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And now for some shots with the 50mm, of the details and fittings of the church. More to follow.

 

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Augustus Welby Northmore Pugin (1 March 1812 – 14 September 1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style; his work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.[1] Pugin was the son of Auguste Pugin, and the father of E.W. and Edmund Peter Paul Pugin, who continued his architectural firm as Pugin & Pugin.

 

Pugin was the son of a French draughtsman, Auguste Pugin, who had come to England as a result of the French Revolution and had married Catherine Welby of the Denton, Lincolnshire Welby family.[3] Augustus was born at his parents' house in Bloomsbury. Between 1821 and 1838 Pugin's father had published a series of volumes of architectural drawings, the first two entitled, Specimens of Gothic Architecture, and the following three, Examples of Gothic Architecture, that were to remain both in print and the standard references for Gothic architecture for at least the next century.

 

As a child he was taken each Sunday by his mother to the services of the fashionable Scottish presbyterian preacher Edward Irving (later founder of the Holy Catholic Apostolic Church), at his chapel in Cross Street, Hatton Garden.[4] He soon rebelled against this version of Christianity: according to Benjamin Ferrey, Pugin "always expressed unmitigated disgust at the cold and sterile forms of the Scotch church; and the moment he broke free from the trammels imposed on him by his mother, he rushed into the arms of a church which, pompous by its ceremonies, was attractive to his imaginative mind.

 

Pugin learned drawing from his father, and for a while attended Christ's Hospital. After leaving school he worked in his father's office, and in 1825 and 1827 accompanied him on visits to France.[6] His first commissions independent of his father were for designs for the goldsmiths Rundell and Bridge, and for designs for furniture at Windsor Castle, from the upholsterers Morrel and Seddon. Through a contact made while working at Windsor, he became interested in the design of theatre scenery, and in 1831 obtained a commission to design the sets for the production of a new opera called Kenilworth at Covent Garden.[7] He also developed an interest in sailing, and briefly commanded a small merchant schooner trading between Britain and Holland, which allowed him to import examples of furniture and carving from Flanders,with which he later furnished his house at Ramsgate.[8] During one voyage in 1830 he was wrecked on the Scottish coast near Leith,[9] as a result of which he came into contact with Edinburgh architect James Gillespie Graham, who advised him to abandon seafaring for architecture.[10] He then set up a business supplying historically accurate carved wood and stone details for the increasing number of buildings being constructed in the Gothic style, but the enterprise soon failed.

 

In 1831, aged nineteen, Pugin married the first of his three wives, Anne Garnet.[11] Anne died a few months later in childbirth, leaving him with a daughter. He had a further six children, including the architect Edward Pugin, with his second wife, Louisa Burton, who died in 1844. His third wife, Jane Knill, kept a journal of their married life together, between their marriage in 1848 and his death; it was later published.[12] Their son was Peter Paul Pugin.

 

Following his second marriage in 1833, Pugin moved to Salisbury with his wife,[13] and in 1835 bought half an acre of land, at Alderbury, about a mile-and-a-half outside the town, On this he built a medieval-inspired house for his family, called "St Marie's Grange".[14] Charles Locke Eastlake said of it "he had not yet learned the art of combining a picturesque exterior with the ordinary comforts of an English home".

 

In 1834, Pugin became a Roman Catholic convert,[16] and was received into the faith in the following year.[17] His conversion resulted in the loss of some commissions,[citation needed] but also brought him into contact with new patrons and employers. In 1832 he had made the acquaintance of John Talbot, 16th Earl of Shrewsbury, a Roman Catholic, sympathetic to his aesthetic views who employed him in alterations and additions to his residence Alton Towers, which subsequently led to many other commissions.[18] Shrewsbury commissioned him to build St. Giles' Catholic Church, Cheadle, completed in 1846, and Pugin was also responsible for designing the oldest Catholic church in Shropshire, St Peter and Paul at Newport,

 

n 1836, Pugin published Contrasts, a polemical book which argued for the revival of the medieval Gothic style, and also "a return to the faith and the social structures of the Middle Ages".[19] Each plate in the book selected a type of urban building and contrasted the 1830 example with its 15th-century equivalent. In one example, Pugin contrasted a medieval monastic foundation, where monks fed and clothed the needy, grew food in the gardens – and gave the dead a decent burial – with "a panopticon workhouse where the poor were beaten, half starved and sent off after death for dissection. Each structure was the built expression of a particular view of humanity: Christianity versus Utilitarianism."[19] Pugin's biographer, Rosemary Hill, wrote: "The drawings were all calculatedly unfair. King's College London was shown from an unflatteringly skewed angle, while Christ Church, Oxford, was edited to avoid showing its famous Tom Tower because that was by Christopher Wren and so not medieval. But the cumulative rhetorical force was tremendous."

