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I was born in Norfolk and lived in Suffolk. So I thought I knew those two counties. But of course there is more to Norfolk than Norwich, Cromer, Yarmouth and Kings Lynn, as there is to Suffolk than Ipswich, Lowestoft, Stowmarket and Bury St. Edmunds. And so on My friend, Simon K, runs a fabulous website, which I link to on EA churches, and on his Suffolk Church page he has visited 707 Suffolk churches, and 909 Norfolk churches. That is a lot of churches for two counties to share, and many of those churches are ancient, flint built, round towered or have wall paintings, wooden roof angels or something worth the effort of going to see or seeking out the keyholder to gain access.
What I mean is that there is no way someone who only had their own car until 1984, and had little interest in churches or parishes could have heard of most of the parishes in the two counties, and so a parish church like St George.
I saw St George from the main road, I was taking a short cut to join the A14 and from there to the A12 and south on what I hoped my my last trip of the year to lowestoft as Mother is now out of hospital and in the care of district nurses in order to get put back on her feet.
So I saw the tower of St George from about half a mile away, and thought I had enough time to go over and see inside if I could.
I parked at the end of a cul-de-sac of new bungalows, and as I walk up the bank to the gate into the churchyard, the clean lines of the tower, well, towered over me.
In the porch I tried the door and found it locked, but the keyholder list made it clear that the nearest one, at Christmas Cottage, was just over the road. So, why not try, Ian?
I went to the cottage and rang the bell. I had to fill out my details in a ledger, a sensible measure. But I showed by driving licence to prove that I was who I claimed. Little did I know the small village I lived in had been noticed. More of that in a minute.
Inside St George, you eye is stolen by the fabulous pew ends; animals of all kinds, real and imaginary, and most had not been defaced, only those of obvious human form. One with the body of a chicken but a clear human face had been left alone, thus is the madness of the puritan's mind.
I decided that I would record every pew end figure, and many whole pew ends so wonderful that they were.
There is the feint outline of a huge wall painting, Simon says it was of St. Christopher. It would have been most impressive when freshly painted. There is also a fine set of misericords.
St George's glory is the altarpiece, into detail Simon goes below. It is alarmed, so you cannot look at them too closely, sadly, but such is a sign of the times.
I took the keys back, and the lady of the house came to speak to me as she had been told by her husband that I was from Cliffe in Kent, which is where her family is from. Sadly, I am not from, nor live in Cliffe. For once there was indeed two Cliffs in Kent, one on the Hoo Peninsular, where her family is from, and one near to Dover. Many years ago, Cliffe near to Dover was called WestCliffe to differentiate it from its namesake further north. I explained this to her, but said St Helen in Cliffe is one of my favourite Kent churches, built of alternate layers of black and light flints and stone, in sunlight it glistens and sparkles.
Although St George here in Stowlangtoft is a fine church, it is in a poor state of repair, and is due to be made redundant in the new year. Always sad when that happens to a parish church, but it is likely to be taken over by the CCT, but then who will volunteer to keep it tidy when the old wardens and keyholders are too old.
Stowlangtoft is a fabulous church and so glad am I that I spent 40 minutes of my time to visit it. Go to see it now before it is too late!
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In the summer of 2003, this website became a six-part series on BBC Radio Suffolk. Something I said in the fourth programme, about Hessett, generated a fair amount of correspondence. Referring to the way many churches were restored in the 19th century, I observed that when we enter a medieval church, we are encountering a Victorian vision of the medieval; even when the actual furnishings and fittings are medieval, the whole piece is still a Victorian conception.
People wrote to me and said things like "but in that case, Simon, how do we know what was there originally and what wasn't?". To which my reply was the enigmatic "assume that nothing is as it first appears, as Sherlock Holmes said". And if he didn't, then he should have done.
A prime example of a church that assumes a continuity that may not actually be the truth is here in the flat fields between Woolpit and Ixworth. This part of Suffolk can be rather bleak, especially in late October, but England's finest summer and autumn for decades had left the churchyard here verdant and golden, as beautiful a place as any I'd seen that year. The church is large, and sits on a mound that has been cut down on one side by the road. I walked up the slope, past the memorial to the art critic Peter Fuller and his unborn son, which never fails to move me. It is by the sculptor Glynn Williams, and Sister Wendy Beckett says of it that it cannot be pinned down and encapsulated, it defeats the categories of the mere mind and sings to us of our deeper self.
Overwhelmed as you may be by it, don't fail to spot the broken window tracery that has been used to build the wall here, for thereby hangs a tale.
St George, in case you don't know, is one of the great Suffolk churches. Although it may externally appear a little severe, and is by no means as grand as Blythburgh, Long Melford and the rest, it is a treasure house of the medieval inside. Unusually for a church of its date, it was all rebuilt in one go, in the late 14th century, and the perpendicular windows are not yet full of the 'walls of glass' confidence that the subsequent century would see. The tracery appears to have been repaired, and possibly even renewed, which may explain why there is broken medieval tracery in the churchyard wall. However, it doesn't take much to see that the tracery in the wall is not perpendicular at all, but decorated. So it may be that the broken tracery is from the original church that the late 14th century church replaced. But the wall isn't medieval, so where had it been all those years?
Another survival from the earlier church is the font. It also asks some questions. Unusually, it features a Saint on seven of the panels, Christ being on the westwards face. Mortlock dates it to the early 14th century, and the Saints it shows are familiar cults from that time: St Margaret, St Catherine, St Peter and St Paul, and less commonly St George. The cult of St George was at its height in the early years of the 14th century. Mortlock describes the font as mutilated, and it certainly isn't looking its best. But I think there is more going on here than meets the eye. Fonts were plastered over in Elizabethan times, and only relief that stood proud of the plaster was mutilated. These are all shallow reliefs, and I do not think they have been mutilated at all. To my eye at least, this stonework appears weathered. I wonder if this font was removed from the church, probably in the mid-17th century, and served an outdoor purpose until it was returned in the 19th century.
The story of this church in the 19th century is well-documented. In 1832, as part of his grand tour of Suffolk, David Davy visited, and was pleased to find that the church was at last undergoing repair. The chancel had been roofless, and the nave used for services. A new Rectory was being built. Who was the catalyst behind all this? His name was Samuel Rickards, and he was Rector here for almost the middle forty years of the 19th century. Roy Tricker notes that he was a good friend of John Henry Newman, the future Cardinal, and they often corresponded on the subject of the pre-Reformation ordering of English churches. It is interesting to think how, at this seminal moment, Rickards might have informed the thought of the Oxford Movement. Sadly, when Newman became a Catholic Rickards broke off all correspondence with him.
During the course of the 1840s and 1850s, Rickards transformed Stowlangtoft church. He got the great Ipswich woodcarver Henry Ringham in to restore, replicate and complete the marvellous set of bench ends - Ringham did the same thing at Woolpit, a few miles away. Ringham's work is so good that it is sometimes hard for the inexperienced eye to detect it; however, as at Woolpit, Ringham only copied animals here, and the wierder stuff is all medieval, and probably dates from the rebuilding of the church. The glory of Stowlangtoft's bench ends is partly the sheer quantity - there are perhaps 60 carvings - but also that there are several unique subjects; you can see some of them below.
The carvings appear to be part of the same group as Woolpit and Tostock - you will recognise the unicorn, the chained bear, the bull playing a harp, the bird with a man's head, from similar carvings elsewhere. And then hopefully that little alarm bell in your heard should start to go "Hmmmm....." because some of the carvings here are clearly not from the same group. It is hard to believe that the mermaid and the owl, for example, are from the same workshop, or even from the same decade. The benches themselves are no clue; it was common practice in the 19th century to replace medieval bench ends on modern benches, or on medieval benches, or even on modern benches made out of medieval timber (as happened at Blythburgh). Could it be that Samuel Rickards found some of these bench ends elsewhere? Could he have been the kind of person to do a thing like that?
Well, yes he could. As Roy Tricker recalls, the medieval roof at the tractarian Thomas Mozley's church at Cholderton in Wiltshire is one that Rickards acquired after finding it in storage in Ipswich docks. In the ferment of the great 19th century restoration of our English churches, there was loads of medieval junk lying around, much of it going begging. But was Samuel Rickards the kind of person to counterfeit his church's medieval inheritance?
Well, yes he probably was. Look at the medieval roundels in the middle window on the south side of the nave. The four evangelists are above and below two superb representations of the Presentation in the Temple and the Baptism of Christ. You can see them below; click on them to enlarge them. Unfortunately, they are not medieval at all, and it is generally accepted that they were painted by a daughter of Samuel Rickards himself. There is something similar the other side of Bury at Hawstead.
Truly medieval is the vast St Christopher wall-painting still discernible on the north wall. It was probably one of the last to be painted. The bench ends are medieval, of course, as is the fine rood-screen dado, albeit repainted. There is even some medieval glass in the upper tracery of some of the windows. The laughable stone pulpit is Rickard's commission, and the work of William White. What can Rickards have been thinking of? But we step through into the chancel, and suddenly the whole thing moves up a gear. For here are some things that are truly remarkable.
In a county famous for its woodwork, the furnishings of Stowlangtoft's chancel are breathtaking, even awe-inspiring. Behind the rood screen dado is Suffolk's most complete set of return stalls. Most striking are the figures that form finials to the stall ends. They are participants in the Mass, including two Priests, two servers and two acolytes. The figure of the Priest at a prayer desk must be one of the best medieval images in Suffolk; Mortlock thought the stalls the finest in England. I was here with my friend Aidan of Sylly Suffolk fame, and he had previously photographed and written about these carving a a couple of years ago. But even he found something new to photograph, and a hush fell on the chancel as we explored.
The benches that face eastwards are misericords, and beneath them are wonderful things: angels, lions and wodewoses, evangelistic symbols and crowned heads. A hawk captures a hare, a dragon sticks out its tongue. Between the seats are weird oriental faces. Some of them are below; click on them to enlarge them.
Now, you know what I am going to ask next. How much of this is from this church originally? It all appears medieval work, and there is no reason to believe it might not have been moved elsewhere in the church when the chancel was open to the elements. What evidence have we got?
Firstly, we should notice that the only other Suffolk church with such a large number of medieval misericords of this quality is just a mile away, at Norton. I don't ask you to see this as significant, merely to notice it in passing. Secondly, I am no carpenter, but it does look to me as though two sets of furnishings have been cobbled together; the stalls that back on to the screen appear to have been integrated into the larger structure of stalls and desks that front them and the north and south walls.
However, if you look closely at the figures of the two Deacons, you will see that they are bearing shields of the Ashfield and Peche families. The Ashfield arms also appear on the rood screen, and the Ashfields were the major donors when the church was rebuilt in the 14th century. So on balance I am inclined to think that the greater part of the stall structure was in this church originally from when it was rebuilt. And the misericords? Well, I don't know. But I think they have to be considered as part of the same set as those at Norton. In which case they may have come from the same church, which may have been this one, but may not have been. Almost certainly, the stalls at Norton did not come from Norton church, and folklore has it that they were originally in the quire of Bury Abbey. Hmm....
Other remarkable things in St George include FE Howard's beautiful war memorial in the former north doorway, and in the opposite corner of the nave Hugh Easton's gorgeous St George, which serves the same purpose. It is as good as his work at Elveden. Back up in the chancel is a delightful painted pipe organ which was apparently exhibited at, and acquired from, the Great Exhibition of 1851.
But St George at Stowlangtoft is, of course, most famous for the Flemish carvings that flank the rather heavy altarpiece. They were given to the church by Henry Wilson of Stowlangtoft Hall, who allegedly found them in an Ixworth junk shop. They show images from the crucifixion story, but are not Stations of the Cross as some guides suggest. They date from the 1480s, and were almost certainly the altarpiece of a French or Flemish monastery that was sacked during the French Revolution. I had seen something similar at Baumes-les-Messieurs in the French Jura a few weeks before. There, the carvings are brightly painted, as these once were, and piled up in a block rather than spread out in a line. The niches, and crowning arches above them, are 19th century. My favourite images are the Pieta and the Mouth of Hell. Click on the images below.
One cold winter's night in January 1977, a gang of thieves broke into this locked church and stole them. Nothing more was seen or heard of them until 1982, when they were discovered on display in an Amsterdam art gallery. Their journey had been a convoluted one; taken to Holland, they were used as security for a loan which was defaulted upon. The new owner was then burgled, and the carvings were fenced to an Amsterdam junk dealer. They were bought from his shop, and taken to the museum, which immediately identified them as 15th century carvings. They put them on display, and a Dutch woman who had read about the Stowlangtoft theft recognised them.
The parish instituted legal proceedings to get them back; an injunction was taken out to stop the new owner removing them from the museum. The parish lost the case, leaving them with a monstrous legal bill; but the story has a happy ending. A Dutch businessman negotiated their purchase from the owner, paid off the legal bills, and returned the carvings to Stowlangtoft. Apparently this was all at vast cost, but the businessman gave the gift in thanks for Britain's liberation of Holland for the Nazis. No, thank you, sir.
