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"Ex Nihilo, Fragment No. 8" by Frederick Hart

From the Washington National Cathedral Collection, this original cast bronze sculpture is limited edition and is a fragment of Frederick E Hart's Ex Nihilo tympanum, located at the Cathedral above the central door. Completed in 1982, Ex Nihilo is Hart's depiction of the birth of man features half-formed figures of men and women emerging from the void. The large plaster sculpture is considered one of the most important religious commissions in the 20th century. Eight casts were made directly from the original Ex Nihilo tympanum and recreated into fragments. A small bronze replica of the larger work sits on the stone pedestal of this sculpture. Fragment No. 8 was installed in the Lightner Museum courtyard on September 26, 2008. Inscription: "Ex Nihilo (Out of Nothing) stands as an eloquent metaphor for humankind always "becoming" -- ever in a state of rebirth and reaffirmation of all the possibilities in being human, of the process of evolving into one's own future." -- Frederick Hart (1943-1999)

"Father Pedro Camps and the Minorcans of St. Augustine" by Josef Viladomat

The statue of Father Pedro Camps and his Minorcan followers is the centerpiece of the Cathedral Basilica of St. Augustine’s west courtyard. The three-quarter-life size bronze sits on a four-foot coquina base. The realistic figures gather around a large cross. In the center, Father Pedro Camps raises his hand, blessing the group. At his feet, a mother cradles a baby. An old man looks over the mother's shoulder. He is kneeling and extends his right hand as if asking for alms. You can almost touch it. The man, woman, and child evoke images of the holy family. Above them, two figures stand on each side of the priest--a young boy and a girl, who rests her head on the cross. Wearing simple garments that form elaborate drapery folds, the weary people find comfort in their faith. Dedicated in 1975, the statue was created by sculptor Josef Viladomat of Barcelona, Spain. Front plaque reads: "In memory of Father Pedro Camps, the spiritual leader of the Minorcan Colony. This statue presented to Most Reverend Paul F Tanner, Bishop of St. Augustine by Fernando A. Rubio of Minorca and Xavier L. Pellicer of St. Augustine April 24, 1975 In commemoration of the Two hundredth Anniversary of the arrival of the Minorcan Colonists in St. Augustine." Side plaque reads: "Erected on this site by the descendants of the Minorcan Colonists in recognition of the Bicentennial Celebration of the birth of the United States on July 4, 1776. Sculptor: Josef Viladomat, Barcelona, Spain." The back plaque contains a list of family names of Minorcan Colonists whose descendants live in the St. Augustine area. HISTORY In 1768, more than 1,400 Greek, Italian, and Minorcan men, women, and children filled eight ships bound for Florida. They set sail from the island of Minorca off the coast of Spain chasing a dream for a better life in the New World. When Spanish Florida became a British colony through the Paris Treaty in 1763, a Scottish physician named Dr. Andrew Turnbull secured 100,000 acres on Florida’s east coast. There, in New Smyrna, he would start an indigo plantation. He offered the Minorcan workers a share in the harvest and a land grant to each man after 10 years of indentured service. Since most of the travelers were Roman Catholic, two Minorcan priests joined the voyage -- Father Pedro Camps, vicar of St. Martin Parish in Mercadal, and an assistant, Father Bartolome. He was later deported for insubordination to Turnbull, leaving Father Camps to serve the entire population. Plantation life was not easy. The climate was harsh. The land was rugged. Food was scarce and supplies were lacking. Conflicts with Turnbull’s overseers led to discontent among the workers within weeks of their arrival. In 1777, after years of persecution, the workers revolted. Head carpenter Francis Pellicer sought asylum for the Minorcan colony in St. Augustine. British Governor Patrick Tonyn gave them permission to re-settle near the City Gate. More than 600 downtrodden Minorcans walked 70 miles north from New Smyrna. When they arrived, the Governor allowed them the use of a dilapidated building for religious services. After 13-years of Protestant rule in St. Augustine, the celebration of the Catholic Mass returned. When Father Camps died in 1790, the Minorcans mourned the loss of their spiritual leader. His remains were buried in the Tolomato Cemetery and later transferred to a crypt under the altar of the church that is now the Cathedral Basilica. Today, Minorcan descendants thrive in St. Augustine. They own businesses, hold public office, and serve as community leaders. Their traditions are celebrated at festivals and religious gatherings. For the thousands who pass by daily, the statue of Father Pedro Camps stands as a memorial to the Minorcan’s perseverance and an inspiration for all to remain hopeful in the face of hardship.

