff on the Fort Valley Road are owned and operated by the Northern Arizona Society of Sciences and Art, Inc., which was formed expressly to maintain a museum, to increase knowledge and appreciation of science and art, and to provide facilities for research and publication.

Founded in 1928 by the Society under the aegis of Dr. Harold S. Colton, who served as director for thirty years, the Museum opened in its present fascinating quarters in 1936. Located on 100 acres of forest and grass, in a beautiful setting at the head of a small canyon, the Museum maintains remarkable regional displays and study collections in biology, anthropology and geology with permanent curators of geology, anthropology, botany, mammalogy, art and library.

At the entrance are found these words of introduction: "This Museum displays ideas, not things," and this is the unmistakable key that opens for the visitor the door of purpose and function of this institution. The general concept that has guided the curators in arranging the various displays is stated categorically. "Exhibits arranged for the general public should be arranged to tell a story, and only enough material to tell the story should be used; there should not be so much that the visitor is confused." This is a very special museum, with every item in each display having a specific purpose to tell the story of life in Northern Arizona.

Here are provided the materials necessary to offer the visitor an introduction to the anthropology, geology and biology of Northern Arizona. The informative and fascinating displays of scientific research are authentic in presentation and accurate in detail. Specifically, there are special displays in: Geology the earth's story from earliest times as recorded in the rocks and by the fossils of Northern Arizona. Pictorial concepts of formation of Sunset Crater, San Francisco Peaks, Oak Creek Canyon and Meteor Crater.

Archaeology the story of prehistoric Indians of the region.

Ethnology the customs and crafts of Indians who still live in this part of Arizona. Of special interest are the Navajo Rug Room, the Hopi Kiva in replica on a full scale, and the Kachina dolls.

Biology exhibits of animals and plants of the Flagstaff region, where environments range from desert to Arctic type. In the summer there is a continuing exhibit of native wild flowers.

In the patio, the planting illustrates five varieties of plant groups, from cactus to corkbark fir. Here also is presented the annual display of Hopi and Navajo arts and crafts in the surrounding arcades.

The story here revealed cannot be read by superficial or casual meandering through these halls, but only if time is taken to read explanation, in every display, with the concentration of purpose to learn not merely view, and with a desire and intent to gain understanding, not to just see objects of handicraft or cleverly contrived exhibits.

Special exhibits are arranged each year from April through December. The three annual exhibits and the dates for 1967 are: Junior Indian Art April 16 to May 7; Hopi Arts and Crafts July 1 to 4; Navajo Arts and Crafts July 23 to 30. The other three exhibits are: Photographic exhibition May 27 to June 18; the Art of Gunner Widforss August 15 to September 17; and Cenozoic Geology-60 million years of Geologic History in Northern Arizona-October 1 to December 22.

The Museum is open from March to December 24 annually, with daily visiting hours from 9 to 12 and 1 to 5 and from 1:30 to 5 on Sundays. However, during the summer months of June, July and August the weekday hours are continuous from 9 to 5.

The Research Center maintains laboratories and a library for study in the fields of biology, anthropology, geology and chemistry, as well as study collections of pottery, geology and paleontology. Facilities for independent investigators are maintained, and programs for research student and summer assistants are carried out under grants and appointments, and through cooperative agreements with several institutions of higher education in matters of special studies and research. The Atmospheric Sciences Research Center, maintained by the State University of New York, demonstrates the growing importance of this Research Center in the ongoing studies wherein the total circumstances of this region offer unusual opportunities in fields of specialization at the Museum of Northern Arizona.

Administration Building — Lowell Observatory

The Center of Astrogeology was established in Flagstaff in July, 1963, being the most recent of the scientific institutions to be operative in this region. The Center is a branch of the U. S. Geological Survey, and is involved in studies in lunar geologic mapping, geologic training of astronauts, development of geologic and geophysical tools and techniques for lunar exploration, studies of extraterrestrial materials and crater investigations. Flagstaff was chosen for the Center of Astrogeology primarily because the geology of the area bears many similarities to that expected on the moon. Meteor Crater was formed by the impact of a meteorite. The San Francisco Peaks area is of volcanic origin, and lies in the center of a field of cinder cones, lava flows, and other volcanic features. These and other parts of the Southwest have been selected to aid in the interpretation of lunar geology and to prepare men for lunar exploration.

