Category Archives: Cripple Creek District Museum

The Legends Behind the Face on the Barroom Floor

c 2019 by Jan MacKell Collins

Portions of this article originally appeared in the Colorado Gambler magazine.

“Say, boys, if you give me just another whiskey, I’ll be glad

And I’ll draw right here a picture of the face that drove me mad.

Give me that piece of chalk with which you mark the baseball score –

You shall see the lovely Madeline upon the barroom floor.”

The above poem by Hugh Antoine D’Arcy has been the subject of barroom stories for decades. It’s an intriguing tale, yet the truth behind it is one of the little-known tales of western folklore. The mysterious and alluring faces of various women began adorning tavern floors across the nation roughly a century ago. Each had their own story to tell, and Colorado is no exception to the ongoing folklore.

At one time, there were as many as eight portraits known to be painted on barroom floors across America. Each seemed to have been inspired largely D’Arcy’s poem, “The Face Upon the Floor.” The verse tells of love lost by a lonely artist. One day, the woman of his affections spots a portrait the artist is painting of another man. Ultimately, the artist loses his girl to his subject, takes to drink, and tells his sad tale in exchange for whiskey. The artist then renders a stunning likeness of his lost love on the tavern floor, only to fall dead upon the finished portrait.

Little is known about Hugh Antoine D’Arcy. He was born in France in 1843, and it is thought he composed his famous poem in about 1898. “The Face Upon the Floor” appears to be his most outstanding accomplishment, and he lived to see it put into both movie and song. The poem was first immortalized in 1914, when Charlie Chaplin adapted it for a film called The Face on the Bar Room Floor.

Most people believe that the famous face on the floor at Central City’s Teller House was the first, and only, portrait of a woman’s face to be painted on a wooden floor. But the first portrait to appear in Colorado history was actually recorded on the kitchen floor of a private residence in Cripple Creek. The picture is thought to have been painted in the teens or 1920’s, in a house once owned by saloon keeper Herman Metz. Charles Walker purchased the residence in 1906, who in turn hired Harry B. Denny to paint the house in 1910. Denny left his signature and identified himself as the house painter on a basement door. Did he paint the portrait? Certain old-timers of Cripple Creek say no, that Denny painted houses and nothing more. The true artist will likely never be known.

As the face on the floor at Cripple Creek was subsequently forgotten, D’Arcy was experiencing a second success from his poem. It came in the form of a movie by renowned director John Ford, who in 1923 made his own version of D’Arcy‘s poem, The Face on the Bar-Room Floor.

 D’Arcy passed away in 1925, but his poem lived on. In 1936, the poem’s fame was sealed by Herndon Davis, formerly an artist for the Denver Post. One of the stories goes that Davis was a carpenter at the Teller House in Central City. His employer was Anne Evans, daughter of former Colorado Governor John Evans. A falling out between the two resulted in Davis‘ termination. Before leaving, however, Davis painted a ladies’ portrait on the floor. The act allegedly infuriated Anne Evans, but not enough to inspire her to remove it. In fact, the identity behind the mysterious face became legend until Davis died in the 1960’s. Just before his death, Davis revealed that the face was none other than his wife, Edna.

The success of the Teller House face was not lost on the rest of Colorado. In about 1953, another face appeared at the Western Hotel in Ouray. Built in 1890, the Western offered hotel rooms until it closed in 1945. The bar and dining room were kept open, however. When the Western was purchased by a Mr. Shady, according to Ouray native Ed Gregory, the new owner decided that another face might boost tourism. Shady commissioned Ed‘s mother, Ruth Gregory, to paint the portrait.

Like the faces in Cripple Creek and Central City, Mrs. Gregory‘s portrait reveals an intriguing face with mischievous eyes and a bobbed hairstyle. The painting also appears “two-faced,” with the left side resembling a profile. The fuss over the faces in Ouray and Central City continued to grow. Antoine D’Arcy’s poem received more coverage from Franklyn MacCormack, beloved radio announcer at Chicago’s WGN. A recording exists today of MacCormack reading the poem to his listeners.

