This photo should have been one of the easiest to spot, thanks to the commemorative plaque “Right To Petition”. The place is familiar to me, obviously the Paul Revere Mall (better known as “The Prado” for local people).
Card players © Estate of Jules Aarons
But the fact is that this “Right To Petition” plaque has been removed… and there are about a dozen of other commemorative plaques on the south side of the Prado. Furthermore when I first get there nobody could tell me where the original plaque was. I could have looked after corresponding wall brick patterns, or better I could have asked to some official about that. But I finally sorted it out at home in front of my computer. When browsing the MIT library photostream I was lucky enough to stumble upon that shot that gave me enough clue to spot the exact place.
So here is the shot of the place, in 2010:
The spot is in a corner right next to the Eliot School yard. The Prado is enclosed by a wall that has the same recurring frame-like motif all around, but there is no commemorative plaque on that (north) side – at least not today – unlike the other side which has a dozen ones. I still don’t know what the “Right To Petition” plaque has become.
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Another photograph from Jules Aarons shot at the Prado is the one below:
© Estate of Jules Aarons
Like I said the enclosure wall has the same repetitive motif all around, and for spotting this one I had no other clue than the brick pattern. Luckily the frame motif in the shot is shorter than the others, and I find it rather easily.
I am positive it is the exact spot based on the brick pattern of the upper right corner which proves to be the same, although the bench seems to have been discontinued on right since then. Note how the new pavement has made the bench shallower.
… so here we have just two empty old brownstone walls… but finding the spots was interesting.
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Somewhat similar is the re-shot of the North Square playground, facing Paul Revere’s house that I have mentioned in my initial post about Jules Aarons.
© Estate of Jules Aarons
and the re-shot 2010, with similar perspective: