Feature Photo: January 2008 Archives

The floats of Rex, turning from Royal Street in the French Quarter onto Canal Street, around 1896. The photo is undated, but the statue on the left narrows down the possible time frame from 1895 to 1901.

The statue is of statesman, US Senator, Speaker of the House, and Secretary of State, Henry Clay of Kentucky. Clay died in 1852, and a civic group began raising funds to erect a statue in his honor in downtown New Orleans. The base of the statue was huge. If you look at the photo, you'll see two mules in the bottom left corner. The base of the statue extended to where those mules are.

When the New Orleans City Railroad Company brought streetcar service to Canal Street in 1861, the Clay statue became a roundabout in the middle of the intersection of Canal and Royal (or Canal and St. Charles Avenue, as the street is called on the "American" side of Canal St.) The tracks around the statue became more and more complex as other operating companies added their tracks to Canal Street. Most of the lines were able to totally bypass Clay, though, since all they were interested in was to get to Canal, discharge passengers, pick up outbound riders, then head away from downtown. This only required being on Canal St. for a block or two.

Electrification changed the dynamics of streetcar tracks. Constructing the overhead wiring to keep the roundabout configuration of the track would have been too complicated, and a bit dangerous. The City Council decided that the elaborate base of the Clay statue should be cut down so electric streetcars could pass on either side. That's what you see in the photo. The motormen were still unhappy with the clearance they had with the statue, so the city moved it from the middle of Canal St. to Lafayette Square, between St. Charles Ave. and Camp St. Lafayette Square is directly across from what is now Gallier Hall, which was City Hall until the 1950s.

But let's get back to the parade! The only day parade at this time was Rex, King of Carnival, so this is a Fat Tuesday photo. The street in the background is Rue Royal. Parades started in the French Quarter, exited the Quarter onto Canal at Royal, then continued lakebound on Canal, usually to Rampart. They turned onto N. Rampart, then worked their way back into the Quarter, where they would end at the French Opera House. Parades continued to roll through the Quarter until the 1960s, when the city decided that crowds were getting just too big, and parades were a threat to fire protection in the area. The parades then moved to Uptown routes, so they entered Canal Street from essentially where those two mules on the left side of the photo are.

Notice how all the men are up front, crowding in to get a better view of the floats. The women who came out to the parade appear to be hanging in the back, a sign of the times.

The streetcar in the right foreground is a Brill single-truck model. The first electric streetcars had a single "truck" or set of wheels. As service expanded, the operating companies purchased larger, double-truck streetcars, and the single-truck cars were used on lighter-traffic lines and as service vehicles.

The small octaganol building in the right foreground is called a "starter's house." When using mule-powered streetcars, the operating companies put up these small buildings at the end of their lines and stationed an employee there to assist the streetcar operator with getting the car turned around on a turntable and started on their outbound trip. Since that starter's house is still there, that dates the photo even narrower, to 1895-1896.

UPDATE: Two weeks ago, we did a Feature Photo that showed a 400-series Perley A. Thomas streetcar on St. Charles Avenue during a Carnival parade. I wondered in the commentary why the floats were passing on both sides of the streetcar. An astute reader (I won't mention names since I didn't get permission) gave me the answer. In the 1920s-1930s, the "dens" (warehouses where the floats were constructed and stored) for many of the krewes were down by the river, at Jackson and Tchoupitoulas. They would parade up Jackson, then turn Uptown on St. Charles, go to Napoleon, where they'd turn around to head to Canal St. So, that photo was shot between Jackson and Napoleon.

Perley A. Thomas streetcar 904 passing the Pickwick Club, at the corner of Canal St. and St. Charles Avenue.

The Pickwick Club is an all-male, all-white lunch/social club. The club was originally affiliated with the Mistick Krewe of Comus, the oldest Carnival organization in the city. Comus has been around since 1857, when their two-float parade was the first of its kind in New Orleans. While the official connection between the club and Comus was broken in the 1880s, the membership of both organizations is reputed to be closely linked. Nobody knows for sure, however, because neither the Krewe nor the club make their membership public.

That lack of openness was the subject of a 1991 ordinance passed by the New Orleans City Council. That body decreed that, to get a permit to use public facilities like streets, an organization had to show it did not employ discriminatory practices in determining its membership. Rather than make its membership list public, Comus, along with two other Carnival organizations (Momus and Proteus) withdrew from the parade lineup. Proteus returned several years later, but Comus and Momus have steadfastly refused to comply, even though Comus won a lawsuit against the city, validating their right to freedom of assembly.

The Pickwick Club building is often confused with the Boston Club, which is actually down the street. While the Pickwick Club is closely aligned with Comus, the Boston Club is aligned with the School of Design, the organization which names Rex, King of Carnival, and parades on Mardi Gras morning. The Boston Club (which gets its name from the card game, not the city) is actually down the street. Prior to the 1991 blow-up, the Pickwick Club erected reviewing stands in front of the club on Canal St. Rex would roll down St. Charles and turn left onto Canal St., in front of the club. The king's float would stop there, and Rex would toast his queen, who watched the festivities of the day from that vantage point. Since the passage of the 1991 ordinance, however, the School of Design switched venues for their court, and now the toasts take place at the Intercontinental Hotel, at St. Charles and Poydras.

Every year, Haydel's Bakery on Jefferson Highway includes a special figurine with their king cakes. This is their rendition of a Perley A. Thomas streetcar, decked out for the ride of the Phunny Phorty Phellows. The original PPP would ride through the streets on Twelfth Night, announcing the start of the Carnival season. The tradition was brought back in the 1980s by a re-formed PPP. Instead of riding on horses, the modern PPP charter a couple of streetcars, ride, and party. NORTA rules don't allow alcohol on party cars anymore, but the PPP riders get their liquid fun in after the ride.

This year's ride of the PPP was the first since the storm, and the route was very unique. Starting at Beauregard Circle in Mid City, the PPP rode the Canal line down N. Carrollton, turned on Canal, going down to St. Charles. They switched to the St. Charles line, riding up to Napoleon, where the streetcars changed direction and returned back to Pierre Gustave Toutant's statue. Odds are, this won't ever happen again. By next Twelfth Night, the Von Dullens should be back in service on Canal and the 900s will return to operating exclusively on St. Charles. When that happens, a huge invisible barrier that is historic preservation will go up at Canal between Carondelet and St. Charles as the 900s return to operating exclusively uptown.

Don't get the impression that the PPP are a bunch of elitists who ride around on streetcars. They're a nice group of folks who take New Orleans seriously. Besides, anybody can charter a party car, for birthdays and other outings.

Of course, Twelfth Night isn't only about streetcars. It's King's Day, the Feast of the Epiphany. That means King Cakes. Every New Orleanian has their own favorite bakery and king cake. Haydel's is one of the biggest names in the ing cake business. The original "baby" in the king cake was porcelain, but the bakeries switched to plastic in the 1960s. About twenty years ago, Haydel's included a porcelain "Baby Charlotte" doll in their cakes, commerating the old way it was done. That doll was so popular that it's blossomed into a whole line of porcelain Mardi Gras characters that have included Rex's float, Pete Fountain, the St. Augustine band, and a carnival-decorated FEMA trailer. This year's figure is a coffee-and-beignets waiter like you'd see at CDM or MC, in white jacket and black bow tie.