Sunday, October 12, 2025
Norman Criner, Etchings Artist, Widely-Praised
Tuesday, August 26, 2025
Covington Miniaturized
Many kinds of artists ply their trade in St. Tammany Parish, working in a wide array of styles and media. One of the oldest forms of art is that of miniaturization, that is, making miniatures of people, scenes and architectural models, many times for use in dioramas in museums.
Matt Hardey of Covington is one such artist, but he has combined these miniaturization skills with his love of model railroading. As result, for the past 32 years he has been building a model train layout that showcases downtown Covington as it looked in 1927. He went way back to a time when trains, both passenger and freight, were almost a daily routine for the growing city.
The layout occupies a wide shelf all around the room perimeter, about four feet off the floor, with the walls painted blue with white fluffy clouds artistically added for a sunny day background. A large number of realistic looking "trees" from two to 12 inches in height line the wall, giving the whole layout an amazingly realistic setting. The trains are HO scale, so that calls for a 1:87 downscaling of the buildings on both sides of the train track.
That makes constructing them and decorating them a challenge sometimes, even though there are model train layout building kits that can supply tiny sheets of corrugated tin, bricks, and almost microscopic pieces of lumber. Many of the building walls are put together using separate small pieces of lumber glued on a frame.
Click on the images to make them larger.
His layout includes miniature versions of the Covington Grocery and Grain building, the Delta Pine Products factory (which burned down many years ago), and the St. Tammany Manufacturing and Ice Plant (which housed the city's first electrical power generators). All three of those were in the area that is now the St. Tammany Parish Justice Center and its parking lots. His rendition of the area included a group of pipes that passed overhead across Jefferson Avenue, leading from one section of the Delta Pine Plant to another section where products were processed and packaged. Cars had to drive under the rack of piping when on Jefferson, he said.
On the other end of Gibson he has a representation of Nathan's Sandwich Shop building (originally Charlie's Bar and now Mattina Bella Restaurant). Next to that is the two story building with a second floor front balcony that was occupied by a hotel, a bar, and a restaurant. Across the "street" from that is an old hotel building, the Commercial Hotel, which would later become Hebert's Cleaners.
Downtown Covington in 1927 would not be complete without the Little Napoleon Bar at the corner of Gibson and Columbia, and Hardey has that faithfully reproduced in miniature, based on newspaper photographs and postcards. It was a happening place.
The Little Napoleon Bar and Gibson St. Hotel
The detail in the buildings is extraordinary.
Some of his re-creations may be the wrong color, he admits, but he does whatever research he can to determine the actual color of the historic buildings, often relying on the memories of old-timers who remember what the structure looked like before it was torn down.
That was not a problem when he recreated the Covington train depot, since it is still standing, though long since converted to office space. He did go into quite a bit of detail with the train depot, even making the windows clear so visitors could look into the interior and see the waiting benches and the people sitting on them. He even has some chalkboards hanging on the wall, one with the train schedule and the other with a map of the railroad track system. The print is so small they are unreadable without a magnifying glass, but they are there.
Local architects bought the depot building from the railroad in 1982, he said, and Hardey was able to get a copy of the depot plans from the new owner. He used those plans to construct his replica in miniature. He wound up spending a lot of time on the train depot building, but it was the center focus of his entire train layout, so it was worth it.
Behind the train depot is the famous Covington water tower on Theard Street, with its water storage tank suspended far above the landscape. Each of the four support legs of the water tower has the recognizable criss-cross metal bars (which took a while to glue into place). Today the water tower is a key landmark overlooking the Covington Trailhead. A stylized illustration of an early Covington train locomotive graces the side of the tank today.
Hardey hasn't yet built a model of the water plant's historic red and white building on Theard St. underneath the water tank, but he is gathering research and preparing to put one together. He found the plans for the original water tower building at Covington city hall, so he will be using that for precise measurements.
In an effort to represent many of the landmark business operations in Covington he included many business and industrial locations although they were only adjacent to downtown. That included a Standard Oil storage area with several tanks, since Covington hosted several storage and supply facilities.
Many of the buildings in his layout he didn't have any plans for, so he had to research, design, and lay out the floorplan and frame structure himself.
One wall of his train layout represents the train track and downtown buildings of Bogalusa. That helps portray the scenario of where logs from St. Tammany would be transported by rail to the paper mill there. Another section of the track along the wall represents 1927 New Orleans, where the tracks offered several interchange connections to Covington and all points north.
"Sometimes we have three guys in here all running separate operations of the train system, and one guy handles the carloads coming out of Bogalusa to Covington that are then replenished with carloads going back into Bogalusa," he explained. "A railroad simulator," Hardey says.
It must call for some intense coordination when three separate train engineers are trying to complete their assigned tasks on one big layout. It is a small-scale testament to the ingenuity of those pioneers in big train transport operations that conducted the business of the nation, from one end to the other, back in the days following the industrial revolution.
He noted that the tracks that went to Folsom from Covington were taken up around 1920 so it didn't apply to his 1927 layout. During their life span the Folsom tracks brought many carloads of timber from the piney woods into Folsom's big saw mill there, and the resulting lumber was shipped by boat to points around the world.
