Archive | June, 2010

Finding a running partner

June 30, 2010


It’s fun getting up at 7 a.m. to run when the weather is so beautiful. I’m really enjoying the cool mornings and low humidity.

And, today, I got a bonus — my No. 3 son, William, joined me on my 3-mile run. He started going with me last week and wants to keep it up for the rest of the summer.

Naturally, I welcome his company. He can’t go the whole distance yet, but he’s off to a good start. He is able to go the first mile, then he turns around and walks back. Depending on how fast I run, I can catch him somewhere along the way back.

Today, I didn’t, but that’s OK. That just means he’s increasing his pace. I suspect that, sometime this summer, he’ll be able to go the whole way with me. And, eventually, I’ll be trying to keep up with him.

As a parent, you look for ways to connect with your children. So far, running is it for William and I. For Claire, my only  daughter, it’s bike riding. We rode our bikes to a Dairy Queen on Monday. That’s about the perfect distance for her right now. I’m hoping there will be longer trips ahead for us. William joined us on our quick trip to DQ, but it seems like Claire likes it a lot more than he does.

Getting out with your kids is a great way to spend the summer. I’m glad to be starting now and I’m looking forward to the next two months.

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Making something good even better

June 30, 2010


Bancel LaFarge designed this window of St. Clare in the Cathedral of St. Paul using the methods he learned from his father, famous East Coast artist John LaFarge. Photo by Dave Hrbacek / The Catholic Spirit

Bancel LaFarge designed this window of St. Clare in the Cathedral of St. Paul using the methods he learned from his father, famous East Coast artist John LaFarge. Photo by Dave Hrbacek / The Catholic Spirit

East Coast churches have dazzling stained glass, but so does our Cathedral of St. Paul

They looked like fused gobs of chunky carnival candy, so brilliantly hued that, for a moment, I wanted to pry out a piece and pop it in my mouth.

Good thing I didn’t: It was glass.

In June I spent a week poking around some of America’s most magnificent Victorian homes in Newport, R.I.

I went hoping to deepen my knowledge about the era’s architecture (which I did), but my attention easily strayed from cornices and balustrades to the stained glass windows decorating a handful of the homes and churches I visited.

This was not ordinary stained glass. Instead of employing traditional methods, these were among the first “opalescent” glass windows. Previously, artists painted colored windows with dark paint to add detail or filter light within the glass. Opalescent glass is made containing gradations of density and color, diminishing the need for paint. The result is glass that appears to have its own texture, movement and, well, life, in contrast to its rather stoic predecessor.

Many of the windows I saw also had “gems” fused with the panes — the previously mentioned dollops, sometimes smooth, sometimes harshly faceted, that captured my eye.

Later, I discovered that this glass fathered the treasures in — literally — my own St. Paul backyard.

An American artist

The man credited for this design revolution was John LaFarge (1835-1910), a New York City-born artist who earned his chops while studying with painter William Morris Hunt in Newport.

LaFarge’s earliest work graces several of the city’s landmarks, and later pieces show up in grand homes and small churches throughout New England.

Both a painter and artist, LaFarge, a Catholic, received his big break when he offered to design the interior of Boston’s Episcopalian Trinity Church, which was designed by architect Henry Hobson Richardson. The 1877 structure is credited — inside and out — for inspiring a truly “American” aesthetic at a time when the centennial-celebrating nation was seeking to identify who, exactly, it was.

For LaFarge, the rest was history. His glass technique was soon adopted by Louis Comfort Tiffany (famous for his windows and lamps), who was better able to market the stuff than LaFarge (who, unfortunately, earned a reputation for not finishing work in a timely manner and for digging himself into debt).

Some of LaFarge’s best work is in churches, and radiant images of angels, saints and biblical figures have long drawn his admirers — both religious and secular — into houses of God, if only for a moment.

Connection to local treasure

As I examined the particularities of LaFarge’s glass design, I noticed some striking similarities to some familiar Twin Cities windows — the backs of which I can see from my desk at The Catholic Spirit.

The way the figures’ clothing folded and draped over their heads and arms, the gradation of light, the thoughtful expressions — they reminded me of the series of saint windows in the Cathedral of St. Paul’s Shrine of Nations.

Sure enough. Well, almost.

It was not John LaFarge who designed the 12 windows that dramatically light the Cathedral’s chevet, but rather his son, Bancel.