"Heavenly Bodies" by Enzo Torcoletti

Enzo Torcoletti's sculpture, "Heavenly Bodies," is a contemporary landmark at the corner of historic Marine and Cadiz Streets. The stone and steel abstract is placed on a pedestal above a sunken garden in front of the St. Augustine Art Association. The sculpture consists of a granite base supporting two vertical white marble slabs, shaped like opposite halves of a female torso. The surface is rough on the sides where the marble appears to have been torn apart. In the space between the marble slabs, there is a small reflective steel sphere. Viewed as a unit, the elements resemble a woman. According to the artist, the sphere may be interpreted as a heart, seed, or the birth of an idea. The work may also be understood as a collision of forces and the formation of a new beginning. HISTORY In the modern age, our planet is reeling with information, inventions, and change. Like our forebears, we also yearn for discovery. Torcoletti's "Heavenly Bodies" is a sculptural metaphor for artistic exploration that was installed in 2015 to commemorate the founding of St. Augustine. This ancient bedrock carving is quite literally an embodiment of Mother Earth reflecting back to us the elegant balance of nature and human existence. Tens of millions of years ago, Earth’s geological crust cracked. The continents of North and South America drifted away from Europe and Africa, creating what is known as the Old and New Worlds. This separation of land masses lasted so long it had distinct evolutionary effects on each side of the Atlantic ocean. The jaguar that inhabits South America, for example, evolved differently than the leopard, its feline counterpart that roams Africa. During the late 15th and early 16th centuries, Europe was an economic and technological super power beleaguered by wars and religious battles. Rival kingdoms fueled trans-Atlantic expeditions to expand their empires, convert heathens and acquire riches. In 1492, when Christopher Columbus and other European explorers began crossing the Atlantic, the biological separation of the Old and New Worlds was reversed. The resulting co-mingling of plants, animals, and people was called the Columbian Exchange. From the Old World came advances in architecture, weaponry, and written language along with domesticated livestock, rice, and wheat. In return, Native farming techniques and crops like corn, potatoes, tomatoes, and squash were brought back to Europe...along with shiploads of gold and silver from Mexico and Peru. European and native people shared cultural practices and even intermarried. But it was the transfer of Old World germs that had the most sweeping impact. Diseases like smallpox, yellow fever, and the plague wiped out native populations from Patagonia to Newfoundland. Many historians argue it was this foreign DNA that led to the successful conquest of the New World.

"Juan Ponce de Leon" by C. Bupert

The statue of Juan Ponce de Leon stands high among the palm trees in the center of Ponce de Leon Circle. A 14-foot white granite pedestal carved with wreaths and garland supports the bronze sculpture. The Spanish explorer extends his right arm, pointing northward. He rests his left hand on the hilt of his sword. Dressed in 16th Century armor and a feather-plumed hat, the weathered figure commands the skyline of St. Augustine’s harbor. This sculpture is a replica of the original bronze in San Juan, Puerto Rico created by C. Bupert. It was cast by the Gorham Manufacturing Company. St. Augustine sculptor Adrian Pillars carved the elaborate pedestal. The monument was a gift to the City from Dr. Andrew Anderson in 1923. HISTORY Ponce de Leon was among the first wave of Conquistadors who charted and colonized the New World. After centuries of territorial battles, power grabs, and religious conflict, the Spanish monarchy shifted force across the Atlantic to claim land and riches. The risks were considerable. Treacherous oceans. Enemy combatants. Limited provisions. These threats were exceeded only by the prospect of personal wealth, for the explorers would share in the spoils of war. There are no official records of Ponce de Leon’s birth. Historians believe he was born in 1460. The young noble sailed as a “gentleman voyager” on Christopher Columbus’ second trans-Atlantic expedition in 1493. They landed in the Caribbean, where Ponce de Leon rose to military commander of Hispaniola, known today as Haiti and the Dominican Republic. There, he discovered gold and the nearby island of Puerto Rico. In 1506, Ponce de Leon returned with orders to settle Puerto Rico, but after a dispute with the son of Christopher Columbus, he was fired. Ponce struck a new deal with King Ferdinand to explore the surrounding islands. He set sail with three ships, seeking wealth and the mythical fountain of youth. Along the journey, they encountered the Gulf Stream, a sea “highway” that would accelerate voyages to Europe and revolutionize trade. On April 2, 1513, the fleet anchored off the coast of Florida. Ponce de Leon could not have imagined the land before him was the peninsula of a vast North American continent. He claimed it for Spain, naming the lush terrain in honor of the Easter feast of flowers. Conflicts with unfriendly natives soon forced the expedition back to Puerto Rico. At age 61, Ponce returned to Florida as Governor to establish a Spanish colony. Occupying a foreign territory, however, is not without risks. Some natives adapted. Many rebelled. While Christianizing Calusa tribes, the Conquistador was wounded by an arrow. He retreated to Havana, Cuba and died weeks later. His remains were buried in San Juan, Puerto Rico. It is difficult to separate fact from legend when it comes to Ponce de Leon. There is some debate about exactly where he landed. But we know his discovery marked the end of one epoch and the beginning of another. The new era opened with a continuation of rivalries in this hemisphere between Spain and other European countries, followed by a 300-year struggle to maintain control over this wild and strange, subtropical landmass called “La Florida.”