One last rendering of a face on the floor appeared in the early 1960’s, again in Cripple Creek. This last face was at what was once the Cottage Inn at 261 East Bennett. When owner Jack Schwab passed away in 1961, his ex-wife Evelyn took possession of The Cottage and commissioned none other than Dick Johnson, founder of the Cripple Creek District Museum, to paint a female face on the floor. Like Herndon Davis, Johnson preferred not to be identified as the artist until after his death in February 2004, and this is the first time he has officially been named as the man who painted the face. Today, Cripple Creek’s “Madeline” is preserved at the Cripple Creek District Museum.

In 1978, writer Henry Mollicone penned an opera version of D’Arcy’s poem. The Central City Opera Company swooped upon the play, presenting it with great success. The company performs near the Teller House, where Edna Davis’s portrait can still be seen on the floor in the barroom.  Most recently, the story of Madeline gained fame once more in 1997, when the late Teller County musician, T.O. Locker, produced his own music video, The Face on the Barroom Floor. Several Colorado locations were used in filming the video, including Cripple Creek and the Western Hotel. The video won several first place prizes through the Colorado Springs Film Commission and the Professional Film and Video Guild of Colorado.

Perhaps what is most intriguing about the mysterious faces on the floors of Colorado is their failure to become commercialized. In each case, D’Arcy’s story has been treated with utmost respect. In the end, the poignancy behind the story rings truer than any other tale one could tell. Indeed, it is the last stanza of D’Arcy’s poem that carries on the romance behind the obscure faces painted in his memory:

“Another drink, and with chalk in hand the vagabond begTo sketch a face that well might buy the soul of any man.

Then, as he placed another lock upon the shapely head,

With a fearful shriek, he leaped and fell across the picture—dead.”

Image: Today, the face on the floor at Central City’s Teller House remains as the best known painting by Herndon Davis.

Lost Ghost Towns of Teller County (Colorado), Introduction

c 2018 by Jan MacKell Collins

This is an excerpt from Lost Ghost Towns of Teller County (History Press, 2016)

Introduction

   The great gold rushes which helped settle the West are ingrained in American history as some of the most exciting times our country would ever see. Beginning in 1848, the California gold rush set off a most spectacular run of booms and busts as more and more pioneers headed west. Other states—namely Oregon, Arizona, Idaho, Montana and the Dakotas—would follow suit as gold was discovered within their territories. Colorado also was a big contender, beginning with the Pikes Peak Gold Rush of 1859.

   Colorado’s initial rush was so-named because prospectors heading to the region used Pikes Peak, elevation 14,114′, as a landmark. The peak, which towers above Colorado Springs on one side and Teller County on the other, was named for explorer Zebulon Pike. As the so—called Pikes Peak Gold Rush unfolded throughout the 1860’s an ancient trail, used by local Ute Indians, wound up through a pass at the base of the peak.

   Eventually dubbed Ute Pass, this trail became known as one of the quickest ways for easterners wishing to access the western slope of Colorado. A few rest stops popped up over time, mostly ranches but one or two mail stops and supply outlets too. By the time El Paso County was formed as one of Colorado’s original counties in 1861, Ute Pass became known as the gateway from Colorado City (a supply town west of today’s Colorado Springs) to the western goldfields.

   Pioneers and early surveyors making their way up Ute Pass found some homesteads already settled by squatters. Legal homesteaders were allowed to settle on 160-acre tracts of land starting in 1873. Those who claimed land in the open, high-altitude parks at the top of Ute Pass primarily used it for ranching, but increased traffic also created a need for supplies, lodging and postal routes.

   Gold discoveries at the world—famous Cripple Creek District in 1891 altered the sleepy ranches and high plains on the back side of Pikes Peak dramatically. An extinct volcano, so large it actually imploded in on itself rather than erupting, had long ago created a most unique field of rich minerals that had melted, flowed into the cracks and crevices caused by the explosion, and hardened over time. Ranchers within this “caldera” included the Womacks, whose son Bob was sure there was gold in the area.

   When young Womack was finally able to convince everyone of the rich gold deposits, prospectors by the thousands flocked to the new boom as more towns were established both within and outside of the Cripple Creek District. The Cripple Creek District directory of 1894 perhaps described it best:

“Over the quiet hills and vales there came a change. Where once no sound was heard save the halloo of the herdsman, clatter of hoofs and horns and jingle of spur bells, there came the crushing, rending roar of dynamite, tearing the rocks asunder, the curnching and grinding and rattling of wheels, the shouting of mule drivers and feighters, with sounds of saw and axe and hammer. A town grew up like magic, prospectors thronged the hills,—and there was solitude no more.”