 

In 1841 he left Salisbury,[20] finding it an inconvenient base for his growing architectural practice.[21] He sold St Marie's Grange at a considerable financial loss,[22] and moved temporarily to Cheyne Walk, Chelsea. He had however already purchased a piece of land at the West Cliff, Ramsgate, where he proceeded to build himself a large house and, at his own expense, a church on which he worked whenever funds allowed. His second wife died in 1844 and was buried at St. Chad's, Birmingham, a church which he had himself had designed.

 

Following the destruction by fire of the Palace of Westminster in 1834, Pugin was employed by Sir Charles Barry to supply interior designs for his entry to the architectural competition which would determine who would build the new Palace of Westminster. Pugin also supplied drawings for James Gillespie Graham's entry.[24] This followed a period of employment when Pugin had worked with Barry on the interior design of King Edward's School, Birmingham. Despite his conversion to Catholicism in 1834, Pugin designed and refurbished both Anglican and Catholic churches throughout the country.

 

Other works include St Chad's Cathedral, Erdington Abbey and Oscott College, all in Birmingham. He also designed the college buildings of St Patrick and St Mary in St. Patrick's College, Maynooth; though not the college chapel. His original plans included both a chapel and an aula maxima, neither of which were built because of financial constraints. The college chapel was designed by a follower of Pugin, the Irish architect J.J. McCarthy. Also in Ireland, Pugin designed St Mary's Cathedral in Killarney, St Aidan's Cathedral, Enniscorthy (renovated in 1996) and the Dominican church of the Holy Cross in Tralee. He revised the plans for St Michael's Church in Ballinasloe, Galway. Pugin was also invited by Bishop Wareing to design what eventually became Northampton Cathedral, a project that was completed in 1864 by Pugin's son Edward Welby Pugin.

 

Pugin visited Italy in 1847; his experience there confirmed his dislike of Renaissance and Baroque architecture, but he found much to admire in the medieval art of northern Italy.

 

In February 1852, while travelling with his son Edward by train, Pugin suffered a total breakdown and arrived in London unable to recognise anyone or speak coherently. For four months he was confined to a private asylum, Kensington House. In June, he was transferred to the Royal Bethlem Hospital, popularly known as Bedlam.[26] At that time, Bethlem Hospital was opposite St George's Cathedral, Southwark, one of Pugin's major buildings, where he had married his third wife, Jane, in 1848. Jane and a doctor removed Pugin from Bedlam and took him to a private house in Hammersmith where they attempted therapy, and he recovered sufficiently to recognise his wife.[26] In September, Jane took her husband back to The Grange in Ramsgate, where he died on 14 September 1852.[26]

 

On Pugin's death certificate, the cause listed was "convulsions followed by coma". Pugin's biographer, Rosemary Hill, suggests that, in the last year of his life, he was suffering from hyperthyroidism which would account for his symptoms of exaggerated appetite, perspiration, and restlessness. Hill writes that Pugin's medical history, including eye problems and recurrent illness from his early twenties, suggests that he contracted syphilis in his late teens, and this may have been the cause of his death at the age of 40.

 

In 1844, having won the architectural competition to design the new Palace of Westminster, Sir Charles Barry, asked Pugin to supply detailed designs for the interior of the new building, including stained glass, metalwork, wood carving, upholstery, furniture and a royal throne. Pugin's biographer, Rosemary Hill, shows that Barry designed the Palace as a whole, and only he could coordinate such a large project and deal with its difficult paymasters, but he relied entirely on Pugin for its Gothic interiors, wallpapers and furnishings.[28]

 

At the end of Pugin's life, in February 1852, Barry visited him in Ramsgate and Pugin supplied a detailed design for the iconic Palace clock tower, officially dubbed the Elizabeth Tower, but more popularly known as Big Ben. The design is very close to earlier designs by Pugin, including an unbuilt scheme for Scarisbrick Hall, Lancashire. The tower was Pugin's last design before descending into madness. In her biography, Hill quotes Pugin as writing of what is probably his best known building: "I never worked so hard in my life [as] for Mr Barry for tomorrow I render all the designs for finishing his bell tower & it is beautiful & I am the whole machinery of the clock."[29] Hill writes that Barry omitted to give any credit to Pugin for his huge contribution to the design of the new Houses of Parliament.[30] In 1867, after the deaths of both Pugin and Barry, Pugin's son Edward published a pamphlet, Who Was the Art Architect of the Houses of Parliament, a statement of facts, in which he asserted that his father was the "true" architect of the building, and not Barry.