"Let Freedom Ring Chime Project" by Richard Cooke & Joe Segal

The “Chimes Project,” a major interactive and multi-media art initiative located in Freedom Park, was undertaken by Compassionate St. Augustine, the grassroots organization Keep Riberia Pointe Green, and the City of St. Augustine. As the Ancient City’s officially approved permanent public art installation, it interpretively pays tribute to our city’s African–American & Civil Rights storylines as well as the roles freedom, human rights, democracy, tolerance, civility, and compassion have played and continue to play in creating the narrative. Artist Richard Cooke was commissioned to create the chimes, which are 14 aluminum cylinders graduated in height to form an upward arc. When individually struck, each of the pentatonic chimes sounds a different tone but produces a harmonious effect overall. Within our country, there is a great desire to bring individuals and entire communities together to heal old wounds and make firm commitments to cooperatively and collaboratively building a better future. The “Let Freedom Ring Chime Project” initiative aims to invite all to ponder the possibilities and wander with wonder on the unique peninsula at the confluence of the San Sebastian and Matanzas Rivers. Dr. Robert B. Hayling Freedom Park, a vast 10+ acre natural green space, honors St. Augustine’s nationally acclaimed Civil Rights Movement hero and offers extraordinary opportunities to reflectively and experientially discover new ways to engage with one’s self, others, and more than 450 years of African-American history in our nation’s oldest continuously occupied European city. The first phase of the Chimes Project was officially dedicated by the City of St. Augustine on April 4, 2018 – the 50th anniversary of the assassination of the Rev. Dr. Martin Luther King, Jr. The core values of the Chimes Project are grounded in Dr. King's quote: “...the arc of the moral universe is long, but it bends toward justice.” The Chime Project's artistic expression of Dr. King's compelling statement and universal yearning is threefold: * A semi-circle of 14 graduated contrabass pentatonic aluminum chimes. * "Toward” –– a white marble semi-circular reflection bench, created by artist Joe Segal, that is topped with granite tiles designed by local children from the Boys & Girls Club, The Webster School, and St. Johns Youth Academy. * Compassionate St. Augustine’s Obelisk Art 450 commemoration of the Emancipation Proclamation.

"Love is the Answer" by Christie Chandler

In 2016, local artist Christie Chandler painted her 16x30-foot mural titled "Love is the Answer" on the side of Rochelle's Boutique. Inspired by murals and graffiti abundant in art districts of larger Florida metro areas such as St. Pete and Miami, Rochelle’s owners Tom and Karen Rochelle wanted to create a work to share with their customers and the St. Augustine community. “Tom and I had always been interested in the idea of a mural on the building, but had not actively pursued it,” said Karen. “Christie has been a customer of Rochelle’s for many years. One morning in September she walked in not as a customer but offering her services as a muralist. She was excited, talented, and looking to develop her business, Arts-Evolution . We asked, ‘When can we start?’” For Christie, working with art lovers Karen and Tom Rochelle was an easy fit. “Being in the fashion business, they already had an innate understanding of aesthetics and are all for positive messaging in the community, which is one of my primary concerns as well,” she said. They took inspiration from some of their favorite murals, keeping color, design, message, and impression in mind while Christie shared her work. Together, they arrived at a shared vision that became the Love Mural. Christie completed the work in 12 days, putting in 70 hours to bring the vision to life. They chose bold, vibrant jewel-tone colors for an eye-catching and long-lasting mural. “A surprise splash of color or an unusual sculpture in an unexpected place makes exploring the city more interesting. For St. Augustine, a city whose economy is tourist-based, there is absolutely a need to preserve and protect its history, for those who come to see what life looked like in a certain time period,” said Christie. “However, a city must also recognize its locals, especially the youth who want to express modern ideas and thoughts in a creative way. Surely, there can be a balance.”

"Pillar of Freedom" by Jim Benedict | Obelisk 450

Jim Benedict worked as a public artist for over a decade. A professor of sculpture at Jacksonville University, where an emphasis of Benedict’s and JU’s curriculum is public art production, his approach to public art is community-based. He saw public art as an opportunity for a collaborative process that brings together artistic vision and the cultural identity of a community. JimBenedict.com ARTIST STATEMENT Over the last century, the Constitutional Memorial obelisk has been witness to great societal changes. It has been a place marker for the long march to freedom for all citizens. The obelisk has been inverted to liberate it from the market grounds. We are free to see it from a new perspective. Historical references to the city complete the pediment. Altogether, the elements form a game piece that has the freedom to go in any direction. It is up to the players to make a move. Materials include wood, fiberglass, steel, and locally sourced seashells. Originally located at the Visitor Information Center, now on display outside Fort Mose Historic State Park. Freedom to live according to one’s own culture, religion, and lifestyle is a universal human right. St. Augustine has a historic perspective including freedom lost and freedom found. It has been a triumphant place where many have found freedom, but also where significant struggles for the sake of freedom occurred. In celebrating our heritage, we must acknowledge there are scars left from injustices as we work to expand awareness and compassionately seek reconciliation and healing. To truly commemorate the 450th, this pillar represents freedom and our commitment to learning from both the triumphant and tragic events in St. Augustine’s history. Much has been written by those who seek to bring attention to the struggles for freedom throughout history. The 14th Dalai Lama said, "Peace can only last where human rights are respected, where the people are fed, and where individuals and nations are free." Author Pearl Buck wrote, “None who have always been free can understand the terrible fascinating power of the hope of freedom to those who are not free.”