  Largely due to the gold boom, a series of other mining districts, camps, towns and cities sprang up throughout the western portion of El Paso County. Some of these places never evolved further than being small camps where miners lived and worked. Others were founded as whistlestops with the coming of the railroads. Still more bloomed into thriving metropolises which in time rivaled bigger cities in Colorado and beyond. A few were settled with high hopes of becoming large cities, only to fold within a few years or even months. Some towns never even made it off the ground.

   City directories for the Cripple Creek District began publishing in 1893, but due to the transient and ever—moving population, it was a limited effort at best. “The first edition of the Cripple Creek Directory is now placed in circulation,” announced the editors of the first directory, but added that “In the compilation of this book the publishers have been careful to exclude the names of non-residents. The general makeup of a new town is such as to make the work very difficult; however, we will say that neither labor nor expenses has been spared to make this directory complete and accurate, and we believe it will prove reliable.”

   The people who flocked to these places were an amazing bunch. Not only did they consist of prospectors and miners, but also builders, laborers, lawyers, merchants, doctors and dentists, teachers, stock brokers, laundresses, bartenders, prostitutes and many others. The population of the area swelled and shrunk accordingly as those who couldn’t gain good work or prosperity moved on. For every person who left the district, however, another one took their place.

   In 1899, after a long hard fight with El Paso County, city officials in Cripple Creek successfully formed Teller County. The new county was carefully carved from parts of El Paso, as well as the other surrounding counties of Park and Fremont. Teller County measures a mere 559 square miles, but within its boundaries dozens of camps, towns and cities were formed during the 1890’s and early 1900’s.

   The Teller County of the turn of the twenty-first century was rife with historic events, including two labor wars and a heated long—time battle against illegal gambling. Get-rich-quick schemes, insurance frauds, historic fires, murders and more have made for a most interesting history. More than a few honorable figures, including Colorado Governor Ralph Carr and a slew of celebrities also called Teller County home. For a time, the Cripple Creek District made Teller County known to folks worldwide.

   Because the giant caldera forming the Cripple Creek District is comprised of long-hardened minerals settled in fissures and cracks, hard-rock mining was primarily employed in Teller County. Placer mining, wherein a fellow with a pan scooped up river sand and shook out the gold, was far less common. Thus in time, digging, blasting and processing ore in the Cripple Creek District became harder and more expensive. Gold miners fell under the impression there was little more gold to be had that was worth digging for, and people began moving away from the Cripple Creek District. Subsequently, the rest of Teller County downsized as well.

   In an attempt to lessen the perils created by the Depression, President Franklin Delano Roosevelt signed the Gold Reserve Act in 1934. Doing so raised the price of gold to $35 per ounce. Although there were still some working mines in the county, even these dwindled away in time. Times were changing; railroads were shutting down, wagon roads were falling out of use, historic ranches were changing hands and many of the towns established on behalf of the gold boom were being abandoned.

   By the 1950’s, not much was going on in Teller County, at least to the observant eye. As the towns and camps faded away, surviving places such as Woodland Park, Cripple Creek and Victor turned to tourism as a new industry. Museums were established as residents of Teller County looked for ways to draw visitors to the area. The cap on the price of gold was finally repealed in 1971 by President Richard Nixon. The repeal came about as new techniques to extract hard-rock gold were being employed.

   A renewed interest in mining, combined with increased tourism, kept Teller County alive. Of particular interest to many tourists was exploring the old ghost towns left behind. While the Cripple Creek District remained a key destination to see such places, others slowly faded away. A few were incorporated as part of local ranches or were subsequently purchased by private interests.

   It is only within the last twenty five years or so that many more ghost towns have fallen in the wake of modern mining operations and in the name of progress. Even so, history buffs, local residents and others who hold Teller County near and dear to their hearts have worked tirelessly to support the history of these places. While many of the towns may be gone, each place still has lots of stories to tell. 

Cousin Helen, Kate Horine, Buffalo Bill and the Weird Stuff-O-Meter

c 2015 by Jan MacKell Collins

Kate Horine trunk

This is a story whose end should really be the beginning, and the beginning ends with Kate Horine.