When the windows were created in 1927-28, the senior LaFarge had passed away, and Bancel had achieved success in his own right. His Cathedral commission was undoubtedly aided by the fact that a childhood friend in Newport — a butler’s son named Austin Dowling — was currently archbishop of St. Paul.

Six shrines comprise the Shrine of Nations to honor six ethnic groups whose immigrants were the city’s earliest Catholics. Each shrine has two Bancel LaFarge windows, each depicting a saint. (His initials “BLaF” adorn a few of them.)

My favorite is St. Clare of Assisi in the Italian chapel. As in her typical depictions, she holds a ciborium containing the Eucharist. Legend holds that she brought the Eucharist to her convent’s gates when it was threatened by looters, and the whole town was spared. She’s also usually shown garbed in brown robes typical of a Franciscan.

But not in Bancel’s mind.

Her veil is green, her mantle is orange, and her gown is awash in purples and greens. Framed by a rose-hued halo, her face bears a pensive expression as she looks over her shoulder.

A visual, spiritual treat

Nearby, her male counterpart, St. Francis, also wears colorful robes as he gazes at the sun and moon, evoking the way he imagined all creation — including “brother Sun and sister Moon” — praising God.

“Perhaps the artist wished to evoke the beauty of lives lived in perfect dependence on and submission to God,” author Dia Boyle writes in “Stone and Glass: The Meaning of the Cathedral of St. Paul,” published in 2008.

I don’t know what Bancel was thinking when he cast aside the traditional for the unexpected. But I suspect, as Boyle does, that it was done in devotion. He was  a devout Catholic who invested in Catholic organizations, including a three-year stint as president of the Liturgical Arts Society of America.

Bancel also designed the windows for the Cathedral’s Sacred Heart chapel, as well as the murals and windows for St. Mary’s Chapel at the St. Paul Seminary.

Like John LaFarge, Bancel had the ability to present long-depicted themes in surprising ways, casting an even greater beauty in a place where it was already to be found. His glass lacks the signature candy-like medallions of his father’s work, but it’s just as delicious to the mind and eye.

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Contemporary art is capable of conveying eternal truths

June 29, 2010


School Sister of Notre Dame Mary Ann Osborne holds her artwork “Sanctuary” as she stands in her Mankato studio.

School Sister of Notre Dame Mary Ann Osborne holds her artwork “Sanctuary” as she stands in her Mankato studio.

People don’t usually think of Michelangelo as a modern artist.

He’s known for his frescoes in the Sistine Chapel, the marble “Pietà” in St. Peter’s Basilica and St. Peter’s dome that dominates the eastern Roman skyline.

But it’s partly a Michelangelo sculpture that inspired Sister Mary Ann Osborne to create the contemporary wooden artworks that fill her Mankato studio and grace several churches, including Holy Rosary in Minneapolis and Pax Christi in Eden Prairie.

Known as the “Pietà Rondanini,” it was one of several pietà statues carved by the Renaissance artist. It was also his last; Michelangelo worked on it just days before his death in 1564.

Most historians consider this pietà an unfinished work because it lacks the smooth polishing and intricate dealing of his other work.

Sister Mary Ann thinks it may be otherwise: a modern piece before its time.

In it, Mary holds the crucified Christ vertically, his head resting on her shoulder. The marble is rough and tool marked, the faces undefined. A disconnected arm is suspended in front of Christ, revealing that Michaelangelo either changed his mind or reused another piece.

“I love more primitive pieces; they bring out the essence of what something is about,” she said. “Maybe that’s why I was attracted to Michelangelo’s piece, because it is more primitive.”

Mary and Jesus’ chests are touching, she pointed out, as if their hearts are connected. “It always spoke to me as something that [Michelangelo] knew at the end of his life that was different than when he was a young person,” she told me as she sat in her studio, surrounded by her art, raw wood and tools.

Professed for 35 years as a School Sister of Notre Dame, Sister Mary Ann has been making art for about 25 years. She works mostly in wood, but her sculptures also include glass, tile, paint and metal. Many of her pieces are large, and all of them are inspired by her Catholic faith.

“It’s really ancient truths told in new ways,” she said. “I cannot really separate who I am and how I pray from my art, because it’s one and how God speaks to me.”

‘Custodians of beauty’

On Nov. 21, Pope Benedict XVI hosted more than 250 international artists in the Sistine Chapel, where he invited them and their work into a deeper relationship with the church.