When one of his fellow model train enthusiast friends ran out of room in his house for his model train layout, he gave the layout to Hardey. But, when the fellow enthusiast bought a bigger house last year, Hardey decided to give the section back to him. It freed up some space for more Covington buildings and landscapes.
The background scenery is composed of all kinds of trees, but it is not necessary indicative of the actual landscape surrounding downtown Covington.
Hardey mentioned that in Covington around 1927, there were passenger trains coming in twice per day.
Some portions of the layout feature train operations that didn't actually occur in Covington. One of those is a coal dumping station, where coal cars travel out onto an elevated section of track and pour their carloads of coal into waiting dump trucks. He had the kit parts to build one of those, so he built it and put it in a corner far away from the downtown Covington section.
Another structure tucked in a corner is a gantry crane, which features an overhead lifting mechanism that could pick up heavy machinery off of a flatbed train car and then slide over and place it on a truck bed. Someone gave him the gantry crane set up, so he put it together and placed it where it would be noticed, although not part of the downtown Covington scene.
The responsibility of building such a train layout that mimics the operation of a real railroad also brings with it the responsibility of maintaining the dozens of component parts. He says it is a constant job to check the buildings and structures for things that have fallen out of place or need spiffing up. The whole thing being on a platform four feet off the floor gives him the space to crawl under it all and connect wires to all the building lights, exterior and interior. The underneath space is also filled with roll-around cabinets filled with tools, parts, and train cars.
All the building structures were glued together, piece by piece, using several different kinds of glue. His work bench is on one wall, and it offers a wide variety of small screwdrivers, needle-nose pliers and tweezers.
For now, plans call for a few more key buildings, a little more work on the Bogalusa train section, and just keeping an eye out for new projects.
Hardey can explain which railroads originally served the Covington area, their history, their business merges over the years, and the important mode of transportation it provided.
Hardey also explained the workings of modern-day model trains, saying that the locomotives now contained computer chips that receive electronic signals from the tracks. Those signals come from a central computer with a number of controls. Each locomotive has its own electronic identity, and each track has its own electronic identify, so to enjoy moving the trains along the layout all one has to do is push on the buttons. We are all familiar with the way electric trains used to work, but starting in the early 1990's computers hit model train control systems and everything changed. Locomotives now puff smoke and blow their whistles on computer commands.
Modern day full-size train operations use the same sort of computerized systems.
He got his first train when he was seven years old living in Covington. Now somewhat older, his dream is that one day, after he is gone, someone will come into his train layout room and re-locate the downtown Covington section into a local museum somewhere. It is definitely museum-quality work, and a great bird's eye view of how Covington used to look, and also how important the train was to the growing community.
Model train enthusiasts have their own association, of course, and a regional convention was recently held in Baton Rouge. Some model train aficionados have much larger layouts than Hardey, he said. In fact, a few of those train model enthusiasts in the Covington area have bigger train layouts housed in separate big buildings.
It is an artistic expression of history, a form of the ancient art of miniaturized representations of historic people and places, and it certainly offers a multi-faceted trip down memory lane. Except in this case, Memory Lane is about a quarter-inch wide.
Links of interest:
Thursday, September 19, 2024
Singing Strong - Scooter Lee
Scooter Lee is a well-known singer/songwriter from Mandeville who got her start way back in the late 1960's.
Here are a few newspaper clippings from the 1970's.
For more information about her, visit the following link:
https://www.scooterlee.com/about-scooter/
Click here to go to her Facebook Page.
Here's a link to a YouTube list of her best songs:
https://www.youtube.com/watch?v=Pu24EEsQcVk&list=OLAK5uy_lDm0quhMJL9aSkCJ3sDcx5r0hwZdhgHMc
Also this link:
Thursday, June 13, 2024
The Remarkable Jonette Shelton
One of the Covington area's most remarkable people was Jonette Helms Dunning Shelton. Long known and appreciated as an expert floral arranger who ran her own florist shop in downtown Covington, she was also widely-recognized as a highly capable pianist, playing guest solos with the New Orleans Symphony Orchestra and teaching her own piano students.
She was also quite active in promoting the arts and served on the first board of directors for the St. Tammany Art Association, along with Marguerite Davis, Kathryn Long, Carlos Aceves and Betty Ellis.
The formation of the STAA in 1958 was said to be "a wake-up call to realize that our community is blessed with an amazing number of talented artists who work in a variety of mediums and styles."
And Jonette was a great example of that, given her wide range of skills in music and art.
Brandon Fuhrmann Post No. 15
The Morgan Interview
In 1956 well-known writer Mary Frances Morgan penned this profile of her friend, the remarkable Jonette Dunning Shelton.
Here is the text from the above article:
Mrs. Jonette Dunning Called Talented
Realist By Local Interviewer, Friend
By Mary Frances Morgan
Ordinarily, when arrangements are made for an interview—the subject in question is someone personally unknown to the writer —and the first step, obviously is to bone up- on the personality's background and career so as to be sufficiently familiar with the matter to seem politely interested rather than just pontedly curious.
News Services keep a file on all celebrities so that the Staff member assigned to interview—say Eleanor Roosevelt, Leopold Stokowsky, Amy Vanderbilt or perhaps some of the more volatile and unpredictable characters in public life—is armed with at least enough knowledge not to be 'a dangerous thing.'