Telescopic observations and photographs are basic sources of information used to interpret the geology of the moon, and these scientists are busily engaged in such observations and the recording of findings on maps which are the basic product of geologic interpretation. Besides these earthbound observations, these researchers are using full data obtained from the spacecraft Ranger, Surveyor and Lunar Orbiter, which have provided more detailed information than ever before available. In addition to preparing maps needed by astronauts for lunar exploration, the research includes testing as to simulated conditions to which these astronauts will be subjected and the testing of tools and machines that may be needed for their efforts in space. The program includes training in this region of astronauts for actual lunar exploration as well as providing maps and tools. It also seeks greater understanding of the extraterrestrial material found on earth and in space and conducts experiments to determine the chemical composition of these materials, and the analysis of cosmic particles by the electron microscope.

Exploration of space is one of the great scientific challenges of the world today, and the Center of Astrogeology is a frontier on this new domain of man's conquest. The research being carried on here in conjunction with the National Aeronautics and Space Administration will have much bearing upon the future success of space exploration. Preparation for manned landings on the moon and the scientific probes of other planets will be of increasing importance in astrogeology and the future accomplishments of all mankind, and this Center ranks among the most important in the United States and the world in the interpretation of data for man's great new era of life in space and the exploration of the planets.

Today the staff members at the Observatory are pursuing a broad range of astronomical research and synthesizing vast observational data on the planets, supplemented through studies made possible by modern techniques, particularly in the observation of the far infrared. Photoelectric programs involving the measurement of brightness, color or polarization of celestial bodies related to problems of stellar evolution are actively pursued.This world-famous institution was founded by Dr. Percival Lowell on Mars Hill in 1894 primarily for studying the solar system and its evolution. Lowell, who was a member of the famed New England family including his brother A. Lawrence, long president of Harvard, and sister Amy, a notable poetess, was author, diplomat, world traveler, mathematician and astronomer. He established the observatory first as a temporary expedition but because of the favorable conditions discovered at the location he determined to make the location permanent. He himself labored here with his co-workers for some twenty-two years, and upon his death he endowed the institution to afford it the opportunity of continuing the search of the heavens to which he had so positively committed himself.

According to Lowell's own statement, the establishment of the observatory came out of his interest in a great change in the field of astronomy in the latter years of the nineteenth century when, in 1877, Schiaparelli detected the so-called canals on the planet Mars, and which were given further credence by the observations of W. H. Pickering in 1892. The observatory, which came out of Lowell's expedition of 1893-94, has had two primary objectives: "the determination of the physical condition of the planets of our solar system, primarily Mars; and the determination of the conditions conducive to the best astronomical observations."

During the past seventy-five years the interest in the study of Mars has continued, and over the years records show seasonal changes in polar caps, changes in the color and shape of large areas on the surface (possibly due to vegetation changes), yellow dust clouds, and white condensation clouds in the Martian atmosphere, all indicating the earth-likeness of Mars.

The New Planetary Research Center THE CENTER OF ASTROGEOLOGY LOWELL OBSERVATORY THE PLANETARY RESEARCH CENTER

Among the more important discoveries made at Lowell Observatory have been of the planet Pluto in 1930; that "the galaxies are flying through space with extraordinary speeds away from our own Milky Way system," which proved that "our known universe must be in reality thousands of fold larger than the greatest dimensions hitherto thought possible," and "that their common recession, or red shifts, could mean the universe is expanding." Meteorologists working here were the first to combine the sciences of meteorology and astronomy and study the atmospheric circulation on the planets Mars and Jupiter. Spectographic observations made here led to the identification of two compounds, methane and ammonia, contained in the atmosphere of major planets, and radiometric methods used at Lowell first determined the effective temperatures for the planets Venus, Mars, Jupiter, and Saturn.

Several telescopes of various size and purpose are used constantly at Lowell. But the latest acquisition for the continuing research and protection of findings is the Planetary Research Center, completed in 1965, made possible by a grant from the National Aeronautics and Space Administration, wherein fireproof vaults will be stored as complete a world-wide collection of planetary photographs as possible.

Guided tours for visitors are conducted from 1:30 to 2:30 p.m. on weekdays only, Saturdays, Sundays and holidays excepted. During the summer months, visitors' nights are held on alternate Fridays. Tickets may be obtained through the Flagstaff Chamber of Commerce or from the Observatory. Special programs are arranged in connection with the Summer Festival.

yours sincerely TRACKS

The jet plane riding on the sky, Cuts silver pathways five miles high; The snail, traveling on the walk, Pencils paths with silver chalk.

How strange that planes with speed of sound, And snails, slow creatures of the ground, All go, adventuring in space On silver tracks from place to place!

GOLDEN PETALS

Sun bright nasturtium Lifts her face From the flower bed's Close-held embrace, To see her image Flutter by In golden petalled Butterfly That dips a wing In gay salute, To courage flying From earth-bound root.

TATTLE TRAILS

Finger prints upon the wall, Smudges on the chair A surety by tattle trails: Grandchildren everywhere!