"Point of View" by Dustin Harewood | Obelisk 450

Harewood’s art practice over the last decade has explored themes of multiculturalism and the consequences of colonialism and industrialization. Harewood draws inspiration from his familial lineage and the 21st-century world of desire for immediacy in all aspects of life and seeks to find nuance within vanishing moments in order to capture a narrative between histories. While beautifully fascinating and simultaneously destructive, our contemporary culture is one that is wasteful yet transformative. A throw-away culture that takes garbage and up-cycles it into valuable objects which transcend time, religion, fine art, and commerce. Harewood’s material explorations do just that, often using discarded packages, mass-produced manufactured single-use plastics, and recycled fibers. Harewood embellishes, collages, adorns, and recontextualizes these objects into substantive works of art. Works that consider what makes beauty and how to transform the past, present, and future through complicated associations in history and narrative. www.dustinharewood.com ARTIST STATEMENT The narrative I chose to explore was that of “point of view.” On the four sides of my structure, I illustrated four people/groups of people who would have had very different perspectives on the colonization of Florida. The Obelisk started for me with a traditional portrait of King Philip II. During his reign, Spain reached the height of its influence and power. The voyages to Florida reflect his ambition. It was not he however who would have been risking his life by voyaging to faraway lands. It is the Conquistadors located on the opposite side of the Obelisk who were the ones venturing into the unknown. On the third side, I have illustrated a pair of Timucua Indians who are in the process of witnessing the arrival of Europeans. On the fourth side, I have illustrated early African Americans who have run away from bondage in desperate search of refuge in more compassionate places such as the Spanish settled St. Augustine. Materials Originally located in the courtyard of the St. Photios Greek Orthodox National Shrine, now on display in the courtyard of St. Cyprian's Episcopal Church. Lured by their strong desire for freedom of religion and economic opportunity, about 400 Greeks agreed to come to the New World as indentured servants in the 1700s. Then under the command of the Turks, many Greeks were enslaved or persecuted in their homeland. So when Dr. Andrew Turnbull offered them the opportunity to come to Florida, the first and largest group of Greeks to come to America signed on. When the ship set sail, they were part of an expedition that also included immigrants from the Island of Menorca and Italy. But what began as a pilgrimage of hope and freedom across the Atlantic soon turned into a deadly disaster in New Smyrna. The harshness of living in mosquito-infested swampland and the scarcity of food in the over-populated colony caused hundreds of immigrants’ deaths. After serving for a decade in New Smyrna rather than the promised seven years, they were finally liberated and began a trek to St. Augustine. Upon arriving, they settled the first significant Greek colony in North America. Their lives improved significantly here, but the Greeks still felt isolated because they missed their heritage and faith. In response, they began to gather in the Avero House to pray, even though they lacked an official orthodox priest to guide their worship. The descendants of these courageous souls converted the Avero House into the St. Photios Greek Orthodox National Shrine. This shrine is thought to be the oldest existing edifice where orthodox Christians gathered for prayer in the United States. In 1982 it was dedicated to the first colony of Greek people who came in 1768 and also as a pilgrimage site for Greeks all over the country. Inside the shrine, exhibits display the life of the early Greek settlers and the development of the Greek Orthodox Church in America. The nearby St. Photios Chapel is open to visitors. The ornate chapel is constructed and adorned in Byzantine style with frescoes of the apostles and saints, special exhibits, artifacts, photographs, and documents. One of its most prominent inscriptions compassionately proclaims, “Come, whoever is thirsty, accept the water of life as a gift, whoever wants it,” from Revelations 22:17, in honor of those who voyaged over the water, thirsty for freedom and a better life. The museum chronicles the Greeks' struggles and accomplishments. Special exhibits contain artifacts, photographs, and historical documents. In the annual Greek Landing Day Celebration every June, religious, cultural, and historical events are held to honor the ancestors who braved the journey that opened the door of freedom for all those who came after them. The story of how they came to America is called, “Our Plymouth Rock.”

"Queen Isabella on Horseback" by Anna Hyatt Huntington

In early 1965, Elizabeth Towers, the only female member of the St. Augustine Historical Restoration and Preservation Commission at the time, spearheaded a project to develop the lot on the corner of Hypolita Street and St. George Street. She formed the Hispanic Garden Committee, all comprised of women, to bring the Spanish-style garden to life. They coordinated with local garden clubs and organizations to host teas, fashion shows, art auctions, and trinkets donated by the Spanish Pavilion at the 1964 New York World’s Fair to raise funds. About 60% of the project was personally funded by Jessie Ball DuPont from Jacksonville who was inducted into the Florida Women’s Hall of Fame. The only two female landscape architects in Florida at the time, Drusilla P Gjoerloff and Lee W Schmoll were chosen to design the garden. The plazoleta is modeled after Spanish gardens (see the Alhambra Palace) which took cues from Roman patios. Flowers fill the ceramic vases and the beds around the perimeter contain marigolds, palm trees, jasmine, cabbage palms, holly, and kumquats. The garden features lots of Spanish influence like an octagonal mosaic and a nod to water features common in Spain during the Moorish occupation. The pool in the center was converted to a planter in 1977. A sculpture of Queen Isabella of Castile at the center was made and donated by notable artist Anna Hyatt Huntington, who is the first woman to have a public sculpture on display in New York outside of Central Park. That sculpture (Joan of Arc) was NYC’s first monument depicting a woman from history. The Hispanic Garden was dedicated to Queen Isabella on September 5, 1965, and completed on the 400th Anniversary dated September 8, 1965. After 2003, concerns of vandalism prompted the city to install a fence around the garden. Today, the garden is closed to the public but is opened by special events like the Easter Week Festival and knighting ceremonies.

