17
THE AMERICAN PARIS
A great bronze arch spans Seventeenth street and bids you welcome to Denver. For the capital of Colorado seems only second to the Federal capital as a mecca for American tourists. She has advertised her charms, her climate, her super-marvelous scenery cleverly and generously. The response must be all that she could possibly wish. All summer and late into the autumn her long stone station is crowded with travelers—she is the focal point of those who come to Colorado and who find it the ideal summer playground of America.
To that great section known as the Middle West, beginning at an imaginary line drawn from Chicago south through St. Louis and so to the Gulf, there is hardly a resort that can even rival Colorado in popular favor. Take Kansas, for a single instance. Kansas comes scurrying up into the Colorado mountains every blessed summer. It grows fretfully hot down in the Missouri bottoms by the latter part of July, and the Kansans begin to take advantage of the low rates up to Denver and Colorado Springs and Pueblo. And with the Kansans come a pretty good smattering of the folk of the rest of the Middle West. They crowd the trains out of Omaha and Kansas City night after night; at dawn they come trooping out through the portal of the Denver Union station and pass underneath that bronze arch of welcome.
They find a clean and altogether fascinating city awaiting them, a city solidly and substantially built. Eighteen years ago Denver decided that she must discontinue the use of wooden buildings within her limits. She came to an expensive and full realization of that. For Colorado is an arid country nominally, and water is a precious commodity within her boundaries. The irrigation ditches are familiar parts of the landscapes and ever present needs of her cities. To put out fire takes water, and Denver sensibly begins her water economy by demanding that every structure that is within her be built of brick or stone or concrete. And yet her parks are a constant reproach to towns within the regions of bountiful water. They are wonderfully green, belying that arid country, and the water that goes to make them green comes from the fastnesses of the wonderful Rockies, a full hundred miles away.
The brick buildings make for a substantial city, but Denver herself has a solidity that you do not often see in a Western city. Giant office buildings in her chief streets do not often shoulder against ill-kempt open lots, have as unbidden neighbors mere shanties or hovels. Moreover, she is not a "one-street town." Sixteenth and Seventeenth streets vie for supremacy—the one with the great retail establishments, the other with the hotels, banks and railroad offices. There are other streets of business importance—no one street not even as a via sacre of this bustling town for the best of her homes.
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The Paris of America, is what she likes to call herself and when you come to know her, the comparison is not bad. But Paris, with all of her charms, has not the location of Denver—upon the crest of a rolling, treeless plain, with the Rocky Mountains, jagged and snow-capped, to serve as a garden-wall. Belasco might have staged Denver—and then been proud of his work. But hers is a solitary grandeur and a very great isolation. She is isolated agriculturally and industrially, and before long we shall see how difficult all this makes it for her commercial interests. It makes things difficult in her social life, and Denver must, and does, have a keen social life.
The isolation and the altitude, constantly tending to make humans nervous and unstrung, demands amusement, self-created amusement of necessity. If Denver is not amused she quarrels; you can see that in her unsettled and troubled politics, and her endless battles with the railroads. So she is wiser when she laughs and it is that faculty of much laughing, much fun, expressed in a variety of amusements that have led magazine writers to call the town, the Paris of America, although there is little about her, save the broad streets and her many open squares and parks to suggest the real Paris. But, on the other hand, the Seine is hardly to be compared to the majesty of the backbone of the continent, Denver's greatest glory.
In winter Denver society has a fixed program. On Monday night it religiously attends the Broadway Theater, a playhouse which on at least one night of the week blossoms out as gayly as the Metropolitan Opera House. Denver assumes to prove herself the Paris of America by the gayness of its gowns and its hats and a Denver restaurant on Monday night after the play only seems like a bit of upper Broadway, Manhattan, transplanted. On Tuesday afternoon society attends the vaudeville at the Orpheum and perhaps the Auditorium or one of the lesser theaters that night. By Wednesday evening at the latest the somewhat meager theater possibilities of the place are exhausted and one wealthy man from New York who went out there used to go to bed on Wednesday until Monday, when the dramatic program began anew. For him it was either bed or the "movies," and he seemed to prefer bed.
In summer the Broadway is closed, and Elitch's Gardens, one of the distinctive features of the town, takes its place as a Monday rendezvous. It is a gay place, Elitch's, with a quaint foreign touch. A cozy theater stands in the middle of an apple orchard—part of the one-time farm of the proprietress' father. Good taste and the delicate skill of architect and landscape gardener have gone hand in hand for its charm. You go out there and dine leisurely, and then you cross the long shady paths under the apples to the theater. And even if the play in that tiny playhouse were not all that might be expected—although the best of actors play upon its stage—one would be in a broadly generous mood, at having dined and spent the evening in so completely charming a spot.