HAUNTED MIDNIGHT

One by one in the shadowed light, Pale ghosts come back to haunt the night, With silent steps too soft to hear Save a sigh in the atmosphere. By lonesome buttes where derricks stand, Alien trespassers in this land, The old ones meet and council hold Till the stars grow pale and the moon is old. Then, to the realms of forgotten men They fade till midnight comes again.

SMOKE TREE

Sands stretch dry and bare And dun to the seeker's eyes. No sign, no portent there Of Nature in gentler guise Save where, on burning skies, In cool and airy plumes Lazy smoke signals rise, Spelled out in azure blooms The myriad fragile blooms That write upon the breeze Where the misty smoke tree looms, Blue as twilight seas, Leaving its promise there Etched on coppery air.

FLOWERING-MANZANITAS

In the Manzanita Thickets the honeybees Swing like golden clappers from each Pink bell.

RECEPTION IN NEW ZEALAND:

It was my good fortune to receive from a friend in New York State, three copies of the ARIZONA HIGHWAYS (April, May and June, 1966). I have so enjoyed the pictures of your magnificent scenery and I want to congratulate you on your superb publication. Congratulations also to the photographers, who are, I think, artists with cameras.

It was a surprise to me to find so much "green-ness" in your pictures. As up to now I had visualized Arizona as a high, dry state with much bare land and cacti. It was also a surprise to me to see so many lakes and streams. Much of the scenery shown is not unlike the scenery in this Bay of Plenty area of New Zealand where we have enormous man-made forests of pine for timber production and the manufacture of paper.Let me assure you that the copies of ARIZONA HIGHWAYS I have are treasured and they are shared with interested people. Thank you for these glimpses of your state.

PORTRAIT OF ARIZONA:

I am writing this letter to express my happiness and gratitude for the fine work you are doing in portraying Arizona's exciting color and beauty. I have now lived in Brazil for two years, and my work brings me into close contact with many people. Like most foreign countries and their people, the only things that the people here have to find out what the United States is like, are the many movies that are imported. Naturally a person can get a very distorted view of other lands and ways of living if all he has to go by is the movies. When I tell people I'm from Arizona, I am usually deluged with questions ranging from "Do you still have a lot of trouble with the Indians?" or "Have you ever been in an Indian fight?" down to "I really don't understand why people would want to live in a place that is just dirt and sand, rocks and snakes and no water!" This is one reason why I am grateful for your work. It gives me something to convince them that Arizona is not all "dirt and sand" and also that the desert itself is quite beauti-ful. Needless to say the magazine has really changed a lot of people's conception of Arizona and the United States. People are constantly impressed with the beauty which many times does just not show up in many of the older films of Arizona. I have a cousin in Uruguay who receives ARIZONA HIGHWAYS and he feels the same way I do. Thanks again.

FISHING NEAR WILLIAMS:

Congratulations on another splendid issue of ARIZONA HIGHWAYS and for the copies furnished this office. However, may we ask why Williams and its six fine fishing lakes were totally ignored?

At the very time that the Arizona Northlands Association of Chambers of Commerce, the Turquoise Triangle Association, and the Arizona Development Board are all doing their best to promote the Northern part of Arizona and acquaint the public with our natural resources you leave a hole.

White Horse Lake, in the Kaibab National Forest, is internationally known for its fishing and scenic beauty. Kaibab, Cataract, Dog Town, Santa Fe and McLellan Lakes are all known to sportsmen for their excellent fishing qualities.

Your map on page 33 is discriminatory; even the Arizona Highway map, which you also print, shows our lakes. You have done this area an injustice, particularly due to the circulatory impact of your otherwise very excellent publication.

OPPOSITE PAGE

"IN BUFFALO PARK NEAR FLAGSTAFF" BY BOB BRADSHAW. Photo taken in Buffalo Park near Flagstaff. A most unusual living museum where visitors can see many kinds of wild animals in a natural and beautiful setting. Here guests in a horse-drawn coach see some browsing buffalo. Crown Graphic camera; Ektachrome; f.16 at 1/50th sec.; Optar lens; mid-Julý; bright sunlight.

BACK COVER "WUKOKI RUIN WUPATKI NATIONAL MONUMENT" BY DAVID MUENCH.

Wupatki National Monument is located a few miles from Flagstaff and contains within its boundaries some interesting prehistoric dwellings. Wukoki Ruin is the remains of a fortified apartment house occupied during 1100-1200 A.D. This area represents a posteruptive culture in the surrounding area of cinders left by the eruption of Sunset Crater. "Wupatki" is an Indian word meaning "red ruins in black cinder."