"Signal From Shore: The Timucuan" by Richard Weaver

Along Marine Street in front of the St. Augustine Art Association, you'll find Richard Weaver's sculpture of a Native American boy. The bronze statue is placed on a pedestal within a sunken garden. The realistic-looking child stretches out both arms, creating the shape of a cross or cruciform. He holds a palm frond in his left hand, signaling toward the sea. His shoulder-length hair is adorned with feathers and he wears a shell necklace. Animal pelts are wrapped around the boy's shoulders and waist, revealing his slender body. A hunting knife is attached at the hip. The figure stands on a small shell mound surrounded by two fish swimming in suspended animation. HISTORY More than 14,000 years ago, the first descendants of the people who crossed the land bridge from Siberia to Alaska arrived in Florida. When Europeans first landed on the peninsula, some 200,000 natives were living in groups and villages around Northeast Florida and Southeast Georgia. They spoke the same language and were collectively known as Timucuans (Tim-oo´-kwahns). Early illustrations show the natives as tall, muscular warriors battling giants, fierce alligators, and other exotic creatures. But historians and archaeologists have pieced together a more believable picture. The Timucuans lived in round palm-thatched huts. They were hunter-gatherers who fished with nets and spears and grew corn. They dressed in deerskins and decorated their bodies with tattoos and ornaments. They believed in omens and practiced rituals for harvest and healing. Starting in the late 1500s, Spanish missionaries in Florida were charged with building churches, converting the Indians to Catholicism, and harnessing their labor to sustain the new colony. Native Americans both accepted and resisted this missionary zeal. Some Timucuan chiefs struck deals with Spanish officials to bring tribal members into the faith. The Franciscans taught the new converts to speak, read, and write in Spanish, and to participate in Mass. Over time and often through harsh punishment, the Friars erased many of the ancient beliefs and practices of the native people, but not their popular ball game! At the end of the 17th century, British militia from South Carolina and their Indian allies raided the Spanish missions in Georgia and North Florida, setting off a string of attacks that destroyed the mission villages. Catholic Indians were tortured and burned at the stake. Thousands were captured and sold into slavery. Scores perished from disease. The native population that once measured in the hundreds of thousands throughout "La Florida" was reduced to a mere 89 when Spain ceded its territory to England in 1763. Those last remaining Indians joined the Spanish exodus to Cuba, leaving behind only ghostly traces and fragments of their pre-historic culture. Beneath Weaver's statue, a diverse assemblage of Native American artifacts from across the Southeast was unearthed in 2014. Inspired by that discovery, the Timucuan sculpture was conceived as a fleeting memory of our native ancestors and installed in 2016 as a memorial to their sacrifices and labors. Whether welcoming a ship on the horizon or a canoe by the shore, the child evokes the innocence of youth and the inherent goodness of humanity.

"Untitled" by Donald Martin | Obelisk 450

Donald Martin, a professor of art at Flagler College since 1980, is a multi-media artist with completed public art projects located throughout Florida, including at the Bacardi Corporation, Flagler College, and Jacksonville International Airport. While Martin’s personal work deals primarily with nature, he is enthusiastic about taking on the themes of freedom, democracy, human rights, and compassion. DonaldMartinArtist.com ARTIST STATEMENT Near this site once stood the infamous Monson Travelodge where, in June of 1964, a group of civil rights activists attempted to integrate the “Whites Only” motel swimming pool. Motel management responded to the demonstrators by pouring muriatic acid into the pool causing great pandemonium. Nearby reporters recorded the events on film and news of the demonstration and the brutal response spread throughout the nation’s newspapers. Reaction to the images was immediate and strong and this incident is believed to have been a significant factor in the passage of the landmark Civil Rights Act of 1964 just a couple of weeks following the incident. In my design for this obelisk I wanted my images to relate to this specific incident but, at the same time, use this incident as a metaphor for the struggle of all courageous individuals and groups as they pull themselves out of a “pool” of despair and prejudice in an attempt to create a more just and equitable future. While most equate Montgomery, Birmingham, Selma, and Memphis with the Civil Rights movement, historians now say the campaign in St. Augustine was pivotal when it came to turning the tide of national opinion. The fight was painful and costly but it also brought people together, awakened a nation to action, and directly led to the passage of the landmark US Civil Rights Act of 1964. Fifty years ago, St. Augustine’s schools, restaurants, businesses, and even beaches were segregated. It took the incredible courage of the Civil Rights Movement’s participants -- from young students to local leaders to Dr. Martin Luther King to Jewish rabbis -- to bring about change here and throughout the country. From 1960-64, planned marches, demonstrations, protests and sit-ins, set the stage for the momentous “acid in the pool” incident at the former Monson Motor Lodge in June 1964. Although just one in a string of violence and hatred, it was the one that captured national media attention – but not the kind the city wanted as it prepared to celebrate its 400th anniversary. This incident also inspired the national Jewish community to support the cause. Sixteen Reform Rabbis came to St. Augustine on June 17, 1964. That night they participated in a march around the Plaza de Constitution. The next day, movement leaders, the rabbis, and about 50 supporters marched downtown to the Monson Motor Lodge for a two-pronged demonstration. When they tried to enter the restaurant, owner James Brock blocked the door. The rabbis knelt to pray and Brock threatened to have them arrested. While this was happening, two civil rights workers who were registered guests at the hotel announced they had the right to invite five Negro friends to swim. Because of “near-riot” conditions at recent demonstrations, the governor had assigned a “Special Police Force” with the Florida Highway Patrol and other non-local authorities in charge. As the surrounding crowd shouted vicious threats at the demonstrators, Florida State Troopers attempted to hold them back. In response, Brock poured two gallons of muriatic acid into the pool. A local officer then leaped in, roughly hauling the protestors out, and it was this image that was splashed across the front pages of the Miami Herald and the New York Times. All the protestors, including the rabbis, were arrested. The events led to the passage of the US Civil Rights Act. President Lyndon B. Johnson signed it into law on July 2, 1964, saying that the principles of our freedom and morality forbid denying men equal treatment and this law would forever ensure that. History shows even though things didn’t change instantly, this turning point was a long-awaited step towards guaranteeing freedom, democracy, and human rights –– not only for African Americans but for all.