Today, the carvings are fixed firmly in place and alarmed, so they won't be going walkabout again. But a little part of me wonders if they really should be here at all. Sure, they are medieval, but they weren't here originally; they weren't even in England originally. Wouldn't it be better if they were displayed somewhere safer, where people could pay to see them, and provide some income for the maintenance of the church building? And then, whisper it, St George might even be kept open.
St George, Stowlangtoft, is in the village high street. Three keyholders are listed, two of them immediately opposite. I am told that Wednesday is not a good time to try and get the key - it is market day in Bury.
Simon Knott
I guess technically, they are old RX notes?
I'll be showing this at my RAW exhibit. If you'd like more info about my show, click here! ... www.rawartists.org/http-www-flickr-com-photos-betsyanderson
No correspondence.
Australian prisoners captured during the Battle of Fromelles, 19 - 20 July 1916, being escorted along Route de Béthune in Hautbourdin. The action was intended partly as a diversion from the Battle of the Somme that was taking place about 80 kilometres to the south.
The Australian War Memorial describes the battle as "the worst 24 hours in Australia's entire history." It was a decisive victory for the German Empire, and the Australian and British losses were sustained without the Allies gaining any ground.
Further reading on Capt. George Folkard below.
an ancient place
shrouded in the wieght of history
the great King Alfred was born here
both Royalist and Roman
its in the Domesday Book
its value was 61 pounds
St Peter & St Pauls Parish Church, Wantage, Berkshire, England
K20D - JPG - Adobe Lightroom 2.2 - Photoshop CS3 - 3 Frame HDR
No correspondence.
Four 15cm sFH-13 howitzers belonging to an unidentified Feldartillerie-Regiment, bombard enemy positions.
The British referred to these and their shells as "5 point 9"s or "5 9"s as the bore was 5.9 inches (150 mm). The ability of these guns to deliver mobile heavy firepower close to the frontline gave the Germans a major firepower advantage on the Western Front early in World War I, as the French and British lacked an equivalent. It was not until late 1915 that the British began to deploy their own 6 inch 26 cwt howitzer.
I can't figure out how to convey what these mean to me. Calling them love letters seems trite. I'll just say I can't imagine what my life would have been like without these.
Letter from James Asten, the town's Scavenger, to the Mayor and Councillors of Deseronto, Ontario.
[continued from page 1] "the work on December 6th 1934, I have kept a careful record of work done, and all expenses incurred, and in making this application would draw your attention to the following figures.
For the year ending December 1935, I received in salary $525. My expenses were as follows
$24. To A. Joyce for use of Dumping Ground
$25. Shoeing, and repairs to wagon and sleigh
$49 cfwd [carried forward]" [continued on page 3]
Part of a collection of materials found during the move of the Deseronto Archives.
Prof. John Pollini working STUDENTS AT OSTIA ANTICA
John Pollini in my opinion is the number 1 authority on Julio Claudian Portrait study. I have had much correspondence with Prof. Pollini and he is passionate about Roman Art. Here is his curriculum Vitae:
Education
B.A. Classics, University of Washington, 1/1968
M.A. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1973
Ph.D. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1978
Academic Appointment, Affiliation, and Employment History
Professor, Department of Art History (Adjunct Professor for Department of Classics and Department of History), University of Southern California, 1991-
Dean of the School of Fine Arts, University of Southern California, 1993-1996
Chairman of the Department of Art History, University of Southern California, 1990-1993
Associate Professor, Department of Art History and Department of Classics (adjunct appointment), University of Southern California, 1987-1991
Assistant Professor, Department of Classics, Johns Hopkins University, 1980-1987
Curator, Johns Hopkins University Archaeological Museum, 1980-1987
Visiting Assistant Professor, Department of Classics, Johns Hopkins University, 1979-1980
Mellon Postdoctoral Fellow, Department of Classics, Case Western Reserve University, 1978-1979
Description of Research
Summary Statement of Research Interests
Professor Pollini's research is concerned with methodologies of classical art and archaeology, ancient history, classical philology, epigraphy and numismatics. His other scholarly research interests include ancient religion, mythology, narratology, rhetoric and propaganda. Over the years Professor Pollini has excavated at the Greco-Roman site of Aphrodisias, Turkey, and the Etruscan site of Ghiaccio Forte, Italy, and participated in the underwater survey of the port of Tarquinia (Gravisca), Italy. Trained in the methodologies of classical art & archaeology, ancient history, classical philology, epigraphy, and numismatics, Professor Pollini is committed to interdisciplinary teaching and research. Professor Pollini has lectured widely both in the United States and abroad. He has published numerous articles and authored several books.
Research Specialties
Classical Art and Archaeology
Honors and Awards
Elected Life Member, German Archaeological Association, 2000-
American Council of Learned Societies Fellowship, awarded for second time, 2006-2007
Guggenheim Fellowship, deferred until 2007-2008, 2006-2007
Whitehead Professor at the American School of Classical Studies at Athens (Honorific Appointment), 9/1/2006-6/1/2007
Departmental Nominee for University Associates Award for Excellence in Teaching 2002, 2002-2005
Mellon Foundation Award for Excellence in Mentoring, 2004-2005
Departmental Nominee for University Associates Award for Excellence in Teaching 1998, 1998-2001
National Endowment for the Humanities Fellowship, awarded for second time, 1995-1996
American Council of Learned Societies Fellowship, 1987-1988
National Endowment for the Humanities Fellowship, 1983-1984
Mellon Postdoctoral Fellowship, 1978-1979
Fulbright Award, Fellowship to Italy, 1975-1976
CURRICULUM VITAE
JOHN POLLINI
Department of Art History
Von Kleinsmid Center 351 University of Southern California
Los Angeles, CA 90089-0047
Professor of Classical Art and Archaeology, Department of Art History
Joint Professor, Department of History
Adjunct Professor, Department of Classics
President, Classical Archaeological Association of Southern California (CAASC)
DEGREES
Ph. D. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (1978) (interdisciplinary program involving the Departments of Art History,
Classics, and History; major field: Etruscan and Roman Art and Archaeology; minor
fields: Greek Art and Archaeology and Roman History; Ph.D. equivalency exams in
ancient Greek and Latin) [Diss.: Studies in Augustan “Historical” Reliefs]
M.A. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (l973) [MA Thesis: Two Marble Portrait Statues of Pugilists from Carian
Aphrodisias: Iconography and Third Century A.D. Sculptural Traditions in the Roman
East]
B.A. magna cum laude, Classics, University of Washington (1968)
POSTDOCTORAL ACADEMIC APPOINTMENTS
Dean of the School of Fine Arts, University of Southern California, with administrative,
budgetary, and fund-raising responsibilities (1993-1996)
Chairman of the Department of Art History, University of Southern California
(1990-1993)
Full Professor, University of Southern California, Department of Art History
(1991-present), with joint appointment in the Department of History and adjunct
appointment in the Department of Classics
Associate Professor, University of Southern California, Department of Art History, with
adjunct appointment in the Department of Classics (1987-1991)
Assistant Professor, Johns Hopkins University, Department of Classics (1980-1987) and
Curator of the Johns Hopkins University Archaeological Museum (1980-1987)
Visiting Assistant Professor, Johns Hopkins University, Department of Classics
(1979-1980)
Mellon Postdoctoral Fellow, Case Western Reserve University, Department of Classics
(1978-1979)
INTERNATIONAL AND NATIONAL FELLOWSHIPS, GRANTS,
AWARDS, HONORS
William E. Metcalf Lectureship (2008)
John Simon Guggenheim Memorial Foundation Fellowship (2006-2007, deferred to
2007-2008)
Whitehead Professor of Archaeology, American School of Classical Studies at
Athens (2006-2007)
American Council of Learned Societies Fellowship (2006-2007)
Kress Foundation Travel Grant (Summer 2006)
Mellon Foundation Award for Excellence in Mentoring (2005)
Taggart Foundation Grant: Campus Martius Virtual Reality Project (2005)
Distinguished Lecturer, Biblical Archaeological Society and Center for Classical
Archaeology, University of Oklahoma, Norman (2005): Series of three lectures on
Roman and Christian Religion, Art, and Ideology
Kress Foundation Travel Grant (2003)
Senior Humboldt Research Prize (nominated) to Berlin, Germany, for 2000-2001
Elected Member (for life) of the German Archaeological Institute (Berlin) (2000)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1995-1996)
Kress Foundation Travel Grant (Summer 1988)
American Council of Learned Societies Fellowship (1987-1988)
Kress Foundation Travel Grant (1987)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1983-1984)
Mellon Postdoctoral Fellowship, Case Western Reserve University (1978-1979)
Mabelle McLeod Lewis Memorial Fund Fellowship to Italy (1975-1976)
Fulbright Fellowship, Università di Roma, Rome, Italy (1975-1976)
UNIVERSITY FELLOWSHIPS, GRANTS, AWARDS, HONORS
Departmental Nominee for University Associates Award for Excellence in Teaching
(2002-2005)
College Faculty Research Development Award (consecutive years: 2000-2007)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Lynn Swartz Dodd and Nicholas Cipolla) for a virtual reality project “Imaging
Antiquity: Creating Context through Virtual Reconstructions, Digital Resources, and
Traditional Media” (2003-2004)
Grant for the “College Initiative for the Study of Political Violence” (2002)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Bruce Zuckermann and Lynn Swartz Dodd) to develop a new interdisciplinary and
interdepartmental course entitled “Accessing Antiquity: Actual Objects in Virtual Space”
(2000-2001)
University of Southern California Senior Nominee for National Endowment for the
Humanities Summer Stipend for Faculty Research (1998-1999)
Departmental Nominee for University Associates Award for Excellence in Teaching
(1998-2001)
College Awards and Grants for Research Excellence (consecutive years: 1997-2000)
Hewlett Foundation Award and Grant for General Education Course Development
(1997-1998)
Faculty Research and Innovation Fund Grant, University of Southern California (1988)
University of California Traveling Fellowship (1976-1977)
Dean’s Fellowship, U.C. Berkeley (1973-1975)
Phi Beta Kappa (1968), University of Washington
ADDITIONAL EDUCATIONAL PREPARATION
Field trips sponsored by the American Academy in Rome, German Archaeological
Institute, and Comune di Roma (1975-1978)
Research in Rome, Italy for dissertation (1975-1978), as well as further study of Greek
and Roman art and architecture in Italy and elsewhere in Europe during this period
Supervised study of Greek and Roman sculpture at the J. Paul Getty Museum, with
J. Frel (1973-1975)
Course in Greek art and archaeology at the Universität München, Munich, Germany
with E. Homann-Wedeking (1971)
Study of the German language at the Goethe Institute, Grafing (Munich), Germany (1971)
Course work in Roman, Etruscan, and Italic art and architecture, Università di Roma,
with G. Becatti, M. Pallottino, F. Castagnoli, and M. Squarciapino (1970-1971)
ARCHAEOLOGICAL FIELD WORK
Underwater survey of port of Tarquinia (Gravisca), Italy (1977): Consultant
Excavation of Etruscan site of Ghiaccio Forte, Italy (1973)
Excavation of Greco-Roman site of Aphrodisias, Turkey (1970-1972)
Excavation of Spanish/Indian Mission, Guavave, Arizona (1965-1966)
LANGUAGES
Ancient: Latin and Greek
Modern: German, Italian, French, modern Greek, some Turkish
BOOKS
PUBLISHED:
I) The Portraiture of Gaius and Lucius Caesar (Fordham University Press, New York
1987) (with a book subvention from the National Endowment for the Humanities).
II) Roman Portraiture: Images of Character and Virtue, with graduate student
participation (Fisher Gallery, Los Angeles 1990).
III) Gallo-Roman Bronzes and the Process of Romanization:The Cobannus Hoard
(Monumenta Graeca et Romana IX) (Brill, Leiden 2002).
IV) The de Nion Head: A Masterpiece of Archaic Greek Sculpture (Philipp von
Zabern, Mainz 2003).
V) Terra Marique: Studies in Art History and Marine Archaeology in Honor of Anna
Marguerite McCann on the Receipt of the Gold Medal of the Archaeological Institute
of America (editor, designer, and contributor of introduction, publication list, and
one of 19 essays) (Oxbow Publications, Oxford 2005).
SUBMITTED:
VI) From Republic to Empire: Rhetoric, Religion, and Power in the Visual Culture of
Ancient Rome (University of Oklahoma Press), comprising eight chapters:
CHAPTER I: The Leader and the Divine: Diverse Modes of Representation in Roman Numismatics
CHAPTER II: The Cult Image of Julius Caesar: Conflicts in Religious Theology and Ideology in
Augustus’ Representational Program
CHAPTER III: From Warrior to Statesman in Augustan Art and Ideology: Augustus and the Image of
Alexander
CHAPTER IV: The Ideology of “Peace through Victory” and the Ara Pacis: Visual Rhetoric and the
Creation of a Dynastic Narrative [revised and updated essay originally published in
German]
CHAPTER V: The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum [revised and updated publication].
