The Classical Heritage in Neon Lights: Las Vegas, Nevada

Abstract

Introduction Our classical heritage can be found today in a variety of elements which constitute fabric of popular culture. Several recent films are noteworthy for their obvious use of classical themes and subjects while literary examples often rely on classical illusions in a more subtle manner. One of more striking and easily observed means of acknowledging a tradition can be found in architecture, taking viewer back to Greek and Roman world, back even to world of ancient Egyptians. Revivals of classical designs in American architecture can certainly be found from Colonial period onward, with places like Thomas Jefferson's home in Monticello or Union Station in Washington, DC. The focus in this study, however, is upon a more recent resurgence in use of classical motifs, a resurgence which borders on whimsy due to its location rather than to any overt attempts to be particularly fanciful. The use of term culture in connection with Las Vegas, Nevada, might seem to some an oxymoron but there is probably no better place to seek popular culture than to look to that oasis in Mojave desert and to consider in some detail what elements of antiquity await unsuspecting tourist. Las Vegas itself emerged in mid-19th century as a stop on stage mail route between Salt Lake City and San Diego. A spring here refreshed travelers weary from crossing Mojave Desert. The name means the meadows and these did, indeed, provide a stark contrast to barren landscape. Later, city grew because of San Pedro, Los Angeles, and Salt Lake City Railroad. Now, of course, city is famous for gambling but that did not come into Nevada until 1931 as a response to provide some form of entertainment for workers during construction of Hoover Dam (Paher 157). While Las Vegas is renown today for its fabulous hotels and casinos, first hotel is recognized to have been a modest thirty-room canvas-- topped structure built in 1905 to house those coming to bid on a land auction (Paher 79). The newer luxury hotels often have over 3,000 rooms each. For New Year's Eve celebration of year 2000, town was able to boast a capacity of 120.000 rooms. The concept of a western frontier town changed in 1946 when Bugsy Siegel built Flamingo Hotel as a fashionable, sophisticated resort hotel. Other resort hotels followed, still often with western or frontier theme, such as Desert Inn. However, change was underway which would alter this five-mile stretch of mostly barren desert, turning it into Las Vegas Strip. To some, this has become the neon Valhalla (Sehlinger 2). When we consider classical heritage used in post modern atmosphere of Las Vegas, we have to face a completely different interpretation of architecture. This is, to be sure, due to Las Vegas itself with its fantasy-world backdrop. A sense of historic style is present but completely lacking is a sense of historic space (Venturi and Brown 75). Juxtapositions abound: of ancient Egyptian motifs and medieval castles; of sedate classical statues and glittering signs advertising equally glittering casinos. An equestrian statue of Marcus Aurelius outside Caesars Palace points to Barbary Coast casino, not only across street but across a chasm of time and imagination. Although this study concentrates upon elements of ancient and classical art, we must take a moment to acknowledge three other noteworthy casinos. The Monte Carlo, for instance, which opened in 1996, is modeled after Place du Casino in Monte Carlo, Monaco. It is a resort in Belle Epoque style, designed by J. L. Charles Garnier who also designed Paris Opera House. As one author has stated, If Monte Carlo fails as a resort, building will be a perfect place to relocate Nevada State Capitol (Sehlinger 109). The casino Paris treats visitors to a 50-story half scale version of Eiffel Tower, a glimpse of Paris Opera House, Louvre, Arc du Triomphe, and Hotel de Ville. …