Andrew Young Crossing

June 9, 1964, Civil Rights activist and leader, Andrew Young led a march from Lincolnville to the Plaza de la Constitución where they met violent opposition. Dr. Martin Luther King Jr sent Young to St. Augustine to organize peaceful protests in the city. It was here, at the corner of King Street and St. George Street, where Andrew Young was beaten by a large white mob. Despite being struck down several times, he continued to stand up and walk, staying true to Dr. King's non-violent strategy. Historians agree that this event was one of the pivotal moments of the Civil Rights movement and played a role in the passage of the Civil Rights Act of 1964 by Lyndon B Johnson, who had visited the city not long before. The spot where Young’s progress was halted has been memorialized by designer Jeremy Marquis of Halback & Associates with several bronze footsteps and quotes from Andrew Young, Dr. Martin Luther King Jr, and President Lyndon B Johnson. Each coquina panel is named after different civil rights goals: freedom, nonviolence, equality, and justice. Andrew Young was the first African-American Ambassador to the United Nations. Appointed by President Jimmy Carter in 1977, Young helped put human rights and economic advancement of underdeveloped countries on the US foreign policy agenda.

Constitution Obelisk

The Constitution Obelisk is located in the Plaza de la Constitucion in downtown St. Augustine, St. Johns County, Florida. Constructed in 1813, the twenty-five-foot obelisk was built from local coquina recycled from other building projects and surfaced with lime mortar for weatherproofing. Classical details include a molded cornice and aperilla, a pear-shaped ornament at the top of the obelisk. Its tapered features and proportions were the work of a skilled designer and builder familiar with classical architecture. The original tablet announcing the Constitution was removed in 1815 by order of the restored Spanish King Ferdinand VI, but it was replaced in 1820 when the king swore allegiance to the 1812 Constitution. The Plaza is considered the oldest public park in the US and bears its name from this monument.

Fuente de Los Canos de San Francisco

There are a handful of spots around St. Augustine that transport you to Spain. The Fuente de Los Canos de San Francisco is one of them. You may have seen this water feature tucked between the Visitor Information Center and the Huguenot Cemetery just outside the City Gates, but did you know it’s one of Spain’s gifts to the Sister City? The Canos de San Francisco is one of the oldest and most renowned landmarks in Aviles, Spain, the birthplace of St. Augustine's founder, Pedro Menendez. In February 2005, the mayor of Aviles, the Honorable Santiago Rodriguez Vega, sent molds of the six masks from the original 16th-century fountain which still functions today. St. Augustine Mayor George Gardner graciously accepted the masks and the city began construction. The fountain took about three months to complete and was made from wood, poured concrete, concrete block, and, of course, coquina stone! To give the fountain a historic look, builders used beads of glue inside the mold negative to mimic cracks once the material dried, then added a tan color to the grey concrete. Mildew contributes to its antique look thanks to northern exposure and the fountain’s location under large trees. The fountain was officially dedicated on February 24, 2007, and, as a thank you, Mayor Joe Boles sent a photo of the replicated fountain to the mayor of Aviles. The original Aviles fountain was built to channel water from springs or aqueducts for public use. The replica functions as an ornament and is not to be drunk from, but you are invited to toss a coin and make a wish.

Henry Morrison Flagler

The bronze sculpture of Henry Morrison Flagler stands on a black marble base at the entrance of the former Hotel Ponce de Leon, now Flagler College. The realistic figure strikes a relaxed pose. He wears a vested suit and knee-length overcoat. The tip of his right shoe extends just beyond the sculpture base. Sporting a bushy mustache and short slick hair, the distinguished gentleman tucks his right hand into his pants pocket, almost as if reaching for his wallet! The bronze was likely cast in Rome in 1902 and was erected by the National Railways Historical Society. The sculpture faces the old Hotel Alcazar across the street, where it once stood before being moved to its present location in 1972. It's no surprise the Spanish-inspired architectural treasures along this corridor complement each other. Henry Flagler built them all. HISTORY Born on January 2nd, 1830 in Hopewell, New York, Henry Flagler achieved success at an early age in the grain business in Ohio. With his partners John D. Rockefeller and Samuel Andrews, Flagler built an oil refinery that emerged in 1870 as the Standard Oil Corporation. Within five years, it was the largest and richest industrial company in the world. Flagler first visited Florida in the winter of 1878 when he traveled to Jacksonville with his frail wife on doctor's orders. Two years after her untimely death, Flagler returned with his second wife. He was instantly charmed by St. Augustine and imagined building a Renaissance-inspired winter playground for the rich and famous. In 1885, Flagler broke ground on his 240-room Hotel Ponce de Leon. He spared no expense, hiring New York architects Hastings and Carrere, famed stained glass artist Louis Comfort Tiffany and an array of skilled craftsmen to decorate the extravagant resort. The doors opened with fanfare in January 1888, welcoming esteemed guests such as the Vanderbilts and Rockefellers. Flagler expanded his reach throughout Florida buying and building luxury hotels (in Ormond, Palm Beach, and Miami). He acquired railroads and formed the Florida East Coast Railway Company. He developed agriculture and installed infrastructure to transport his guests and goods. At the height of Flagler's business success, his wife was institutionalized. Within six years, he married for the third time and built his new bride a Palm Beach winter estate fit for royalty. For years, Flagler dreamed of linking his railroad to the southernmost point in the US to tap into foreign trade. In 1912, he completed the extension of his train tracks one hundred fifty-six (156) miles over rock islands and open water. This ambitious engineering feat had been dubbed “Flagler’s Folly.” But on the maiden train voyage from Miami to Key West, the Overseas Railroad was hailed as the 8th Wonder of the World. A year later, Henry Flagler died at age 83. He was laid to rest beside his first wife, daughter, and granddaughter in Memorial Presbyterian Church, the nearby Venetian-domed church he had built in their memory. Although Henry Flagler’s Overseas Railroad was wiped out in the Labor Day Hurricane of 1935, the powerful winds of change brought about by Flagler at the turn of the century reverberate today. This great benefactor and visionary almost singlehandedly transformed what was once a southern backwater into the booming tourist destination we know as modern Florida.