In recent years, however, it has been refreshing privilege to interview two Covington girls—held in the spotlight of public interest—whom I had known since their sandpile days and whose young lives were, to me, as to all their hometown friends and neighbors, open books.
When I interviewed Peggy Dow at the Waldorf Astoria, several years ago for Photoplay Magazine—she was a talented young Universal International Star on the threshold of a brilliant career in show business. "How are the kids back home?" .She wanted to know. "Wouldn't 'it be fun if I'd run into Rosemary Fuhrman here in New York?" "Is Miss Arnaud still teaching French at Covington High?"
Yes, refreshing is the word—and it fits another gifted young Covingtonian like a new spring bonnet! Only the other morning I sat in the back of Dunning's Flower and Gift Shop to interview Jonette Helm Dunning—fresh from her spectacular guest debut with the New Orleans Symphony Orchestra and from the moment she told me to sit down with her close to the door so that she could keep one eye on the shop inside, it was clear to see that this year's spring bonnet will be exactly the same head-size as all the others in her parade of Easters.
Since she had—several nights before—performed before an audience genuinely aware that she was a fine young pianist, but far from the actual realization that she had advanced to such professional heights—dozens of people have been asking "Why doesn't the girl become a concert pianist and grow rich and famous?"
Jonette, whose manner is gentle and whose appearance, girlish yet prettily sedate, in no manner suggests the extravagancies often affected by young women with rarified artistic aspirations, smiled when I put the question to her.
"Oh, there are many reasons," she answered, and with disarming modesty, she listed as the first reason her own conviction that she is not yet sufficiently accomplished in technique or repertoire to attempt such a demanding and competitive career.
"For one thing," she went on, "I got a rather late start with music. After having had a few lessons when I was six years old, I didn't study music again until the summer following my junior year in high school. At that time, I studied under Miss Klinger here in Covington until I enrolled in Brenau College—where I had the audacity to major in music.
"Really, I mean that I was thrown in with much more advanced pupils and all through college, both then—and later, for two years at L.S.U., I had the feeling that I was always behind and could never catch up. However, after I was married—I lived for some time in Hartford, Connecticut, and was fortunate enough to have the opportunity to attend the Julius Hartt School of Music — where I taught and studied. I believe I can honestly say that it wasn't until I returned here and began my studies under Miss Corinne Mayer in New Orleans that I felt myself to be on the right road.
'You see, it would be hard to express just what it was she gave me—confidence, incentive, a true appreciation of good music—She made me realize that i still lacked foundation and because she is the rare and great teacher that she is, she literally started me over from the very beginning, and I have enjoyed every moment since that I have studied with her."
In a discussion that led, once again, to the future--and whether or not she seriously contemplated a career in music, Jonette pointed out the uncertainties and the possible heartbreak, as well as the long range financial aspect of any free lance career in the arts—and she said, thoughtfully, "Whether or not the average music lover realizes this—there is little glamor in the life of a concert artist — and I feel that my music means more to me when I can enjoy it rather than depend on it. The pressure is terrific, almost killing, the competition is deadly and the constant traveling makes any thought of home life a mere pipe dream.
"Actually, most professional musicians would give anything to have an interesting business, a life with roots and a home in a pretty country town. These are the things that really spell success, after all, and I'm content with my life—and with the knowledge that music can always be an integral part of it without becoming the be-all and end-all of my existence."
It is all but impossible not to feel a warm glow of admiration for a girl such as this—one whose artistic talents radiate in many directions, yet, though her dark head brushes the clouds — her small feet are planted soundly on earth—the good earth of St. Tammany Parish—where Jonette Helm Dunning is—first, a devoted mother, secondly, the competent and creative manager of a flower and gift shop, and—in between and all 'round, threading like a bright cord through the very fibre of her young life, a gifted and humble musician.
Charm is a word that embodies many glowing attributes. It has been said that only one out of a hundred women possesses, in essence, the cultural, esthetic, captivating and unassuming qualities that add up to the elusive top drawer qualification known as charm. It seems to me that Jonette Dunning is gifted with a wealth of charm as well as talent—and it is evident that, whatever path she may choose in time, she is already well on the way to success as a human being.
March 30, 1956
End of Morgan Article
In 1955 another feature article was written about Jonette, this time by Mrs. Walter Valois.
Jonette Helms Shelton passed away on Wednesday, September 13, 2017, at the age of 93. According to an obituary provided by Fielding Funeral Home, she was the daughter of Jessie Hood Helms Brown and John Foy Helms, born in Lake Charles, Louisiana, on April 13, 1924.
She came to Covington at the age of three. She attended Brenau College and LSU, earning a Bachelor in Music Education. She taught private piano lessons for some time before opening Dunning's Flowers and Gifts in 1949, where she was a talented and highly regarded florist until retiring in 1979.
She was also involved in bringing the Symphony to Covington for annual performances, originally in the old Covington High School gym.

























