“Remember that you are the custodians of beauty in the world,” he told them.

For centuries, the church was the greatest patron of the arts, but in the last few centuries that relationship has waned, giving way to a growing disconnect between contemporary art and the church.

I haven’t always connected with it, either. Truth be told, for a long time, I detested modern and contemporary art.

I mean, it looks weird, right?

Its abstracted or stylized forms are confusing, and I’m often frustrated by my inability to immediately understand the message the artist is conveying. At first glance, some of it can look unrefined and childish.

However, I’ve changed my mind.

I’ve learned to appreciate the challenge of contemporary art, the way it coaxes me to really think about  what I’m seeing.

Earlier art doesn’t always do that. Unfortunately, it can be easy to gloss over a medieval “Annunciation” painting, because its scene and meaning are so painstakingly clear.

However, a modern “Annuncia­tion,” like the one in Sister Mary Ann’s studio, compels me to pause to consider the symbolism, to ask why the artist painted something in that way.

“I want to help people see things in a new way, or a deeper way,” Sister Mary Ann said.

His own relationship with art persuaded Pope Paul VI to inaugurate the Vatican Museums’ Collection of Modern Religious Art in 1973.

“We need you,” he had told artists in 1964 at a Sistine Chapel gathering strikingly similar to that of Benedict XVI. “We need your collaboration in order to carry out our ministry, which consists, as you know, in preaching and rendering accessible and comprehensible to the minds and hearts of our people the things of the spirit, the invisible, the ineffable, the things of God himself.”

Pope Benedict XVI reiterated these words Nov. 21, urging the artists not to seek “mere aestheticism,” but rather authentic beauty that liberates mankind from darkness and transfigures it, “unlocking the yearning of the human heart

. . . to reach for the Beyond,” ultimately spurring the heart toward God.

“Faith takes nothing away from your genius or your art,” he said. “On the contrary, it exalts them and nourishes them, it encourages them to cross the threshold and to contemplate with fascination and emotion the ultimate and definitive goal, the sun that does not set, the sun that illumines this present moment and makes it beautiful.”

As much as an exhortation to artists, the pope’s words are also an invitation to viewers: Don’t so easily write off the works of contemporary artists. Search out the beautiful, the true and the good within the works. Ask what they can teach you, and then be taught.

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Catholic and want to know more about Jesus?

June 28, 2010


Jesus cover


by Paul Johnson

Ever felt uncomfortable discussing religion in a mixed-faith setting because you don’t feel you’ve really “kept up” with matters of faith?

Paul Johnson’s brief (226 pages) easy-reading story of Jesus — subtitled “A Biography from a Believer” — will get you up to speed with some facts Catholics should know. It will also remind you what Christianity values and why you value your faith life. Johnson is an unabashed cheerleader for the faith, and he writes early on that he wants to share “the joy and nourishment” of following Jesus’ footsteps and pondering his words.

Although I’ve read a lot of religious material, reading “Jesus” gave me a much better mental picture of the era in which he walked this earth, helping me place his life in the time of not just Julius Caesar but Ovid, Livy and Seneca, the Romans whose writing has put life in the Roman Empire into our hands.

But I’d hesitate before giving Johnson my complete trust as a biographer or historian, and I think he’d find that perfectly acceptable.

Meet a new Jesus

In my notes I kept jotting down “first I’ve heard of that,” which did make me suspicious that some of Johnson’s “biography” might be suspect. For example, he writes that Mary was a source for Luke’s gospel, that Jesus’ baptism was witnessed by a large crowd, that one task of the apostles was to “protect” Jesus, and that Jesus’ “few days of rest were spent fishing.”

What these might very well be called would be “guesses.” Johnson says they are “mere deductive supposition.” When he describes Jesus’ appearance and the way he held himself, I’d call that analysis without basis of fact. Yes, Jesus did teach at meal time, but did he “love” to?

But whether or not Jesus could recite Homer and Virgil is less important than the aura of Jesus that I think readers will get about the subject of this “biography.” You’ll meet a new Jesus here, one you’ve likely never thought about in the same way.

Johnson offers us a pleasant, colloquial way of absorbing Jesus’ teachings in somewhat of a condensed version of the gospels, and he follows up by explaining why Jesus taught those lessons.