Juan Ponce de León Landing Site

Juan Ponce de León was born into Spanish nobility and may have accompanied Christopher Columbus on the 1493 voyage to the New World. Ponce de León governed the eastern province of Hispaniola (now Puerto Rico) when he heard rumors of The Fountain of Youth. He launched an expedition of three vessels on March 27, 1513, and on April 2 due to foul weather, Ponce de León became the first explorer to document a landing on Florida’s coast. His navigator Anton de Alaminos used an astrolabe to record a noon sighting of the sun and checked against navigation tables established a latitude reading of 30⁰ 8’. This reading is the most scientifically accurate fix for Ponce’s landing place on the Florida coast, placing it just north of the Guana Tolomato Matanzas National Estuarine Research Reserve’s boundaries. On April 2, 2013, a statue of Juan Ponce de León was dedicated at GTM Reserve’s Ponce de León 30°8´ Historical Site. This permanent addition to the visitor experience recognizes the only surviving navigational reading of Ponce de León’s “Journey of Discovery,” taken the day prior to his landing on April 3, 1513, when he claimed La Florida for Spain. The site, slightly south of present-day Ponte Vedra Beach, at the northern border of the Guana Tolomato Matanzas National Estuarine Research Reserve, includes an official state historical marker, interpretive signage, and a 15’ statue of Ponce de León gazing over the dunes. The statue is 6' tall while its base stands 13' tall. It resembles an existing statue in St. Augustine next to the Bridge of Lions.

Medici Lions - "Fiel y Firme"

The Bridge of Lions is a staple of St. Augustine’s skyline. Spanning the Matanzas Bay, which is part of the Intracoastal Waterway, connecting the Old City of St. Augustine with Anastasia Island. It is a double-leaf drawbridge, providing clearance for boat traffic. The bridge is named for the stately pair of stone lions at the base of the bridge on the west end. The Carrara marble Medici lion statues, named "Firm" and "Faithful," were created as copies of statues found in the Loggia die Lanzi in Florence, Italy. The lion statues were a gift commissioned by Dr. Anderson to the Romanelli Studios in Florence, Italy, which a decade earlier produced two smaller lions which he displayed on the front steps of his home. The Bridge of Lions has a sidewalk on each side and is listed on the National Register of Historic Places.

Memorial to St. Augustine Shrimpers & Boat Builders

At one time, 300 shrimp boats were ported on the San Sebastian River and over 2,000 men and women worked in the fishing industry. On Saturday, May 1, 2021, a monument honoring St. Augustine’s shrimpers, boat builders, and marine artisans was dedicated with 250 descendants of shrimping and boat building families attending who were donors for the project. Northeast Florida was the birthplace of the commercial shrimping industry and the San Sebastian River is considered its cradle. Shrimping fleets moved to St. Augustine in the early 1920s with predominately Italian, Greek, and Portuguese immigrants as its pioneers. Shrimp was sold in salted barrels for $3.85 per 100 pounds in the 1920s and the advent of manufactured ice from The Ice Plant (now a craft cocktail bar and restaurant) greatly expanded markets as demand grew. Demand for shrimp boats spawned numerous boatyards on the San Sebastian and over 125 trawlers per year were produced at its peak. Diesel Engine Sales Company (DESCO) was located on the San Sebastian River and grew to be the largest builder of fishing boats in the world. This river was also home to over 20 “fish houses” which processed fresh shrimp for shipment to northern markets. The monument is a bronze relief map on a coquina base depicting owners and operators on 16 sites: fish houses, seafood markets, boatyards, marine supply, marine repair, and ice plants (the first in Florida) from the 1920s to the 1970s. The St. Augustine City Commission has enacted two resolutions recognizing the shrimping and boat building industry and has named wild-caught shrimp as St. Augustine’s official seafood. The project was conceived by Grace Paaso and John Versaggi, grandchildren of Salvatore Versaggi and great-niece and nephew of Sollecito “Mike” Salvador and Antonio Poli, all shrimping pioneers, and Captains Ed Long and Brendan Burke, co-authors of Shrimp Boat City. The monument is located in the Shipyard area of St. Augustine.