CHAPTER VI: Divine Providence in Early Imperial Ideology: The Smaller Cancelleria Relief and
the Ara Providentiae Augustae
CHAPTER VII: The “Insanity” of Caligula or the “Insanity” of the Jews? Differences in Perception
and Religious Beliefs
CHAPTER VIII: “Star Power” in Imperial Rome: Astral Theology, Castorian Imagery, and the Dual
Heirs in the Transmission of the Leadership of the State
IN PROGRESS:
VII) Christian Destruction and Desecration of Images of Classical Antiquity: A Study
in Religious Intolerance in the Ancient World
VIII) Dynastic Narratives in Augustan Art and Thought: The Rhetoric and Poetry of
Visual Imagery [with DVD Virtual Reality Program of the Monuments]
IX) The Image of Augustus: Art, Ideology, and the Rhetoric of Leadership
X) Social, Sexual, and Religious Intercourse: Sacrificial Ministrants and Sex-Slaves
in Roman Art -- 3rd Century B.C. - 4th Century A.D.
ARTICLES
PUBLISHED:
1) “A Flavian Relief Portrait in the J. Paul Getty Museum,” in Getty Museum Journal
5 (1977) 63-66.
2) “Gnaeus Domitius Ahenobarbus and the Ravenna Relief,” in Römische Mitteilungen
88 (1981) 117-40.
3) “A Pre-Principate Portrait of Gaius (Caligula)?” in Journal of the Walters Art
Gallery 40 (1982) 1-12.
4) “Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in
American Museums,” in American Journal of Archaeology 88 (1984) 547-55.
5) “The Meaning and Date of the Reverse Type of Gaius Caesar on Horseback,” in
American Numismatic Society Museum Notes 30 (1985) 113-17.
6) “Response to E. Judge’s ‘On Judging the Merits of Augustus,’” in Center for
Hermeneutical Studies: Colloquy 49 (1985) 44-46.
7) “Ahenobarbi, Appuleii and Some Others on the Ara Pacis,” in American Journal of
Archaeology 90 (1986) 453-60.
8) “The Findspot of the Statue of Augustus from Prima Porta,” in Bullettino della
Commissione Archeologica Comunale di Roma 92 (1987/88) 103-108.
9) “Two Acrolithic or Pseudo-Acrolithic Sculptures of the Mature Classical Period in
the Archaeological Museum of the Johns Hopkins University,” in Classical Marble:
Geochemistry,Technology, Trade (NATO ASI Series E vol. 153), edd. N. Herz and
M. Waelkens (Dordrecht 1988) 207-17.
10) “Man or God: Divine Assimilation and Imitation in the Late Republic and Early
Principate,” in Between Republic and Empire: Interpretations of Augustus and His
Principate, edd. K.A. Raaflaub and M. Toher (Berkeley 1990) 333-63.
11) “The Marble Type of the Augustus from Prima Porta: An Isotopic Analysis,” in
Journal of Roman Archaeology 5 (1992) 203-208.
12) “The Tazza Farnese: Principe Augusto ‘Redeunt Saturnia Regna’!” in American
Journal of Archaeology 96 (1992) 249-55, 283-300.
13) “The Cartoceto Bronzes: Portraits of a Roman Aristocratic Family of the Late First
Century B.C.,” in American Journal of Archaeology 97 (1993) 423-46.
14) “The Gemma Augustea: Ideology, Rhetorical Imagery, and the Construction of a
Dynastic Narrative,” in Narrative and Event in Ancient Art, ed. P. Holliday
(Cambridge 1993) 258-98.
15) “The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum,” in Von der Bauforschung zur
Denkmalpflege, Festschrift für Alois Machatschek (Vienna 1993) 181-217.
16) “The ‘Trojan Column’ at USC: Reality or Myth?” in Trojan Family (May, 1994)
30-31.
17) “The Augustus from Prima Porta and the Transformation of the Polykleitan Heroic
Ideal,” in Polykleitos, the Doryphoros, and Tradition, ed. W. Moon (Madison 1995)
262-82.
18) “The ‘Dart Aphrodite’: A New Replica of the ‘Arles Aphrodite Type,’ the Cult Image
of Venus Victrix in Pompey’s Theater at Rome, and Venusian Ideology and Politics
in the Late Republic - Early Principate,” in Latomus 55 (1997) 757-85.
19) “Parian Lychnites and the Prima Porta Statue: New Scientific Tests and the Symbolic
Value of the Marble” (with N. Herz, K. Polikreti, and Y. Maniatis), in Journal of
Roman Archaeology 11 (1998) 275-84.
20) “The Warren Cup: Homoerotic Love and Symposial Rhetoric in Silver,” in The Art
Bulletin 81 (1999) 21-52.
21) “Ein mit Inschriften versehener Legionärshelm von der pannonisch-dakischen Grenze
des römischen Reiches: Besitzverhältnisse an Waffen in der römischen Armee,” in
M. Junkelmann, Römische Helme VIII Sammlung Axel Guttmann, ed. H. Born
(Mainz 2000) 169-88.
22) “The Marble Type of the Statue of Augustus from Prima Porta: Facts and Fallacies,
Lithic Power and Ideology, and Color Symbolism in Roman Art,” in Paria Lithos:
Parian Quarries, Marble and Workshops of Sculpture (Proceedings of the First
International Conference on the Archaeology of Paros and the Cyclades, Paros, 2-5
October 1997), edd. D.U. Schilardi and D. Katsonopoulou (Athens 2000) 237-52.
23) “The Riace Bronzes: New Observations,” in Acten des 14. Internationalen
Kongresses für Antike Bronzen, Kölner Jahrbuch 33 (2000) 37-56.
24) “Two Bronze Portrait Busts of Slave-Boys from a Shrine of Cobannus in Roman
Gaul,” in Studia Varia II: Occasional Papers on Antiquities of The J. Paul Getty
Museum 10 (2001) 115-52.
25) “A New Portrait of Octavian/Augustus Caesar,” in Roman Sculpture in the
Art Museum, Princeton University (Princeton 2001) 6-11.
26) “Two Gallo-Roman Bronze Portraits of Sacrificial Ministrants in the J. Paul Getty
Museum,” in From the Parts to the Whole 2: Acta of the 13th International Bronze
Congress, Cambridge, Massachusetts, May 28 - June 1, 1996, edd. C.C.
Mattusch, A. Brauer, and S.E. Knudsen (Portsmouth, Rhode Island 2002) 89-91.
27) “‘Frieden-durch-Sieg’ Ideologie und die Ara Pacis Augustae: Bildrhetorik und
die Schöpfung einer dynastischen Erzählweise,” in Krieg und Sieg: Narrative
Wanddarstellungen von Altägypten bis ins Mittelalter (Internationales
Kolloquium 23. - 30. Juli 1997 im Schloss Heindorf, Langenlois; Österreichischen
Akademie der Wissenschaften XXIV), edd. M. Bietak und M. Schwarz (Vienna
2002) 137-59.
28) “A New Portrait of Octavia and the Iconography of Octavia Minor and Julia Maior,”
Römische Mitteilungen 109 (2002) 11-42.
29) “Slave-Boys for Sexual and Religious Service: Images of Pleasure and Devotion,” in
Flavian Rome: Culture, Image, Text, edd. A.J. Boyle and W.J. Dominik (Leiden
2003) 149-66.
30) “The Caelian Hill Sacrificial Minister: A Marble Head of an Imperial Slave-Boy from
the Antiquarium Comunale on the Caelian Hill in Rome,” in Römische Mitteilungen
111 (2004) 1-28.
31) “A New Head of Augustus from Herculaneum: A Marble Survivor of a Pyroclastic
Surge,” in Römische Mitteilungen 111 (2004) 283-98.
32) “The Armstrong and Nuffler Heads and the Portraiture of Julius Caesar, Livia, and
Antonia Minor in Terra Marique: Studies in Honor of Anna Marguerite McCann
on the Receipt of the Gold Medal of the Archaeological Institute of America, ed.
J. Pollini (Oxbow Publications, Oxford 2005) 89-122.
33) “A New Marble Portrait of Tiberius: Portrait Typology and Ideology,” in Antike Kunst
48 (2005) 57-72.
34) “A North African Portrait of Caracalla from the Mellerio Collection and the
Iconography of Caracalla and Geta,” in Revue Archéologique (2005) 55-77.
35) “A Bronze Gorgon Handle Ornament of the Ripe Archaic Greek Period,” in Annuario
della Scuola Archeologica Italiana di Atene e delle Missioni Italiani in Oriente 83
(2005) 235-47.
36) “Ritualizing Death in Republican Rome: Memory, Religion, Class Struggle, and the
Wax Ancestral Mask Tradition’s Origin and Influence on Veristic Portraiture” in
Performing Death: Social Analyses of Funerary Ritual in the Ancient Near East
and Mediterranean (Oriental Institute Seminars 3, University of
Chicago), ed. N. Laneri (Chicago 2007) 237-85.
37) “A New Bronze Portrait Bust of Augustus,” in Latomus 66 (2007) 270-73.
FORTHCOMING:
38) “Gods and Emperors in the East: Images of Power and the Power of Intolerance,”
in the proceedings of an international conference on “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power” (University of
Michigan), in Interdisciplinary Studies in Ancient Culture and Religion,
edd. E.A. Friedland, S.C. Herbert, and Y.Z. Eliav (Peeters Publ.: Leuven).
39) “A New Portrait Bust of Tiberius in the Collection of Michael Bianco,” in Bulletin
Antieke Beschaving 83 (2008) 133-38.
40) “The Desecration and Mutilation of the Parthenon Frieze by Christians and Others,” in
Athenische Mitteilungen 122 (2007).
41) “Problematics of Making Ambiguity Explicit in Virtual Reconstructions:
A Case Study of the Mausoleum of Augustus,” for the proceedings of an international
conference, “Computer Technology and the Arts: Theory and Practice,” sponsored by
the British Academy and the University of London.
42) “A Winged Goat Table Leg Support from the House of Numerius Popidius Priscus at
Pompeii,” in Pompei, Regio VII, Insula 2, pars occidentalis. Indagini, Studi,
Materiali (la Soprintendenza Archeologica di Pompei), ed. L. Pedroni.
43) “Augustus: Portraits of Augustus,” in Oxford Encyclopedia of Ancient Greece and
Rome (2008).
44) “A New Bronze Lar and the Role of the Lares in the Domestic and Civic Religion of the Romans,” in Latomus (2008).
IN PROGRESS:
45) “The ‘Colville Athena’ Head and Its Typology.”
46) “Idealplastik and Idealtheorie: Paradeigmatic Systems, Homosexual Desire, and the
Rhetoric of Identity in Polykleitos’ Doryphoros and Diadoumenos.”
REVIEW ARTICLES
PUBLISHED:
D. Boschung, Die Bildnisse des Augustus (Das römische Herrscherbild I.2) (Berlin 1993),
in Art Bulletin 81 (1999) 723-35.
E. Varner, Mutilation and Transformation: Damnatio Memoriae and Roman Imperial
Portraiture (Monumenta Graeca et Romana 10) (Leiden 2004), in Art Bulletin 88
(2006) 591-98.
BOOK REVIEWS
PUBLISHED:
M. Torelli, Typology and Structure of Roman Historical Reliefs, in American Journal of
Archaeology 87 (1983) 572-73.
J. Ganzert, Das Kenotaph für Gaius Caesar in Limyra, in American Journal of
Archaeology 90 (1986) 134-36.
R. Brilliant, Visual Narratives. Storytelling in Etruscan and Roman Art in American
Journal of Philology 107 (1986) 523-27.
PUBLISHED IN CHOICE:
E. Bartman, Portraits of Livia: Imaging the Imperial Woman in Augustan Rome, in
vol. 37 (1999) 126.
B.S. Ridgway, Prayers in Stone: Greek Architectural Sculpture (Ca. 600 - 100 B.C.),
in vol. 37 (2000) 1095.
W.E. Mierse, Temples and Towns in Roman Iberia: The Social and Architectural
Dynamics of Sanctuary Designs from the Third Century B.C. to the Third Century A.D.
in vol. 37 (2000) 1458.
V. Karageorgis, Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan
Museum of Art (New York 2000)in vol. 38 (2000) 1953.
Z. Hawass, Valley of the Golden Mummies (New York 2000) in vol. 38 (2001)
4036.
M.W. Jones, Principles of Roman Architecture (New Haven 2000) in vol. 38 (2001)
5409.
F. Salmon, Building on Ruins: The Rediscovery of Rome and English Architecture
(Ashgate 2000) in vol. 39 (2001) 106.
J. Boardman, The History of Greek Vases: Potters, Painters and Pictures (New York
2001) in vol. 39 (2002) 3755.