Don’t miss the homilies

The most useful section of the book may be Johnson’s explanation of why Jesus came and what Johnson charges might be a “New Ten Commandments” Jesus taught. You can see the list below, but it’s Johnson’s writes a page or more about each, and every one could serve as a homily worth hearing.

Johnson calls Jesus’ teachings a moral and social framework that have been invaluable to our world, and, if this book were this section alone it would be enough to inspire every Christian to re-commit themselves to following Jesus’ more closely. Here’s the best part:

“Human progress has proved an illusion as often as not. In many ways our society is no better organized and led than in those weary days two m ago when men like Herod and Pilate ruled. Insofar as we have improved — in the way we look after the poor, the sick, the infirm, the powerless; in our treatment of children; in moral education and training; in penology and the redressing of grievances; in the effort to spread material welfare and to encourage people to show kindness to one another and help their neighbors in difficult times — these improvements have come about because we have had the sense, the sensibility, the intelligence, and the pertinacity to follow where Jesus led. If goodness has a place in our twenty-first century world, it is because Jesus, by his worlds and actions, showed us how to put it there. No other man in history has had this effect over so long a time, over the whole of the earth’s surface, and over such a range of issues.”

If that’s not enough evidence to believe in God, I don’t know what would be. — bz

“Jesus’ New Ten Commandments”

1. Each of us must develop a true personality. We have a duty to be aware of our existence as an act of God’s creation

2. Accept and abide by, universality. Each soul is unique, but each is part of humanity.

3. Respect the fact that we are all equal in God’s eyes.

4. Love is a must in human relationships, at all times and in every situation.

5. We are to show mercy just as God shows mercy to us.

6. Keep balanced; don’t be an extremist.

7. Cultivate an open mind.

8. The pursuit of truth, unabridged, simple and pure, unstained by passion, is the most valuable of human activities.

9. Use power carefully, and pay due respect to the powerless.

10. Show courage.

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Astronomer oversees science-religion dialogue

June 25, 2010

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Jennifer Wiseman, a NASA astrophysicist, has joined the American Association for the Advancement of Science as director of its Dialogue on Science, Ethics and Religion. (CNS photo/courtesy AAAS)

Jennifer Wiseman, an astrophysicist for NASA’s Goddard Space Flight Center, wants to foster a better dialogue between religion and science.

The new director of the Dialogue on Science, Ethics and Religion at the American Association for the Advancement of Science believes people are tired of the perception that there is an inherent conflict between faith and science.

Both “can inspire a sense of awe and humility,” she said during a recent panel discussion on the topic in Washington, D.C., and both have something valuable to learn from the other.

The AAAS dialogue program, established in 1995, seeks to foster communication between scientific and religious communities and advance the association’s commitment to relate science to the concerns of society at large.

In announcing her appointment, AAAS chief executive officer Alan Leshner noted, “With continuing battles over the teaching of evolution in the schools and new fundamentalist attacks on the reliability of climate science, there is a need more than ever for a constructive conversation between scientists and religious groups.”

Along those lines, Wiseman said she is interested in meeting with seminaries and religious leaders as way of advancing the dialogue.

“The seminaries have been coming to us and requesting educational support,” she told Catholic News Service in an interview. “Religious leaders want to know how to talk about the relationship of science and faith. I sense a great thirst in the religious community to bring science into their teaching, into the excitement of their lives and bring it into healthy contact with theology.”

While the Catholic perspective was missing from the panel discussion, CNS followed up with an interview with John Haught, a theologian with the Woodstock Theological Center at Georgetown University and author of 18 books on religion and science.

Haught, who offered a Catholic perspective on evolution during the interview, likewise called for more engagement with the religion-science dialogue, emphasizing that it also needs to extend to people in the pews.

I agree. Science is a means for gaining a better understanding of God’s creation and how it works, and religion gives us an opportunity to reflect on the meaning of scientific discoveries and their moral and ethical implications.

That’s why a continuing and fruitful dialogue between the two is certainly needed, particularly at a time when new scientific discoveries and challenges are a daily occurrence. Our Catholic Church, with its long history of supporting intellectual pursuits, should be a leader in promoting the dialogue.

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Once-hidden catacomb paintings revealed

June 23, 2010



A 4th-century painting of St. John is seen on the ceiling in the burial chamber of a Roman noble woman in the Catacombs of St. Thecla in Rome June 22. (CNS photo / Nicola Forenza, Pontifical Commission for Sacred Archaeology)

Vatican archaeologists using lasers have burned off a thick crust of calcium carbonate from the walls of a Rome catacomb to reveal what could be the oldest paintings of the apostles.