Old Spanish Trail Marker

This is the zero milestone marker for the Old Spanish Trail auto highway. In Mobile, Alabama in 1915, The Old Spanish Trail was conceptualized as a transcontinental route that would stretch from St. Augustine, Florida to San Diego, California. At the time, it was quite a novelty to take a road trip across the country, so though the trail sounds historic in nature, its intention was to promote and encourage tourism. Construction began the next year, but progress stalled in the late teens due to World War I and the cost of building bridges over Gulf waterways. The Trail was completed in 1929 under the direction of Harral Ayres of the Old Spanish Trail Association. Travelers were captivated with the trail until the 1960s when Interstates 8 and 10 moved traffic away from the old roads in favor of faster routes. The coquina ball was originally located just south of the Castillo de San Marcos. In May of 1962, the sphere was moved to the north side of the Visitor Information Center with its final resting place on the south side of the building where it sits today. Learn more about the Zero Milestone Marker by asking one of the hosts at the Visitor Information Center about the binder of archives.

Pedro Menéndez de Avilés - Lightner Museum

Pedro Menéndez de Avilés is the founder of the Ancient City. A classic example of the conquistador, he was commissioned by HRE Charles V to drive pirates away from Spain’s coast and was later appointed captain of the Indies fleet. His impatience won him numerous enemies which would lead to his imprisonment in 1563 until he was freed with royal favor. King Philip II was threatened by the French Huguenot presence on Florida’s east coast. He sent Menéndez on an expedition to establish a colony and fight French advances with eleven ships and 2,000 men in July 1565. Menéndez and his crew landed on August 28, named the city St. Augustine, and began building a fort. On September 20, they occupied the French colony of Fort Caroline and massacred the entire population. Menéndez would continue to establish a string of forts on the Atlantic coast up to St. Helena in present-day South Carolina until he was recalled to Spain in 1567 to organize against the English. Today, a statue of Pedro Menéndez de Avilés stands prominently in front of the historic Alcazar Hotel, now the Lightner Museum and municipal offices of the City of St. Augustine. The sculpture was gifted to the city by the people of Avilés in 1972 and is an exact replica of the statue that stands near the tomb of Menéndez in his ancestral home of Avilés.

St. Augustine Beach Sculpture Garden

For fourteen years, St. Augustine artist and musician Thomas Glover White worked toward his vision of a building community Sculpture Garden. In 2009, the St. Augustine Beach City Commission set aside land for the permanent installation of the St. Augustine Sculpture Garden and committed to the lighting and long-term maintenance of the monuments and grounds. Installation began in 2010, and the Sculpture Garden celebrated its grand unveiling in June 2011. It was a remarkable gift to the community, an artistic treasure to be enjoyed by generations to come, and an amazing legacy to the life and work of Thomas Glover White. The St. Augustine Sculpture Garden is a non-profit organization dedicated to enhancing the cultural values of the Community of St. Augustine Beach and its surroundings. Come join us to enjoy and share the St. Augustine Sculpture Garden at Lakeside Park, adjacent to the St. Augustine Beach Police Department and City Hall Building, on A1A S. The Sculpture Garden is a valuable gift to the Community and the sculptures have been appraised over three-quarters of a million dollars. The Park is a cultural landmark for this historic area, and it is free to the public to visit and admire.

St. Augustine First World War Memorial

When coming into the historic downtown district of St. Augustine from the iconic Bridge of Lions, visitors will see an American flag flying high just to the right. Located just across the way from the American Legion, this memorial honors the young men of the city who served in the First World War from 1917-1918. The memorial flag pole base was designed by Charles Adrian Pillars, the city’s foremost sculptor, and some regard this as his most significant work. It was donated to the city in 1923 by Dr. Andrew Anderson, a local philanthropist who has donated several works throughout the city like a fountain at the Governor’s House and the statue of Juan Ponce de Leon nearby. Six panels at the base of the flag outline significant dates and portraits of important people to the city’s history like Ponce de Leon, Pedro Menendez, and Henry Flagler.

St. Augustine Foot Soldiers Monument

Located near the southeast corner of the plaza is the St. Augustine Foot Soldiers Monument that honors the men and women who engaged in various forms of peaceful protest to advance civil rights contributing to the passage of the Civil Rights Act of 1964. The monument, commissioned by the St. Augustine Foot Soldiers Remembrance Project, Inc. (the "Project"), was installed and unveiled in May 2011. The 675 lb bronze monument – designed by sculptor Brian R. Owens of Deltona, Florida – features four life-size portraits of anonymous foot soldiers placed shoulder to shoulder, in front of a relief illustrating a protest in the same Plaza where the monument is now installed. The portraits represent an approximate demographic profile of the foot soldiers: A Caucasian college student, and three African Americans: A male in his thirties, a female in her sixties, and a 16-year-old female. The 7500 lb tapered cast-stone base – designed by Enzo Torcoletti of St. Augustine – includes Coquina, a naturally occurring material used in the construction of many historic structures in St. Augustine. A historic plaque is displayed on the front of the base and a donor-recognition plaque is on the back.

St. Augustine WWII Monument

This memorial is located at the northeast corner of the Plaza de la Constitución just next to the old Public Market facing the Bridge of Lions. The St. Augustine Pilot Club presented the monument in 1946 to memorialize the citizens of St. Johns County who gave their lives during World War II. Later, bronze plaques were added to the six-foot square, stucco-finished masonry shaft to include those from St. Johns County who died in Korea and Vietnam.

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