Roman Sculpture in the Art Museum, Princeton University, ed. J. M. Padgett (Princeton
2001) in vol. 39 (2002) 6218.
G. Hedreen, Capturing Troy: The Narrative Function of Landscape in Archaic and Early
Classical Greek Art (Ann Arbor, 2001) in vol. 40 (2002) 73.
A. J. Clark, M. Elston, and M.L. Hart, Understanding Greek Vases: A Guide to Terms,
Styles, and Techniques (Los Angeles 2002) in vol. 40 (2003) 3185.
S. Woodford, Images of Myths in Classical Antiquity (Cambridge 2003) in vol. 41
(2003) 89.
J. Aruz with R. Wallenfels (edd.), Art of the First Cities: The Third Millennium B.C. from
the Mediterranean to the Indus (The Metropolitan Museum of Art, New York) (New
Haven 2003) in vol. 41 (2004) 2584.
G. Curtis, Disarmed: The Story of the Venus de Milo (New York 2003) in vol. 41 (2004)
5083.
Games for the Gods: The Greek Athlete and the Olympic Spirit, edd. J.J. Herrmann and C.
Kondoleon (Boston Museum of Fine Arts) in vol. 42 (2004) 646.
E.W. Leach, The Social Life of Painting in Ancient Rome and on the Bay of Naples
(Cambridge 2004) in vol. 42 (2004) 1215-16.
D. Mazzoleni, Domus: Wall Painting in the Roman House (Los Angeles 2004) in vol. 42
(2005) 1809.
S. Fine, Art and Judaism in the Greco-Roman World: Toward a New Jewish Archaeology
(Cambridge 2005) in vol. 43 (2006) 1586-87.
C.H. Hallett, The Roman Nude: Heroic Portrait Statuary 200 B.C. -- A.D. 300 (Oxford
2005) in vol. 44 (2006).
Constantine the Great: York’s Roman Emperor, edd. E. Hartley, J. Hawkes, M. Henig, and
F. Mee (York 2006) in vol. 44 (2006).
M.D. Stansbury-O’Donnell, Vase Painting, Gender, and Social Identity in Archaic Athens
(Cambridge 2006) in vol. 44 (2006).
PRINCIPAL INSTRUCTIONAL MATERIALS (Hard Copy and Online):
Greek Art and Archaeology: Course Manual (113 pages, 23 plates) and online version of
this Course Manual with digitized images
Roman Art and Archaeology: Course Manual (158 pages, 58 plates) and online version
of this Course Manual with digitized images
Digging into the Past: Material Culture and the Civilizations of the Ancient
Mediterranean: Course Manual (43 pages)
Proseminar Guide to General and Specific Works on Greek and Roman Art and
Archaeology and Related Disciplines (50 pages) and online version
Website for AHIS 425, “Introduction to Interdisciplinary Research and Methodology
in Classical Art and Archaeology and Related Disciplines” with links to other important
websites in the fields of Art, Archaeology, Classics, and Ancient History
Website for AHIS 201g: “Digging into the Past: Material Culture and the
Civilizations of the Ancient Mediterranean” (with digitized images)
PAPERS GIVEN AT INTERNATIONAL AND NATIONAL
CONFERENCES AND SYMPOSIA
On Judging the Merits of Augustus: Center for Hermeneutical Studies: Colloquy,
Berkeley (April, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Augustus: Monuments, Arts, and Religion: Brown University (March, 1987)
Aspects of Ancient Religion: University of California at Berkeley (April, 1987)
Marble and Ancient Greece and Rome: International conference sponsored by
NATO at Il Ciocco (Tuscany), Italy (May, 1988)
Polykleitos, the Doryphoros and Its Influence: University of Wisconsin, Madison
(October, 1989)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (December, 1992)
XIIIth International Bronze Congress: Harvard University (May 28 - June 1, 1996)
UCLA-USC Seminar in Roman Studies: Roman Representations: Subjectivity, Power
and Space: USC, Los Angeles (March, 1997)
International Symposium at Cuma (Naples): Flavian Poets, Artists, Architects and
Engineers in the Campi Flegrei (July, 1997)
International Symposium at the University of Vienna: Interdisziplinäres Kolloquium
Historische Architekturreliefs vom Alten Ägypten bis zum Mittelalter (July, 1997)
First International Conference on the Archaeology of Paros and the Cyclades: Paros,
Greece (October, 1997)
Getty Research Institute Colloquium: Work in Progress (November, 1997)
Annual Meetings of the Art Historians of Southern California at California State
University, Northridge, California (November, 1998)
XIV. Internationaler Kongress für Antike Bronzen: Werkstattkreise, Figuren und Geräte
(Sponsored by Das Römisch-Germanisches Museum der Stadt Köln und das
Archäologisches Institut der Universität zu Köln [September 1999]): Besides giving paper,
chaired the session “Bronzestatuen und -statuetten: Fundkomplexen, Fundgruppen,
Einzelstücke, und Typen”
First International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and chaired
session on “Ideology, Historiography, and the Imperial Family” (May, 2000)
International Symposium at Emory University, Atlanta: Tyranny and Transformation
(October, 2000)
Annual Meeting of the Art Historians of Southern California at the Getty Center,
Los Angeles, California (November, 2000)
Getty Research Institute Colloquium: Work in Progress (December, 2000)
Second International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “The Image of
the Princeps and the Ruler Cult” (May, 2001)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (April, 2002)
Third International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “Roman History
and Ideology” (May, 2002)
Symposium on the Age of Augustus at UCLA -- (Feb., 2003)
Fourth International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and
chaired session (May, 2003)
International Archaeological Congress, Harvard University (Aug. 2003): Besides giving a
paper, chaired session on “Ancient Society”
VIIth International ASMOSIA Conference, Thasos, Greece (Sept. 2003)
International Conference in the Arts and the Humanities, Honolulu, Hawaii (Jan. 2004)
Symposium on Roman Sculpture, Minneapolis Museum of Art (organized by Richard
Brilliant) (April, 2004)
International Symposium on Interaction of Indigenous and Foreign Cults in Italy at Cuma
(Naples) (May, 2004): Besides giving a paper, chaired session
International Conference at University of Michigan: “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power (November 2004)
International Conference at Stanford University: “Seeing the Past” (February 2005)
International Conference at the University of London: “Computer Technology and the Arts:
Theory and Practice” (November 2005)
International Conference at the University of Chicago: “Performing Death: Social Analyses
of Funerary Ritual in the Mediterranean” (February 2006)
VIIIth International ASMOSIA Conference, Aix-en-Provence, France (June 2006)
Symposium “Art of Warfare”: Michael C. Carlos Museum, Emory University (January
2007)
PAPERS PRESENTED AT ANNUAL CONVENTIONS OF THE
ARCHAEOLOGICAL INSTITUTE OF ARCHAEOLOGY AND THE
COLLEGE ART ASSOCIATION
Boston (AIA, December, 1979)
New Orleans (AIA, December, 1980)
San Francisco (AIA, December, 1981)
Philadelphia (AIA, December, 1982)
Cincinnati (AIA, December, 1983)
Toronto (AIA, December, 1984)
Washington, D.C. (AIA, December, 1985) -- invited paper, “The Promulgation of the
Image of the Leader in Roman Art,” in a special AIA plenary session on Politics and
Art
San Antonio (AIA, December, 1986) -- invited paper, “Time, Narrativity, and Dynastic
Constructs in Augustan Art and Thought,” at a joint AIA-APA session on topics
illustrating connections between Roman art and philology
Houston (CAA, February, 1988) -- invited paper, “The Gemma Augustea and the
Construction of a Dynastic Narrative,” for a CAA session on Narrative and Event in
Greek and Roman Art
Atlanta (AIA, December, 1994) -- discussant for a joint AIA-APA session on “Rethinking
Nero’s Legacy: New Perspectives on Neronian Art, Literature, and History”
New York (AIA, December, 1996) -- special poster session: “The Marble Type of the
Statue of Augustus from Prima Porta: New Scientific Tests” (prepared in collaboration
with Norman Herz, Director of Programs, Center for Archaeological Sciences, University
of Georgia)
Chicago (AIA, December, 1997)
Washington, D.C. (AIA, December, 1998) -- invited paper, “A Portrait of a Sex-Slave
‘Stud’ (?) in the Metropolitan Museum of Art in New York,” for a special colloquium in
honor of Anna Marguerite McCann on the receipt of the “Gold Medal” of the
Archaeological Institute of America
San Francisco (AIA, January, 2004) -- joint paper with N.Cipolla and L. Swartz Dodd
OTHER ACADEMIC AND PUBLIC LECTURES/TALKS
American Academy, Rome, Italy (March, 1976)
Cleveland Society AIA, Cleveland, Ohio (April, 1979)
Johns Hopkins University, Baltimore, Md. (September, 1980)
Institute of Fine Arts, New York, N.Y. (October, 1980)
Metropolitan Museum of Art, New York, N.Y. (January, 1983)
New York Society AIA, New York, N.Y. (January, 1983)
Baltimore Society AIA, Baltimore, Md. (February, 1983)
University of Toronto, Toronto, Canada (March, 1987)
University of Southern California, Los Angeles, Ca. (March, 1987)
Columbia University, New York, N.Y. (April, 1987)
Classical Archaeological Society of Southern California, UCLA, Ca. (November 1989)
Tulane University, New Orleans, La. (February, 1990)
Classical Archaeological Society of Southern California, USC, Ca. (February 1990)
Los Angeles Society AIA, Los Angeles, Ca. (March, 1990)
Fisher Gallery and School of Fine Arts, University of Southern California, Los Angeles,
Ca. (March, 1990)
Institute of Fine Arts, New York, N.Y. (April, 1990)
American Academy, Rome, Italy (May, 1990)
University of Vienna and Kunsthistorisches Museum, Vienna, Austria (June, 1990)
San Diego Society AIA, San Diego, Ca. (September, 1990)
Classical Archaeological Society of Southern California, Getty Museum, Malibu, Ca.
(November, 1990).
University of Pennsylvania, Philadelphia, Pa. (December, 1990)
Classical Archaeological Society of Southern California, Gamble House, Pasadena, Ca.
(March 1991)
Henry T. Rowell Lecturer: Baltimore Society AIA, Baltimore, Md. (November, 1991)
Villanova University, Villanova, Pa. (November, 1991)
Royal-Athena Galleries, Los Angeles, Ca. (October, 1992)
Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art,
Washington D.C. (November, 1992)
University of North Carolina, Chapel Hill, N.C. (November, 1992)
Duke University, Durham, N.C. (November, 1992)
University of California, Los Angeles: UCLA/USC Seminar in Roman Studies, Los
Angeles, Ca. (December, 1992)
University of Southern California, Los Angeles, Ca. (January, 1993)
J. Paul Getty Museum and Center for the History of Art and the Humanities, Malibu,
Ca. (February, 1993)
Classical Archaeological Society of Southern California, UCLA, Ca. (March 1993)
California State University, Long Beach, Ca. (March, 1993)
Stanford University, Palo Alto, Ca. (April, 1993)
University of California, Berkeley, Ca. (April, 1993)
California State University, Northridge, Ca. (April, 1993)
University of Arizona, Tucson, Az. (April, 1993)
American Academy, Rome, Italy (June, 1994)
Getty Center for the History of Art and the Humanities (Director’s Series) (Dec., 1994)
University of California, Irvine (May, 1997)
American Academy, Rome, Italy (July, 1997)
American School of Classical Studies, Athens (October, 1997)
Los Angeles County Museum of Art, Los Angeles (March, 1998)
British School at Rome (June, 1998)
University of California, Berkeley (November, 1998)
Classical Archaeological Society of Southern California, University of California,
Santa Barbara (March, 1999)
Work in Progress: Getty Research Institute, Brentwood, California (December, 2000)
Classical Archaeological Society of Southern California, Getty Research Institute,
Brentwood, Ca. (April, 2001)
American Academy, Rome, Italy (May, 2001)
Loyola Marymount, Los Angeles (March, 2002)
Southern California Institute of Architecture (February, 2003)
Columbia University, New York (April, 2003)
University of Amsterdam, the Netherlands (May, 2003)
University of Nijmegen, the Netherlands (May, 2003)
American School of Classical Studies, Athens (September, 2003)
University of Oklahoma, Norman (March, 2005)
Cambridge University, Cambridge, England (November, 2005)
American School of Classical Studies at Athens, Greece (March, 2007)
University of Athens, Greece (May, 2007)
Los Angeles Society of the AIA, Los Angeles (December, 2007)
College of William and Mary (January, 2008)
Duke University, Durham (February, 2008)
Dickinson College, Carlisle, PA (March, 2008)
University of Nebraska, Lincoln (April, 2008)
AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS as Whitehead Professor of Archaeology (2006-2007)
Participated in all Fall trips of the School to various parts of Greece, giving
presentations on each of the trips.
Participated in the School’s Spring trip to Central Anatolia, giving several presentations.
Offered a seminar in the Winter Quarter: “Christian Destruction and Desecration of
Images and Shrines of Classical Antiquity.”
MISCELLANEOUS TALKS AND PRESENTATIONS
Lectures and talks on site regarding the architecture and topography of Rome, Ostia,
and Hadrian’s Villa for members of the Technische Universität für Architektur und
Denkmalpflege, Vienna, Austria; the Summer School of the American Academy in
Rome; St. Olaf College’s Junior Year Abroad Program; and M.A. students of
architecture in a joint summer program of the University of Southern California and the
University of Illinois; and the Intercollegiate Center for Classical Studies in Rome.
Talks on various aspects of Classical art and archaeology at meetings of the
Archaeological Society of the Mid-Atlantic States (1980-1987)
Gallery talks on the ancient collections of the Archaeological Museum of the Johns
Hopkins University (in capacity as curator) and of the Walters Art Gallery (1979-1987)
Gallery talks on the ancient collections of the J. Paul Getty Museum and the Los Angeles
County Museum of Art (1987-present)
Talk for USC graduate students in the Dept. of Classics at the Ara Pacis and Mausoleum of
Augustus in Rome (May 26, 2006), organized by Prof. Claudia Moatti, Dept. of Classics
SPECIAL TALKS AND LECTURES AT USC
Seminar for Professor Claudia Moatti, Department of Classics: “Problems in Ancient Art”
(March, 2005)
Seminar for Dr. Daniela Bleichmar, Department of Art History: Rediscovering the
Classical Past: The Relationship of Art History, Archaeology, and Visual Culture (March,
2005)
University of Southern California’s 125th Celebration: For Symposium on “Trojan
Legends” presented paper: “USC's Trojan Column: An Ancient and Modern Myth”
(October, 2005)
MEDIA INTERVIEWS AND CONSULTATION
New York Times, International Herald Tribune, Los Angeles Times, The New Yorker, The
History Channel, Arts and Entertainment Channel, KPCC Radio Los Angeles, NBC, Fox
Featured piece on my innovative work on the marble type of the statue of Augustus from
Prima Porta: A. Elders, “Tracing the Stones of Classical Brilliance,” in Hermes -- Greece
Today 35 (1999) 20-24.
ORGANIZER AND LEADER OF TOURS OF MUSEUMS AND SITES
Turkey (for Board of Councilors and donors of the School of Fine Arts, USC, 1995; for
university students and the general public, 1998)
Greece (Attica and the Peloponnese) (for university students and the general public, 1999)
Central Italy (for university students and the general public, 2000, 2002, 2003)
PARTICIPATION IN OTHER COLLOQUIA AND SYMPOSIA
Roman Sculpture and Architecture: German Archaeological Institute, Rome
(January, 1978)
Roman Architecture: Center for Advanced Study in the Visual Arts, National Gallery
of Art (January, 1981)
The Age of Augustus. The Rise of Imperial Ideology: Brown University (April, 1982)
Pictorial Narratives in Antiquity and the Middle Ages: The Johns Hopkins University and
the Center for Advanced Study in the Visual Arts, National Gallery of Art (March, 1984)
Villa Gardens of the Roman Empire: Dumbarton Oaks (May, 1984)
Retaining the Original -- Multiple Originals, Copies, and Reproductions: Center for
Advanced Study in the Visual Arts, National Gallery of Art (March, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Marble -- Art Historical and Sculptural Perspectives on Ancient Sculpture: J. Paul Getty
Museum (April, 1988)
International Conference on Roman Archaeology and Latin Epigraphy: University of
Rome and the French School of Rome (May, 1988)
Roman Portraits in Context: Emory University (January, 1989)
Small Bronze Sculpture from the Ancient World: J. Paul Getty Museum (March, 1989)
Alexandria and Alexandrianism: J. Paul Getty Museum (April, 1993)
International Symposium: “Rome Reborn” Visual Reality Program at UCLA (December,
1996)
History of Restoration of Ancient Stone Sculptures, J. Paul Getty Museum (October, 2001)
Re-Restoring Ancient Stone Sculpture, J. Paul Getty Museum (March, 2003)
Marble Conference on Thasos, Liman, Thasos (Sept. 2003)
OTHER PROFESSIONAL ACTIVITIES
Editorial Assistant (1968-1969) and Associate Editor (1969-1970), AGON: Journal of
Classical Studies
Editorial Board, American Journal of Philology (January, 1982-January, 1987)
Delegate from Baltimore Society AIA to National Convention (1984-1986)
Vice-President, Baltimore Society of the AIA (1985-1987)
Co-Director, Exhibition on Roman Portraiture, Fisher Gallery (1989)
Co-Founder (with Dr. Diana Buitron) of the Classical Archaeological Society of the Mid-
Atlantic States (1978-87)
Founder and President of the Classical Archaeological Society of Southern California
(1987-present)
Member of the Ancient Art Council of the Los Angeles County Museum of Art (1987-
present)
Oversaw the publication and helped edit the newsletter “ARTFACTS” of the
School of Fine Arts (1993-1996) during my tenure as Dean of the School of Fine Arts
USC Representative to Advisory Council of the American Academy in Rome
(1993-present)
Comitato di Collaborazione Culturale to the Consul General of Italy at Los Angeles
(1995-1998)
Advisory Committee for the Virtual Reality Project for Ancient Rome (“Rome Reborn”)
(1996-1998)
Delegate from Los Angeles Society AIA to National Convention (Chicago, Dec., 1997)
Reviewer for the Getty Grant Program (1999)
Reviewer for the MacArthur Foundation Grant (2000, 2003)
Planning Committee for a Four-Year International Conference on “Roman Imperial
Ideology” at the Villa Vergiliana at Cuma (Naples), organized by J. Rufus Fears (2000-
2003)
Consultant for the Forum of Augustus Project: Sovrintendenza Archeologica Comunale,
Direzione al Foro di Augusto (2004-present)
Editor of the newsletter “Musings” for the Department of Art History, USC (2005)
Planning Committee for the Internation Bronze Congress in Athens, Greece (2006-2007)
Chaired two sessions -- “Roman Sculpture” and “Augustan Art” -- at the Annual Meeting
of the Archaeological Institute of America (San Diego 2007)
UNIVERSITY COMMITTEES AND OTHER SERVICE
Faculty Senate (1988-1991)
Advisory Committee to the Dean of the School of Fine Arts (1990-1991, 1992-1993)
Chairman, Personnel Committee of the School of Fine Arts (1988-1990)
Library Liaison Officer for Art and Architecture Library (1987-present)
Search Committee for Reference Librarian of the Art and Architecture Library
(1989-1990 and 2000)
University Library Committee (1989-1990, 1998-2001)
Recruitment Committee for the School of Fine Arts (1989-1995)
Space Allocation Committee, School of Fine Arts (1989-1990)
University Research Committee (1990-1991)
Promotion Committee, School of Fine Arts (1990-1995)
University Ad Hoc Committee on Revenue Center Management (1990-1995)
Committee for University Development, School of Fine Arts (1993-1995)
Development Task Force, the School of Fine Arts (1993-1995)
Consultative Committee to the Provost (Spring 1993-1995)
University Galleries Advisory Committee (1993-1995)
University Committee on Transnational and Multicultural Affairs (1993-1995)
Provost’s Council at USC (formerly Council of Deans) (1993-1995)
USC Representative to the Advisory Council of the American Academy in Rome
(1993-present)
Founder and Member of the Board of Councilors for the School of Fine Arts (1994-1995)
Consortium Council of Deans for Development at USC (1995)
Tenure and Promotion Committee, Department of Art History (1995-to present)
Recruitment Committee for Department of Art History in the College of
Letters, Arts, and Sciences (1996-2005)
Program Proposer for the Establishment of an Interdepartmental and Interdisciplinary
Ancient Mediterranean Studies Program (1997-1999)
Chinese Search Committee, Department of Art History (1998-1999)
Japanese Search Committee, Department of Art History (1998-1999)
Professor-In-Charge, USC-Getty Lecture Series, Seminar, and Faculty Dinner (honoring
Salvatore Settis) (1998-1999)
Curriculum Committee (Co-Chair) (1998-1999)
Chair, Committee for Selection of Departmental Chair (1999-2000)
Chair, Merit Review Committee (1999-2000)
Committee for the Establishment of an Undergraduate Major in Archaeology
(2002-present)
Greek Art Search Committee, Department of Art History and Classics (2001-2004)
Faculty Search Committee, Department of Art History: Senior Hiring Initiative (2003-
present)
Junior Faculty Review Committee, Department of Art History (2003)
USC’s Arts and Humanities Committee (2003-2004)
Chair of Oversight Committee for the Interdisciplinary Archaeology Major (Spring 2006)
MEMBERSHIPS IN NATIONAL AND INTERNATIONAL PROFESSIONAL ORGANIZATIONS
NATIONAL:
Archaeological Institute of America
College Art Association
American Philological Association
Association of Ancient Historians
Vergilian Society
INTERNATIONAL:
Deutsches Archäologisches Institut
Associazione Internazionale di Archeologia Classica
Association for the Study of Marble and Other Stones in Antiquity (AMOSIA)
Society for the Promotion of Roman Studies
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
portraitsofcaligula.com/
Both are non-profit sites and for educational use only.
These are some of the mail art stampsheets I made up to jolly up the mail art in the 1980s-mostly inspired by Michael A1 Waste Papiers intended to be shared sent out and generally played with.-This one is a collaborative one
Two zines (the only two I've made), quick napkin collage with my sheep hand carved rubber stamp, and arti-stamps in the tea envelope
"Geo: Ritchie & Co.
Dry Goods Importers
Belleville, Ont.
Belleville, 9th May 1887
My Dear Mr Robertson
Your favour of the 7th Inst just received, and with the other promoters of the B of Q Bridge Scheme I am gratified to learn that the reports of any indifference in the matter on your part are false and unfounded. Every Citizen of Belleville also will be glad to know this, and that the Bill is to receive the valuable aid it is in your power to give, - I may say that the rumour came to my ears not from an opponent but from a political as well as a personal friend of yours one who is eager, as all are here, to have the bill got through in such a shape that the enterprize can be practically carried out.
No one can over estimate the importance of this undertaking to the prosperity of our City.
The County Council of Hastings and also of Prince Edward have by resolution unanimously endorsed the scheme and recommended it to the favourable consideration of the Governor in Council and of Parliament.
The City Council have done the same and also petitioned for powers to be granted to the Company.
The only consideration other than the accommodation and facilities for traffic which a Bridge would afford to a great part of the people of Prince Edward and Hastings and the whole of Belleville is the Marine interest, now, this is in the opinion
of one who is more interested in the navigation of the Bay than any other man, can readily be provided for in the proper construction of the Bridge, as proposed.—Mr E. W. Rathbun gives his opinion in the following words.
“I can see no serious objection to a Bridge between Prince Edward and Belleville, provided it be constructed upon proper principles, having in view the Navigation of the Bay.
I believe the government can amply protect the marine interests from any injury.
It would be a great advantage to a large part of Prince Edward to have this direct connection with your city, and, I trust, you may receive that encouragement from the Government which I believe the enterprise to be worthy of”-
Should there be any opposition..."
Divided reverse. No correspondence. Photogr. B. Wendsche, Ingolstadt.
Festooned with flowers and carrying a Bavarian coat of arms pennant, this proud fellow has sought out the renowned Ingolstadt photographer Herr Wendsche to have his portrait taken.
_____________________________________________
Notes:
b. Reserve-Infanterie-Regiment Nr. 13
Aufgestellt in Ingolstadt (R.Stb., I., II., III.)
Unterstellung:5 .b. Res.Div.
Kommandeur:Oberstleutnant Hörst (13. b. I. R.)
I.:Major Bentel (13. b. I.R.) gef.: 19.9.14
II.:Major Neumüller (13. b. I.R.)
III.:Major Dümlein (13. b. I.R.)
Verluste:84 Offz., ca. 4600 Uffz. und Mannschaften.
An old Abdulla Imperial Preference tin that once held 500 cigarettes. The lid was held down with string because of the pressure from inside - literally full to bursting with letters and telegrams between my grandmother and mother at home in the UK and my grandfather on active service in the Royal Engineers during the Second World War.
I've hardly scratched the surface but they do seem to span the war years - the earliest ones being written for my mother by my grandmother and later ones, like this, written in my mother's childish handwriting.
Note about this photograph: (rant inserted in July, 2015)
As you can see this photo has been up for nearly 8 years and, as of late, I had come to the realization that there are sleezy operators on the internet who will stop at nothing to make money on their sites by swiping other's work and displaying ads and giving NO attribution or credit to the original creator. I had originally posted this photo on Flickr and realized that it was getting more views than all of my other photos combined. So I set out to document what it was that made this particular building famous in my patently verbose way. I noticed that the more I typed and especially after adding links, the more views it got.
Originally on Google image search, it wended its way up to the first place if one searched for "Scranton Prep". That was not really my intention as the School itself should have top billing. I would settle for row 5 or 6 on page 1! Anyway, one day a couple of years ago, it fell totally off the Google radar and was only available if one was to add "Flickr" in the query. I don't really care as I am not really interested in the number of views though I found it interesting that this particular photo got so many views.
So then, in the interest of appeasing the Google gods and obtaining their algorithmic absolution, I put the same photo on Panaramio, another google property. This also allowed it to be viewed in Google Earth which I thought would get me the indulgence I was seeking on Google image search. Wrong!
So along comes this sleeze bag operator from the Czech republic by the moniker mapio.com which was using my photo (along with others that they swiped including the Scranton Fire Department) as background for their commercial pages, which, from what I can tell is a source of revenue as they display text ads for mostly educational sites.
Instead of my Flickr photo working its way back up, they chose my image which was expropriated by mapio (interestingly, they swiped it from Panaramio! - I don't know or care if Google is aware of it) Interestingly, even though I deleted my photo from Panaramio, it is still displayed on the top row of pictures (not in full resolution though) of Google image search though no longer on the mapio site as a background. Further, if one goes to mapio.com there is no way to leave feedback as in "I don't appreciate that you stole my photo without attribution".
If you go to their plain vanilla web address, mapio.com, you would not realize that they do more than rent out apartments in London without further digging. It is ironic that Google image search continues to display the mapio photo as if it belongs there even though they swiped it from Panaramio and it is no longer there! That obviously means that mapio has the photo cached.
That is the real reason for this rant. At the very minimum, any site wanting to use anyone else's photo or other media, should request permission to do so. I have had a few requests for that type of thing and I was glad to do so. Also, my photo not need to be the #1 photo (it is and has been on Yahoo image search which uses Bing as their search engine). I do not need to be embarrasingly successful...
Update 5-15-15
Though you can see an an approximation of the above image at google images, it is now a low resolution version hosted by flip.life (whoever they are) and, if one was to click on the "View Page" for further information, there is no information, in fact there is no photo!
Update: 5-16-15
Of all things, my actual Flickr photo is the one displayed on google images once again. It shows that, with persistence, one can take control of one's internet presence even if it is via a circuitous and devious route.
-- END of RANT --
Just sit back and eat the popcorn and enjoy our main feature...
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--------------------- The Scranton Preparatory School ------------------------
---------------------------------- aka Scranton Prep ----------------------------------
----- 1000 Wyoming Avenue in Scranton, Pennsylvania, USA -----
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The vantage point of this photo is through the fence abutting the railroad tracks behind the school's athletic field; the school itself is seen beyond the field and Wyoming Avenue. One of two relatively recent (2005+) additions can be seen to the left of the main building. It is actually the second iteration of wings built on the site of the former outdoor basketball courts and, like the smaller former wing, houses a gymnasium. The complementary addition on the right contains science laboratories and a lecture hall. That addition is not as large because it does not have the depth (from front to back) as it abuts a car dealership.
The Scranton Preparatory School, "Prep", was founded in 1944 by the Society of Jesus (the Jesuits) and was originally located in the 300 block of Wyoming Avenue. Its first home was a building next to the Cathedral rectory which had been vacated by the University of Scranton (formerly Saint Thomas College) when the university relocated to larger quarters at the Scranton estate in the area of Madison Avenue and Linden Street. That building is gone; its replacement is a prayer garden.
Prep later moved to a building at the east corner of the same block at the intersection of Wyoming Avenue and Mulberry Street. That building formerly housed the Thompson Private Hospital.
.The school remained there until 1961 when the Commonwealth of Pennsylvania decided to widen Mulberry Street resulting in the demolition of the building. There was a two-year temporary relocation to a building at the University of Scranton while a new site was located. An ideal candidate was located in the 1000 block of Wyoming Avenue at the site of the former Women's Institute of Domestic Arts and Sciences* (see footnote below) , a branch of the International Correspondence Schools. The school relocated to that building, pictured here, in 1963.
. Prep's enrollment grew substantially in 1971 as a result of the additional students from the all-girls' Marywood Seminary whose building had been destroyed by fire. Prior to the combination, Prep had been an all-boys' school. The current enrollment for the school (2016-17) is 775 students.
. If this building looks somewhat familiar, you may have seen its image in the old Popular Mechanics among others. Page three of the magazine was many times a full page advertisement for the International Correspondence Schools (ICS), which advertised heavily in popular technical magazines and had their headquarters in Scranton. The building was featured in the upper left corner of their study manuals and and there was nearly always a likeness of one of their manuals in the advertisement. Too, there was usually a bright yellow, double tear-off postage-paid return card for those interested in furthering their education in "The World's Schoolhouse". (Who or what was the second one for??!).
. The athletic field in the foreground of the above photo was previously occupied by a factory known as Haddon Craftsmen, the printing subsidiary of ICS. It occupied the entire block across the street from the Women's Institute. In perhaps the ultimate example of addressing simplicity and a study of worker/management dichotomy , the Women's Institute's address was 1000 Wyoming Avenue and Haddon's address was 1001 Wyoming Avenue. It pretty much boiled down to the boys being on one side of the street and the girls on the other. Amazing things can happen when there is one building per block on each side.
Haddon printed the course books for the correspondence courses as well as other textbooks for Intext (The International Textbook Company), the parent company of ICS that supplied textbooks used in college courses. In its latter days before it closed, Haddon Craftsmen was spun off from Intext and printed, among other things, paperback book selections for the Book of the Month Club.
.One mysteriously vanished detail of the demolition of the Haddon Craftsmen printing plant is an historical marker honoring Thomas J. Foster, the founder of ICS, which adorned the plant on the Wyoming Avenue side. In a rather grandiose proclamation, it stated that ICS was the "World's Schoolhouse". You can see an image of the plaque along with a comprehensive narrative of ICS's raison d'etre here. A rendering of the Haddon Craftsmen printing plant can be seen here. The vantage point for this image is catty-cornered to Haddon, in other words, if you were in the north corner of Coyer Motors, a tiny Pontiac dealership with room for a single automobile in its showroom. That property is now home to that paragon of fast food haute cuisine, Wendy's.
There is a street off to the left called Institute Way. The volume of mail was such that ICS had its own zone code (15, as in Scranton 15 Penna.) which later became zip code 18515 and is used to this very day by its successor institution Penn Foster . The value of having its own zip code has been largely attenuated, given that the terms "distance learning" and "online learning" have replaced "mail correspondence course" in the parlance of this type of education. Stamps are now optional!
When ICS moved to "new and improved" quarters on Oak Street in North Scranton in 1963, this building became the home of Prep. Along with classrooms and a chapel, it had residential quarters for the Jesuits on the 4th floor and a TV/radio station (not related to the school) in the basement.
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* NOTICE NOTICE NOTICE NOTICE NOTICE NOTICE NOTICE *
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If you read on, you will see that there is a quiz at the end of this passage. It is recommended that, if one chooses to take the quiz, that it be self-scored.
As you may have NOTICEd, this segment is conveniently perforated so that you can cut and paste it and take it home if desired. If you are already at home, then you are already at home.
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********************* DO NOT attempt to mail it in! **********************
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The following is related only tangentially to the current building and is included for historical and amusement purposes only. It is not required reading for present day Cavaliers.
If you are, or have ever been a Cavalier after 1976 the following is arcane and superfluous information and will not appear on the graduation test. You need not read it!
Those who graduated in or before 1976 will be quizzed on call letters, frequencies, and TV and radio personalities.
One final preface to the next section is that, as usual, the people behind the scenes, the engineers, camera persons, secretaries, and others really deserve a lot of credit for any broadcast organization's success. They are, perhaps by omission and invisibility, the unsung heroes of broadcasting. This is largely because we never hear their names or see fast-scrolling credits which may or may not include them. What we see and hear on a daily basis is the "talent" or on-air personalities who are also essential and, because of their notoriety, appear to be 100% of tele-organizations. So, in a some way, we owe a good deal of gratitude to these invisible people for their contributions.
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--------------------------- TALES OF THE BASEMENT -----------------------------
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.First there was radio...
. In the olden days (the '60s and '70s), the basement of Prep was home to WGBI-TV (later changed to WDAU - channel 22) and WGBI-AM (910 kHz) and later WGBI-FM (101.3 mHz) radio. All were affiliates of the Columbia Broadcasting Sytem (CBS). The stations were owned by the Megargee family whose mainstay was the paper business.
Market penetration by the Megargee Paper Company, paper-wise, was such that its ubiquity ensured that no matter in which area restroom one chose to relieve oneself, it was assured that the label on the toilet paper and paper towel dispensers bore their brand.
.In the real olden days and after several frequency changes, WQAN (a Scranton Times/Lynett media company) and WGBI-AM (a Megargee of paper fame station) both broadcasted on 880kHz, the former from dawn until noon and the latter from noon until signoff. The stations operated at 1000 watts during the daytime and 500 watts at night.
.WQAN and WGBI shared the 880kHz frequency from the early 1930s until 1941 when the shared frequency was changed to 910kHz. This continued until 1948 when WQAN was allotted the 630kHz slot.
Urban legend has it that WQAN stood for "We Quit At Noon". That may be the actual derivation of the station's call letters. WQAN's call letters were changed to WEJL in January of 1954, the letters EJL being the initials of the newspaper's publisher Edward J. Lynett. According to the same urban legend types, the letters GBI in WGBI stood for "God Bless the Irish".
WGBI AM kept the 910kHz frequency and continued to use it for many years. Its mainstay was (both!) country and western music with the usual news and weather reports.
When Entercom lost its lease on WBZU's transmitter site on Davis Street in South Scranton in 2006, (WBZU is the current call letters of WGBI's 910kHz frequency) it set the stage for an ironic twist of fate. It turns out that WBZU and WEJL (formerly WGBI and WQAN) are once again located, equipment-wise, in the same location. This time, it is in the Scranton TImes building that the twain meet and their their transmitters are in the same room. Both broadcast from the tower atop the Scranton Times building at Penn Avenue and Spruce Street. These stations, which had parted company in 1948 are, once again, broadcasting side by side after a nearly 60 year hiatus!
...then came along that new-fangled invention, the television...
WGBI radio predated the televison station by nearly three decades. WGBI-AM began broadcasting in 1925 and WGBI-TV began in 1953.
In 1958 the McGargee family, the owners of WGBI TV, entered into a limited partnership with the Philadelphia Bulletin newspaper which operated WCAU TV in Philadelphia. The call letters of the TV station were then changed to WDAU. The Bulletin opted to sell WCAU, which then became a network O&O (owned and operated) and keep the smaller WDAU when forced by the Federal Communications Commission to divest itself of one of the television stations. The FCC deemed that there was too much signal overlap in the Lehigh Valley (Allentown) area where both signals were available. The partnership was dissolved a year later in 1959, the Bulletin selling its share back to the McGargees.
.In this era, Channel 22 was, hands down, the TV station as, along with the best local news gathering organization, the station was part of the CBS network which was the radio and television network. The local TV competition was WBRE, the NBC affiliate, and WNEP, the ABC affiliate. Too, there was a fair amount of synergy between TV and radio whereby some of the talent, including Tom Reilly and Bill White, among others, appeared on both media. Just imagine, one could watch the 6 o'clock news and on the way to the store in their '57 Chevy hear the same people talking at them!
.The entire TV menu at this time consisted of WDAU-22 (CBS), WBRE-28 (NBC), and WNEP-16 (ABC). Yes children, until WVIA, the PBS affiliate appeared on the scene in 1966, the entire TV world consisted of 3 TV stations! Nearly all broadcast stations, and TV sets for that matter, were black and white prior to 1965.
These were the days before the remote control; the term "couch potato" was not yet vernacular. One, upon hearing the phrase, might have thought that there was a misplaced spud on your davenport. TV viewers did not have the option of swiftly rotating though 500 channels of nothingness; three were plenty. One effect of the actual effort required to change channels is that people, many times, left their set tuned to a single station for an entire night. Too, it was a contest among the networks to see if they could lure you into leaving the dial set to their station.
.To add to the complexity of owning a set, there were many older TVs which received VHF only and in order to receive the UHF stations (those from 14 to 83), one needed a "converter box" as all TV stations in the Great Northeast (PA) were UHF. The converter box was a little box which sat atop the TV through which the antenna wire was routed, some electronic mumble jumble took place and then the resultant signal was routed to the TV via channel 3. These boxes (why are there always boxes involved with TV?) also had a separate electrical plug as they contained tubes. The TV was tuned to channel 3 (sound familiar?!!) and then one tuned the set through the converter box.