The frescoes of Sts. Peter, Andrew and John — along with one of St. Paul that was discovered last year near the end of the Pauline year — date back to the fourth century and are located in the Catacombs of St. Thecla in the burial place of a noblewoman.

Barbara Mazzei, director of the restoration work, told Catholic News Service that when restorers first entered the chamber two years ago a white crust from 1 millimeter to 4-5 centimeters thick covered the walls.

In the past, restorers used small scalpels and brushes to remove the accumulations, but some paint would inevitably be rubbed off. Mazzei suggested the laser method to the Vatican after attending an art restoration conference where presenters explained how lasers were being used on above-ground frescoes.

The new approach required carefully firing a laser across the surface of the catacomb images. The method burned off the white deposits and, thankfully, allowed restorers to preserve the paintings’ beautiful colors.

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How did you get so many Twitter followers?

June 23, 2010


Since @catholicspirit eclipsed 10,000 followers people have been asking us how.

We have been using an automated Twitter client called Tweet Adder.  With it we can target specific profiles to create lists, auto-follow and auto-unfollow those who do not follow back in kind.  We’re also able to automate recurring tweets and schedule tweets for the future.

If you want to give it a try you can find it here:

Tweet Adder

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CPA Design Review

June 23, 2010


Here are a few tips that I took away from Ed Henninger’s design workshop at the CPA convention in New Orleans:

1. Think about space and what you don’t see. Next time you see a FedEX logo, look for the arrow. White space is an element that you can use to tell a story.

2. Remember to balance your page so it doesn’t fall over.

3. Shape can be defined by:

A. type
B. form
C. contrast
D. dimension
E. proportion
F. unity

4. We read words and groups of words.

5. Use photos big.

6. Use good graphics.

7. Let color speak.

8. Link elements with color. Good example is from The Catholic Spirit go to print archives, phrase, type in sowing a legacy to see the page.

Ed said he uses – which came up as when I searched the Web – to find free photos for pages.

Visit his website at to see some before and after views of his work.

Very visual and creative.

Anyone else have thoughts to share from the convention?

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Science, faith and the world’s most famous physicist

June 22, 2010

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Pope Benedict XVI blesses British physicist Stephen Hawking during a meeting with science academics at the Vatican in 2008. (CNS photo/L'Osservatore Romano)

Stephen Hawking certainly is a brilliant man. The renowned scientist and author of the best-selling book “A Brief History of Time” has given us new perspectives on how the universe works, popularizing complex ideas much like astronomer Carl Sagan did in the early 1980s.

But when it comes to the question of why the universe exists, even Hawking admits he doesn’t have the answer.

In a recent interview with Diane Sawyer of ABC News, Hawking said knowing why the universe exists, “why there is something greater than nothing” is a mystery he would like solved.

He evidently is looking for a scientific explanation. But questions about the universe’s meaning are more appropriate for the realms of philosophy and religion, not science. During the interview, Hawking went on to share some of his thoughts on that topic as well:

“What could define God [is thinking of God] as the embodiment of the laws of nature. However, this is not what most people would think of that God,” Hawking said. “They made a human-like being with whom one can have a personal relationship. When you look at the vast size of the universe and how insignificant an accidental human life is in it, that seems most impossible.”

As a person of faith, I look at things differently than Hawking. In one sense, I agree with him: If you consider human life in the context of the immensity of the entire universe, we are like a drop of water in an infinitely large ocean. But, to me, that fact is evidence that we are special, not that we are insignificant.

Science certainly isn’t equipped to pass judgment on the significance of our existence. It is my Catholic faith that helps me to understand that we humans — uniquely endowed with intelligence and the ability to love — are reflections of a loving Creator who gives meaning to our existence.

In the ABC interview, Hawking went on to say that “there is a fundamental difference” between religion and science and that “science will win because it works.” He sets up an apparent conflict between faith and science; but in reality there need not be any conflict between the two.

Both faith and science — in their own separate ways — help us to understand our world, our universe and our place in them.