Kate L. Horine’s name was neatly painted on an old traveling trunk that my boyfriend happened across at the dump, near our home in Colorado. An elderly man had the trunk. It was full of leaves and dead branches, and from all appearances the man was set on throwing the trunk out along with the foliage. My companion intervened. Since you aren’t allowed to bargain at the dump for other people’s garbage, they secretly agreed—out of hearing range of the garbage police—to meet up down the road. There, my companion paid the old man a few bucks for the antique trunk and the two went their separate ways.

As all old trunks are, this one is really cool. It was manufactured by Meek Trunk & Bag Co. in Denver. Throughout its life, it has suffered various dings and scratches along random journeys. Gone are one of its leather handles, the storage tray and most of its paper lining. Indeed, the trunk was certainly well used, but still quite sturdy and full of character. On the inside of the lid, someone scrawled a cryptic note in pencil long ago: “3/4 sheets buffalo bill June 11 Boone Co.” There were no other clues, so the trunk nobody wanted was subsequently brought to my home, put in storage, and semi-forgotten about.

Over the next few years or so, I wondered from time to time about that trunk and the woman’s name painted on it so long ago. I meant on several occasions to do some research on her, but never managed to do so. Time gradually filled up my storage space with boxes, old furniture, gardening tools and other items, and the trunk got shoved to the back of the room.

After six years or so, I was finally cleaning out the storage area and unearthed Kate’s trunk (as well as five newborn kittens who just celebrated their 11th birthdays—but that’s another story). This time I made good on my mental note to try and find out who Kate L. Horine was. I found out some interesting things: she was born Kate Loomis in Indiana in about 1868. By 1910 she had married to a man named Horine, been widowed, and had moved to Boone, Missouri, where she lived through at least 1920. Also in 1920, she had a 17-year old daughter, Mary K., living with her.

By 1930, Mary K. had moved to Clovis, New Mexico. As for Kate, there was surprising twist: it turns out she had a brother and a sister, with whom she was living in Fairplay, Colorado—just a little over an hour away from where her trunk had surfaced. I yearned to know more about this woman.

Quite by coincidence, my research coincided with news about my boss’ cousin, Helen Johnson. Cousin Helen, as she is affectionately known, had just recently received the coveted “Hospitality Team Member of the Month” award from the casino she where worked in up in Black Hawk. Helen also lived in Fairplay, in a house built in 1872 by her great-great grandfather. In nearby Alma were Helen’s cousin and my boss at the time, Erik Swanson. Erik and Helen’s family came to the Fairplay Mining District in the 1870’s. It was Erik who pointed out that Helen received the award. It was also Erik whom I thought might know of Kate L. Horine, so I asked him if he knew anything about her.

He certainly did. It turns out that Kate Horine was Cousin Helen’s grandmother.

When we figured this out, the Weird Stuff-O-Meter (which measures all things strange and wonderful that have no plausible explanation) went into the red. According to both Helen and Erik, they used to play with Kate’s many trunks in the attic of Helen’s house as children. The trunks contained clothing from the Victorian era that Helen surmises belonged to her great grandmother. It even survived a fire in the 1930’s. Helen and Erik held very fond memories of their playtime in the attic.

Even more amazing was the revelation that the Cripple Creek District Museum, where Erik and I worked at the time, had a copy of a painting rendered by Kate. It is a portrait of a donkey and was a favorite artifact among visitors. “You know, she did some beautiful paintings of columbines,” Helen recalled. “She did some wonderful stuff, not only of flowers but some great scenery. She did some characters, too. She was really a very talented artist.”

So, how did Kate’s trunk get away? “My mother did a major renovation in 1952,” remembered Helen, “and there were things in the attic she had that disappeared. So it might have been taken then. But my sister Emily might have taken it, and she lived in the city where the trunk was found for years, so that may be how it ended up there.”

How the trunk bounced from Emily to an elderly stranger at the dump, however, remains a mystery, as does the odd message about Buffalo Bill scrawled on the lid. The best guess is that Kate scribbled his name and a date she might have seen his Wild West Show while living in Missouri.

Once its history was revealed, there was no question the old trunk needed to be returned to its happy family. My companion was glad to trade it to Erik for another trunk he had, one with no family attachment. I think he said he was going to sneak Kate’s trunk into Cousin Helen’s livingroom with a big bow on it. However he did it, Helen now has her grandma’s trunk safe in her care once again. And at the very least, Kate Horine’s trunk is living proof that inanimate objects can indeed talk.

Parts of this article first appeared in the Colorado Gambler magazine in 2004.