.As a bonus, semi-off topic, aside, I present the following:
Did you know that the TVs of old, the ones with the cathode ray tubes, (the analog ones) could be used to detect tornadoes or other storms in your area? It seems that storms broadcast on channel 2, much as channel 2 did. The method involved tuning the set to channel 13 and turning the brightness down just to where the screen was darkened and then tuning the set to channel 2. If there was a storm in the area, with each lightning strike, you would see the corresponding spikes on your CRT (here we are using the TV in monitor mode and hopefully you do not live in a city where there is an actual channel 2 broadcasting to spoil the fun). If there was an approaching tornado, the entire screen would glow so you knew to unplug your set and proceed directly to your tornado shelter. Maybe it would be best to place the TV in your tornado shelter and watch it until the power went out. By the way, there is nothing preventing you from trying this out if you have an old set lying aroud the house which has not been sacrificed due to our penchant for more pixels and the latest and greatest 3D 16384p 60" 7.1 theatre surround sound flat screen HD TV screens. Compare this product description with "da tube" which pretty much described a TV set in days gone by.
.For those of you who might be inclined to think that the previous passage was fabricated so that I might up my tube cred and continue my propensity for verbosity, which, given the lack of brevity in this mere photo description (!) seems not out of the realm of possibility, see the following link: Storms on TV
.End of bonus segment, now back to our regularly scheduled program
.Though their signals were easy to pick up in Scranton and Wilkes-Barre "metro areas", it was nearly impossible to get a signal outside of these urban areas. It seems that the undulating topography of heynaville (for clarification and further information on everything heyna, see Tutorial on Heynabonics ), otherwise known as Northeastern Pennsylvania, wreaks havoc on the electromagnetic emissions known as television signals. Simply stated, the folks out in the boonies could not get the TV signals.
.At this juncture in the annals of TV, a person in a metro area could easily get TV signals using a bow tie or rabbit-ear indoor antenna. The main problem with the "stronger" signal in these areas is that sometimes the signal could "ghost", a phenomenon whereby the viewer would not only see the intended transmission but, at times, a slightly off-registration "ghost" of the picture. These ghosts were caused by TV signals reflecting off large buildings or other objects. Many of these aberrations could be resolved by having someone else move the antenna about while you observed the screen. The best picture, it seems, always managed to leave the antenna holder/adjuster in a Twister-like body position and there were the predictable gripes as he/she put the antenna in a position "about" where it was optimum.
.Those in the intermediate area, say 8 to 10 miles away, depending on topography, could get a reasonable facsimile of a picture with an outdoor, roof-mounted antenna. It was found that wrapping a bit of aluminum foil around the antenna lead-in wire aided in minor adjustments to the picture. So if you needed to get rid of a minor ghost or snowy picture, the picture could be adjusted by sliding the foil up or down the wire as needed. People outside this range were able to get signals mostly through sheer will power and the expenditure of a goodly amount of funds for outdoor, roof-mounted antennae.
At this point, the only things keeping one from a clear TV picture were electromagnetic pulses, coronal mass ejections leading to minor EMPs), snow, fog, the cold war, high winds, communists, and rain. Reception, along with the dreaded horizontal and vertical hold adjustments on the TV required perseverance and experimentation if one was to be an avid TV watcher.
...it was then decreed that all TVs must have a coaxial cable attached and thus ended "free" TV as we knew it...
To solve the problem of lack of, or, at best, lousy, signal, the stations employed "translators" (no these were not people who translated heynabonics to English for the broadcasts!). These were additional broadcast towers distributed around NEPA (northeast Pennsylvania) to allow folks in say, Palmerton, Slatedale, and Slatington to get a reasonable semblance of a signal. These were not received on the regular station number, 22 in the case of WDAU, but rather, say for example, channel 18 in Clarks Summit or 52 in Hop Bottom.
Coincident with the rise of the translator, there was another industry, in its nascent stage, supplying TV signals to those who still had no reception. It was something called cable TV (or, in broadcast parlance, Community Antenna Television, or CATV) whose mission was to carry the local stations out to the valleys to the south and west where reception was otherwise impossible. This amounted to a guy locating an antenna on top of a mountain where he could receive the signal, amplify it by electronic means, and sell the signal to customers who were along the route of the wire. The charge was $2.00 per month for the service. They too had all of 3 stations on their schedule, though some subscribers in the southern reaches could get additional stations from the Philadelphia or New York areas.
Yes folks, cable TV was invented here in hard coal country in the little 'burgh of Mahanoy City so that an appliance store owner could sell more TVs. Though you may curse your Comcast or Time Warner cable bill, without cable it was impossible for a goodly segment of the population to receive any moving pictures on the television and for others to receive a clear signal.
Service Electric, which started operations in 1948 and still in business today, was a pioneer in the field. That may be why the first official broadcast of HBO was made from New York to Wilkes Barre in 1972 on Service Electric, a fact attested to on a bronze plaque on Public Square in Wilkes Barre.
--Yet another bonus, semi-off topic aside:
Certain areas in the Pocono mountains such as Tobyhanna and Mount Pocono were TV heaven. You could, with a moderate investment in an external VHF/UHF outdoor antenna, receive all the New York and Philadelphia stations plus the local UHF stations. Nearly the entire VHF dial from 2 to 13 had available stations. The quality of the signal depended on the weather and the amount spent on the antenna. Those with the best reception had the full dresser Channel Master fish bone antenna with the 360 degree rotating motor for VHF. You would turn on the desired station and turn the direction dial to the direction of the source station. Most times these directions were either known or actually marked on the rotation control knob. Some of the stations available were WCBS, KYW, WNBC, WNEW, WPVI, WABC, WOR, WCAU, WPIX, and WNET. It was like having cable before cable!
-- End of bonus segment. We now rejoin our regularly scheduled blurb which is already in progress.
.An odd situation was caused by the expensive AT&T/Bell System leased line to New York City for WDAU to recieve network programming. Rather than pay what they considered the exorbitant fee, a microwave relay system was set up to receive broadcast signal from WCBS in New York. This system was not unlike the system set up for cable TV where a receiver was placed on a mountain top and the signal was amplified. In this case, instead of being fed into a cable system, the signal was passed along to the next microwave tower in the chain. In the case of WDAU, the primary receiver was in Effort, PA in the Poconos and the signal was then beamed to the transmitter building atop the West Mountain in Scranton.
A problem occurred when WDAU had to sync with the CBS network for national programming. The engineers in the studio weren't able to see the WCBS signal and therefore an engineer had to be stationed at the transmitter to effect the changes as needed. This all had to be done with precise timing rather than cues from the station. Presumably there also had to be a switch at the commercials so those in Scranton would see commercials for da Acme and the Scranton Dry and not Crazy Eddie's commercials which were, as self-proclaimed, totally insane.
WDAU was not alone in having a cobbled-together system as similar methods were employed by WBRE in getting NBC's signal from New York to Wilkes-Barre and WNEP in getting ABC's signal from New York to Avoca. A side effect of all this cobbled-togetherness was that the TV signals' quality was, from time to time, not quite up to broadcast standards and there were the predictable complaints.
...they somehow all managed to operate in the cramped quarters....
When the local news made its debut on WDAU and other local TV stations, it was uncharted territory; they were flying by the seat of their pants, so to speak. The segments were 15 minutes long and consisted largely of the newsman reading reporter-generated news or copy from the newspaper. These documents were either held in his hand or laid on the desk, either of which required the anchor to be looking down a good deal of the time. There would be an occasional quick look up at the camera, hoping that his newspeak buffer did not run dry or his reading and speaking would get out of sync.
At this point in TV history, TV studios (also known as "sets") were rather primitive. Instead of having green screens , which enabled "chroma key", a method of cutting and pasting the talent's image superimposed over other graphics, the backdrop consisted of a textured, glittered wall. The field reporters were not giving live updates with the attendant graphics for their names and story lines; these were all shot on site on film and processed back at the station. In the weather segment, there were no dynamically updated, full color doppler radar weather updates. The highs, lows, and weather fronts were magnets arranged on a display board map.
These were the days before the teleprompter, chryron, chroma key, superimposed picture-in-picture and all the other equipment which give today's news broadcasts a very polished appearance.
What was remarkable was that, in this limited space, along with TV and radio studios and the requisite control rooms, there was a film processing area and a film library (Who can forget those "Movie for a Sunday Afternoon" etc. where cowboys and indians, Lawrence of Arabia type, and infinite World War 2, movies were played until the film reels wore out??!).
This was an era before ENG (Electronic News Gathering) where the live remote via microwave and later satellite was still a dream. The news was captured entirely on film shot by the photographers at the scene and rushed to the station and processed, hopefully in time for the next news broadcast. Submarine designers or NASA could surely have taken a clue on space utilization from this organization, where every cubic inch had to matter!
...and, as with all empires, it too must fall...
.Alas all of the former McGargee broadcasting empire has morphed into other entities. WDAU-TV was sold to Keystone Broadcasters in 1984 and redesignated WYOU. They initially moved broadcasting operations to the former Kresge's store which abutted the Scranton Dry Goods store on Lackawanna Avenue.
.That change also marked the end of the common ownership of the TV and radio stations. WYOU - the former WDAU (Channel 22 (13) - CBS affiliate), is currently owned by Mission Broadcasting and operated by the same company, Nexstar, that owns WBRE (Channel 28 (11) - NBC affiliate) in Wilkes-Barre. Both TV stations are currently located in the same building on Franklin Street near Public Square.
One downside to the WYOU/WBRE merger is that, upon the consolidation of the studios to Franklin Street in Wilkes Barre and the relocation of all their transmitters to Penobscot Mountain near Mountaintop, they decided to do away with all of their translators. Contrast that with WNEP which still maintains several translators reaching all the way to State College in the middle of the state and one can easily see why WYOU/WBRE are a distant 2nd and 3rd place finishers when it comes to audience size in the NEPA market. The Nexstar philosophy is that 90% of the people watching their station(s) are receiving it on cable therefore they don't need the expense of multiple translators.
.The radio stations were sold to Entercom in the early 1990s. WGBI-FM (101.3mHz) which had a soft rock format is now WGGY in Pittston doing a country thing. WGBI-AM (910khz) which was unabashedly country is now part of the greater WILK AM/FM conglomerate. It has a talk format that simulcasts in Wilkes Barre, Scranton, and Hazleton, and has a nearly 50 mile monopoly on talk radio in the region.
WGBI AM now bears the undignified moniker of WBZU AM and is merely, to use TV jargon, a translator. Though running on the classic 910kHz frequency, it is a tool with no personality of its own. Johnny Cash, Hank Snow, Ferlin Husky, and Merle Haggard surely are not tuned to BZU in their respective places of rest.
When WDAU moved out of Prep in 1984, its new home was the former Kresge's 5 and 10 Cent Store (note the F. W. Woolworth store further up the block, about the 4th iteration of Woolworth's opened by C. S. Woolworth mentioned at the outset of this description) downtown on Lackawanna Avenue. It remained there until Southern Union, a gas and oil conglomerate whose operations were largely located in Texas, through the beneficence of a hometown boy, bought the property and demolished Kresge's to build their expensive and fleeting headquarters. WYOU/WBRE then moved their Scranton operations next door to a corner of the Scranton Dry Goods building at Wyoming and Lackawanna Avenues. These days, WYOU, the formerly fabulously fantastic WDAU plays second fiddle to its ugly big sister WBRE.
...and that, folks, is the brief, concise history of a diminished broadcasting empire whose greatness will live on only in our memories and imaginations (and of course on Flickr!).
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------------------------------------ UPDATES ----------------------------------------------
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This will be updated periodically as the various internets and time allow.
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Update April 3, 2009
WYOU announced that they will no longer be doing local news. They will offer Judge Judy or some similar tripe in its place. Sadly, they probably will have higher ratings.
Further Update sometime later 2012
WYOU once again has local news. It is a simulcast with its sister station WBRE. The only difference in the newscasts is the superimposed logo at the bottom right corner of the screen identifying the station one happens to be viewing.
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---------------------- New and Improved: Quizzes -----------------------------
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This section will be updated periodically and I will post an email address where you can send your test for grading.
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WDAU quiz:
1. The main news anchor for much of the 60s was:
a. Mark Hiller
b. John Glough
c. Derry Bird
d. Perry Como
e. David DeCosmo
f. Franklin D. Coslett
g. John Perry
h. Hoyt Keiser
i. Tom Powell
j. Tom Bigler
k. Joey Shaver
l. Jerry Griffin
j. Bill O'reilly
2. A typical news/weather/sports lineup in the 60s would include (pick 3):
a. Vince Sweeny
b. Bill White
c. Harry West
d. Jack Doneger
e. Bill Flanagan
f. Nolan Johannes
g. Debbie Dunlavey
h. Jim Mustard
i. John Perry
j. Joe Zone
k. Tom Reilly
l. Lorri Lewis
m. J. Kristopher
n. Phil Cummins
o. Joe Dobbs
p. John Glawe
q. Bob Carroll
3. The signoff (Remember when TV stations actually signed off?) for WDAU started with:
a. The national anthem
b. "Hey all you coal miners out there..."
c. "From the basement of Scranton Prep..."
d. "Serving the industrial valleys of Pennsylvania..."
e. "That's all for today..."