In 1988, Pope John Paul II issued an important letter stressing the need for an ongoing dialogue between faith and science. Here is a key passage from that letter illustrating his point:

“Turning to the relationship between religion and science, there has been a definite, though still fragile and provisional, movement toward a new and more nuanced interchange. We have begun to talk to one another on deeper levels than before and with greater openness toward one another’s perspectives. We have begun to search together for a more thorough understanding of one another’s disciplines, with their competencies and their limitations, and especially for areas of common ground. In doing so we have uncovered important questions which concern both of us and which are vital to the larger human community we both serve. It is crucial that this common search based on critical openness and interchange should not only continue, but also grow and deepen in its quality and scope.

“For the impact each has and will continue to have on the course of civilization and on the world itself cannot be overestimated, and there is so much that each can offer the other.”

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A big walleye for Bob

June 21, 2010


P1020077The much-anticipated fishing trip up north took place last week. I took my two oldest boys, Joe and Andy, to Upper Red Lake along with their Grandpa Bob Guditis.

We arrived at Upper Red Tuesday afternoon and  checked in at our cabin at Bear Paw Guides resort. The protected slot limit had changed that day from 17-26 inches to 20-26 inches. The same thing happened last year, and our family cashed in big. We took home a limit of walleyes, with every one of them measuring between 17 and 20 inches.

We were hoping for similar results this year, but the early spring ruined our plans. Rather than lots of fish being on the shallow breakline, the fish had moved out to deeper water and were scattered. We tried the traditional spots, and caught only four 12-inch walleyes.

So, I decided it was time for a switch. I had heard the fishing was excellent on Lake of the Woods, so we went there Wednesday morning. We drove an hour to get to Wheeler’s Point and the public access, and were on our fishing spot at about 10:30 a.m. The early spring meant the walleyes were out deep in 31-32 feet of water. We went through the Pine Island Gap and drove about another 3 miles until we saw a flotilla of boats anchored at the magic depth.

We picked a spot between two groups of boats and dropped anchor. It didn’t take long to get action. Joe landed a nice walleye just 10 minutes later. Only a few minutes after that, Bob set the hook on a solid fish. It was clear to him and us that this was a big fish. He fought it for several minutes, then finally got it to the surface. I swooped it into the landing net, and it measured 26 inches. It was very fat, and I was sure it weighed more than 6 pounds.

It was Bob’s biggest walleye ever and it ended up being the largest of the trip. We ended up bringing in 15 walleyes — one short of our four-fish limit of 16 — and six bonus sauger. We also caught several fish in the protected slot of 19 1/2-28 inches. The day ended with Joe and Andy catching 23-inch walleyes back to back. In fact, Andy set the hook on his fish just after Joe landed his.

We could have stayed longer to catch the final fish, but decided to head in at 7:30 p.m. One of the owners of Adrian’s Resort, Darlene Ney, was only available to clean our fish until 8 p.m., so we didn’t want to push it. She only charges $1 a fish, and it’s money well spent. Plus, she packages them for us, which makes it easier to take them home.

Actually, we could have had our limit, but Joe released a 14 1/2-inch fish at about 6:45, thinking we would catch a bigger one. In fact, we did catch bigger ones, but they were all too big to keep. Joe got one that was just over 19 1/2 inches, which was tough to throw back.

Bob had a hard time with the protected slot, especially when it meant he had to throw back his big walleye. I tried to explain the reasoning behind it, but he just didn’t buy it. There is no such slot limit in Montana, where he lives. The limit on Canyon Ferry Lake, a walleye lake near his home in Great Falls, is 20 per day and 40 in possession, with one fish over 28 inches allowed. When he looks at the size of Lake of the Woods, he doesn’t understand why a protected slot is needed.

I’m not sure I know, either. I fished the lake about six years ago, when the limit was six fish with one over 20 inches allowed. My friend, Pete, and I caught plenty of fish and came home with our limit. The fishery seemed healthy and not in need of any more restrictions in harvest. The big thing was when commercial netting ended on the lake about 30 years ago. Almost immediately, the number and size of walleyes skyrocketed. The fishing has been consistently good ever since, year in and year out.

Although the lake seems to get lots of fishing pressure, it continues to produce lots of walleyes, both keepers and fish in the protected slot. It rarely disappoints, provided the winds are light enough to get out on the lake. I plan on going back in the fall, when the walleyes migrate into the Rainy River. It sure would be nice to get back up before then. In the meantime, I have some walleye in the freezer to enjoy!

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