4. The nearest donut/coffee shop to (and possibly half of the customer base of) WDAU was:
a. Mr. Donut
b. Curry Donut
c. Krispy Kreme
d. Dunkin Donuts
5. The official licensees of WDAU/WGBI was/were:
a. Roy Stauffer's Chevrolet
b. Megargee Paper Co.
c. Scranton/Wilkes-Barre Broadcasting Inc.
d. International Correspondence TV Inc.
e. Coyer Motors
f. Scranton Broadcasters Inc.
g. Burne Oldsmobile
6. During Station Identification (yet another "remember those"? questions), along with the call letters, channel number, and location, the following was shown:
a. A commercial
b. Public Service Announcements
c. Time and Temperature
d. Current Mine Subsidence information
e. School Closings
7. As part of WDAU's signoff each night, a video of an Air Force plane flying at high speed and altitude and accompanied by a (rather dramatic) poem by John Gillespie Magee was shown. The poem, whose last stanza is excerpted here:
Up, up the long, delirious burning blue
I've topped the wind-swept heights with easy grace
Where never lark, or ever eagle flew —
And, while with silent, lifting mind I've trod
The high untrespassed sanctity of space,
Put out my hand, and touched the face of God.
was shown just prior to the national anthem. That poem was called:
a. Flying High
b. Hang 'em High
c. Twelve O'clock High
d. High Flight Poem
8. This is a quasi off-topic question: (quasi because it surely was reported on by WDAU) : The out-of-contol truck, the one popularized in Harry Chapin's immortal ballad "30,000 Pounds of Bananas", after overturning and disgorging its contents, came to a screeching halt at:
a. Chick's Diner
b. The beer distributor across from Chick's diner
c. The intersection of Harrison Avenue and Moosic Street
d. The intersection of Irving Avenue and Moosic Street
e. 1001 Wyoming Avenue
9. The very last image broadcast each day before the transmitter was turned off and the picture went to snow was:
a. A picture of the building
b. A picture of Madge Megargee Holcomb, the station owner
c. A test pattern
d. A random picture of paper products from the Megargee Paper Company
e. Live TV shot of Scranton Prep and WDAU staff schmoozing over coffee and doughnuts at Krispy Kreme
f. A live shot of the Krispy Kreme donut shop showing late night WDAU employees drinking coffee
10. The weather segment at WDAU was often sponsored by firms such as Bell Telephone or gasoline distributors. At one point, an oil company sponsored the segment which required the weatherman to use a car antenna as his pointer. Atop the antenna was a red ball. That sponsor was:
a. Shell
b. Texaco
c. Hess
d. Atlantic
e. Mobil
f. Sinclair
g. Esso
11. WDAU and WGBI had their transmitter on:
a. Penebscot Mountain
b. Bald Mountain, west of Scranton
c. Mountain Top
d. Colocated with WEJL atop the Scranton Times tower
e. Mount Pocono
12. WGBI radio's format was:
a. Hard Rock
b. Talk
c. Heavy Metal
d. Country and Western
e. Classical
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I will post the answers out there in internetville once I figure out what they are.
Update 4-12-13
Since this seems like just as good an internet as any, the answers are:
1. g 2. ibk 3. d 4. c 5. f 6. c 7. d 8. d 9. c 10. d 11. b 12. d
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Finally, if the Tales of the Basement has whetted your appetite for all things WDAU, a most excellent (former) TV station, a most excellent site is maintained by a former WDAUer:
Go there and you can Catch 22.
Correspondence from Metropolitan Police file dealing with a complaint of threats to harm made by ALFRED
SOLOMON
This image is part of the collection held at The National Archives. Feel free to share it within the spirit of the Commons.
For high quality reproductions of any item from our collection please contact our image library images.nationalarchives.gov.uk/assetbank-nationalarchives...
Letter from James Asten, the town's Scavenger, to the Mayor and Councillors of Deseronto, Ontario.
"Deseronto
Ontario
January 10th. 1936
To the Mayor and Councillors, Deseronto
Gentlemen,
Having completed 1 year as Scavenger in Deseronto, I wish to apply for an increase in salary.
Since taking over" [continued on page 2]
Part of a collection of materials found during the move of the Deseronto Archives.
Letter to Hester McAfee from Arthur S. Lyne, Wesleyan Methodist Chaplain of Southend-On-Sea on the death of her son, Harold in March 1917:
"York Road Wesleyan Church
Southend on Sea.
March 16th, 1917.
Minister
Rev. Arthur S. Lyne
133 York Road.
Dear Mrs. McAfee -
I have this moring officiated at the interment of your son Harold. who as you will have been informed passed away on Sunday last at Qun Mary's Hospital here. He was interred as a Methodist and hence I was able to see him in the Hospital and asked to conduct his funeral. I had a chat with him some two weeks ago, when he spoke to me of home and you. At that time his ilness was not regarded as serious. The Anglican Chaplain who lives close to the hospital was called in on Sunday and I believe will be writing to you direct. But I understand that Harold received the Lord's supper on Sunday, gratefully and humbly; and that he died trusting in his Saviour. All of us who are connected with the hospital feel very deeply for you and the rest of his family. One young Canadian soldier who told me he was Harold's nephew was present at the grave-side. From him you will also probably hear. All that could be done, was done for him, the hospital is a lovely place, and the nursing staff, kindness itselff. The funeral was a military one, the body being carried on a gun carraige with the old flag over it, and a lovely wreath from the hospital. A body of troops followed and the salute was fired over the grave; and the last post sounded by the buglers. With deep sympathy believe me
Yours very sincerely
Arthur S. Lyne
Wesleyan Methodist Chaplin"
The last in my current round of Victorian woman and the only non-Carte de Visite. After finding some CDVs in a boot sale and restoring them I remembered I had some old postcards in a drawer. I think these were purchased from a junk shop in Lyme Regis.
The above is a postcard (printed on the back in true postcard format with address panel, etc) and comes from W.J. Tuck, the Star Studios, 391 Hackney Road, London N.E which is in Poplar. The poor framing of the small subject meant I had to cut a lot off of the top of this picture. I think this 'set-up' was scaled for adults and the photographer refused to move the heavy studio camera closer for a child. The subject makes me think this is a postcard printed to celebrate this girl's first day at school. Perhaps mum bought a dozen in postcard style to send to friends. There is no correspondence on this one and no stamp. The clothes and painted back-drop tempt me to think this is mid-1890s.
Nothing on the net about the photographer. The address is still there and is now a fashion shop.
Some restoration has been carried out in Photoshop.
www.flickr.com/photos/stendec2008/sets/72157624498631101/ to see my full set of Victorians.
I took my Olympia SF ultra-portable typewriter on a camping trip and typed postcards to friends. The postcards are totally random: I found them at an estate sale.
Set back from the road in a simple, yet well established garden, this wonderfully sleek and stylised Art Deco mansion may be found near to Lake Wendouree in the provincial Victorian city of Ballarat.
The clean uncluttered lines of the mansion are very Streamline Moderne in design. The mansion is made almost entirely of clinker brick, with the exception of some brown feature bricks along the angular, flat roofline. It features a wide circular sun deck balcony and a very tall chimney, both signature design elements of Ballarat’s most renowned architect of the 1930s, Herbert Leslie Coburn (1891 – 1956). Built in 1939 for a well-to-do member of Ballarat’s interwar society it cost £1,800.00, no small amount of money in the late 1930s. It has very functionalist windows which flood the mansion’s rooms with light. Aside from a small amount of wrought iron balustrading, a matching grille on the front door and the small band of feature bricks, it is entirely devoid of decoration. The whole property is surrounded by its original clinker brick wall with brown feature brick decorated newel posts.
Ballarat born Herbert Leslie Coburn grew up to be a renowned Ballarat architect, practicing from 1905 to 1956. He taught Architecture and Building Construction at the Ballarat School of Mines from 1922, resigning in 1948 due to ill health. The Royal Victorian Institute of Architects awarded Herbert Coburn a Silver Medal for the designs of an Anglican Gothic Suburban Church in 1913 while he was still a student of the institute. In 1917 Herbert became associated with Percy Richards, and they formed a partnership in 1918, Richards, Coburn, Richards, which lasted until 1933, when they separated owing to artistic differences. Whilst Percy Richards wished to retain a more traditional style in keeping with the popular conservative tastes of their clients, Herbert Coburn wanted to be at the vanguard of architectural design and was very interested in following the sleeker and stylised designs of the Streamline Moderne movement which was coming out of Europe. Herbert Coburn therefore started his own architectural practice. Coburn studied for formal qualifications by correspondence with the International Correspondence School, obtaining an architectural diploma two years later. His rooms were in the Clyde Chambers at 313 Sturt St, Ballarat. He was a Fellow of the Royal Australian Institute of Architects and the Royal Victorian Institute of Architects. Some of Herbert Coburn's architectural achievements include: St Patrick's Primary School in Drummond Street Ballarat (1935), the Shire of Wimmera Council Offices in Firebrace Street Horsham (1936), Paterson's Furniture Store in Horsham (circa 1936), the Railway Hotel in Maryborough (1938) and the clock tower of the Stawell Town Hall (1939). In addition to these, there are many beautiful, well designed and executed modernist Art Deco villas around Ballarat that bear his distinct architectural style.
The community minded Herbert Coburn was elected a Councillor with the City of Ballarat in 1938, and Mayor in 1945. Herbert’s motivation was the 'proper development and advancement of his city.' He held the position of Councillor until 1952.
Envelope addressed to Mrs S. [Susan] Maracle, 534 State Str, Rochester, N.Y. It contained a letter written by James Hill, who was working in a lumber camp in Algoma District, Ontario.
The envelope is printed "John Dalton, Furniture etc., Deseronto, Ontario".
Copy of a letter from Thomas Edison declining an invitation to attend the 1924 United Empire Loyalist celebrations in Belleville, Ontario.
From the W. C. Mikel papers, this item donated in 1963 by Allan Dempsey.
"Cable Address 'Edison, New York'
From the Laboratory
of
Thomas A. Edison,
Orange, N.J.
May 5, 1924
Hon. W. C. Mikel,
Mayor of the City of Belleville,
Belleville, Ontario.
My dear Sir:
I appreciate your kind invitation to attend the 140th anniversary of the settlement of Upper Canada by the United Empire Loyalists in June next, and thank you.
Unfortunately, I shall be unable to give myself the pleasure of attending this celebration as I am in the midst of a series of important investigations that require my constant presence at the Laboratory and I am unable at this time to make any appointments for the future.
Yours very truly,
Thos A Edison
TAE:JRO"
..\description_code.txt
Description: Professional correspondence between Dummer and W.I. Thomas, 1921.
Repository: Schlesinger Library on the History of Women in America.
Collection: Ethel Sturges Dummer Papers
Call Number: A-127
Catalog Record: http://id.lib.harvard.edu/aleph/000604926/catalog
Questions? Ask a Schlesinger Librarian
During a Railway Correspondence & Travel Society visit to the Marchwood Military Railway on 7 March 1992, two Thomas Hill Vanguard locos top and tail a brake van on the dockside.
© Gordon Edgar collection - Photographer Roy Burt - All rights reserved. Please do not use my images without my explicit permission
Not postmarked.
Four months and nine days from breaking ground to dedication. I am glad to be out of office. Everyone has been very complimentary especially Mr. Lord which means the most to me since he is my boss and paymaster.
This is the inside of the upper hall. I hope you see a copy of the Camden Herald. Probable Guy will save it for you. I couldn't get an extra.
No correspondence.
Württemberg infantrymen pose together inside their garrison at Ulm for one of those popular "shortest and tallest" photographs.
Divided reverse. No correspondence.
One of a series of outdoor portraits of men from Reserve-Infanterie-Regiment Nr. 109 taken at their Karlsruhe barracks sometime around early 1915.
Unit: Reserve-Infanterie-Regiment Nr. 109
Rank: Musketier
Headwear: --- / M.92 Überzug
Tunic: Model 1907/10 Feldrock
Awards: None
Buckle: Prussian / Baden “GOTT MIT UNS”
Accoutrements: Backpack
Ammunition pouches: M.09 type
Armament: Gew 71
__________________________________________________________________
Notes:
Reserve-Infanterie-Regiment Nr. 109 (+MG.-Kp.)
Aufgestellt in Karlsruhe (R.Stb., I., II.) und Bruchsal (III.)
Unterstellung:28. Res.Div.
Kommandeur:Oberstleutnant v. Baumbach (Gren.R.Nr. 109)
I.:Major v. Kummer (Gren.R.Nr. 109)
II.:Major Hennig (I.R.Nr. 170)
III.:Major Frhr. v. Wilczek (Gren.R.Nr. 109) gef.: 27.9.14
Verluste:75 Offz., 2810 Uffz. und Mannschaften.