 

en.wikipedia.org/wiki/Augustus_Welby_Northmore_Pugin

here is my shooting of snow white, next to come : old hag. It was a very sunny day and her colors are a bit fader than in reality because of the sunlight

It am the weekend again, but after a week off, so one belnds smoothly into the other.

 

And next week I have a four day trip to the Isle of Wight for work, which will do me good too.

 

Not much planned for the day, once shopping was done. And I do that as Jools is still coughing and so did not want to go round the supermarket coughing like that.

 

So, I d the week's shop, though not much needed as I will be away four days, so I am back with three bags of shopping, and we have the usual Saturday breakfast of fruit followed by bacon sandwiches.

 

Posting shots on other social media showed me many churches had to be revisited. Just about the last one to be thus revisited was Minster-in-Thanet, as the album had 55 shots from two previous visits, and I thought such a large and imposing church deserved more.

 

So, it was a quiet drive over to Sandwich, taking the bypass round Stonar, then turning off at the delightfully named Sevenscore for the drive along the back lanes into Minster, passing by the Abbey, outside of which was an actual nun, all dressed in cowl and long black gown.

 

A little further on is St Mary, and parking is easy just outside the churchyard, and although it looked locked, the west door under the tower was unlocked, and inside there were no others inside, so I had it to myself.

 

I had hoped I had missed whole or fragments of glass, but there was none to be seen, some nice arts and crafts ones of Queen Bertha, which I record. I think I snap everything, so after half an hour we are done.

 

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Minster Abbey on the Isle of Thanet was founded in AD 669 by Domneva, niece of King Erconbert of Kent. The enormous parish church, built some distance to the south-west of the abbey, dates from two distinct periods. The nave is Norman, a magnificent piece of twelfth-century arcading with tall cylindrical pillars. The chancel and transepts are thirteenth century, with a three-light east window, each one double shafted inside. This end of the church has a simple stone vaulted ceiling which adds greatly to the grandeur. The glass is by Thomas Willement and dates from 1861. Ewan Christian restored the church in 1863 and added vaulted ceilings to the transepts. They had been intended by the medieval designers, but were never built. There is a set of eighteen fifteenth-century stalls with misericords and an excellent sixteenth-century font and cover.

 

kentchurches.info/church.asp?p=Minster+in+Thanet

 

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MINSTER.

THE next parish to Monkton eastward is Minster, antiently written both Mynstre, and Menstre, being so named from the Saxon word Minstre, signifying a church or monastery. It is divided into two boroughs, viz. Way Borough and Street Borough; the former of which lies on the ascent on the northern side of the street; the latter contains the street and church, with the southern part of the parish.

 

THIS PARISH is about three miles and an half from east to west, and near as much from north to south. The farms in it are perhaps as large as in any other parish in this county; the occupiers of which are, in general, men of considerable ability. The west part of this parish is bounded by a lynch or balk, which goes quite across the island to Westgate, called St. Mildred's Lynch, an account of which has already been given before, and which is the bounds of this manor from that of Monkton, as well as of the parish. This lynch has formerly been much broader than it is now, many of the farmers, who occupy lands bounding on or near it, having through a coveteous humour, not only dug up the mould or top of it, to lay on their land, but in some places have ploughed upon it. Too many instances of this kind are practised in other places, not only of this island, but of the county in general, so that there is scarce a remembrance left where those balks or lynches have been; such has the greedy avarice of the occupiers been, and this is one instance of the ill consequence of the neglect of the courts leet and baron. The village of Minster lies nearly in the centre of it, on low ground at the foot of the high lands, having the church on the south side of it; northward of the village it rises to high land, being a fine open champion country of uninclosed corn land, on which are situated Minster mill, Allan Grange, and Powcies, the latter at the extremity of the parish, close to which was, till lately, a small grove of oaks, the only one in this island. Lower down, about a mile southward, is Thorne manor, and beyond that Sevenscore farm. At the south-eastern extremity of the parish, and partly in St. Laurence, is Cliffsend, or Clyvesend, so called from its being at the end of the cliff, which extends from Ramsgate; it was antieutly a part of the estate of St. Augustine's monastery, and is called by Thorne in his Chronicle, the manor of Clyvesend. Here are now two considerable farms besides cottages.

 

About a mile and an half south-east from Minster church, is Ebbsfleet, formerly called by the various names of Hipwines, Ippeds, and Wipped's fleet; this seems to have been a usual place of landing from the ocean in this island; here it is said Hengist and Horsa, the two Saxon generals, first landed with their forces, about the year 449. Here St. Augustine, often called the Apostle of the English, first landed, in the year 596; and here too St. Mildred, of whom mention has been made likewise before, first landed from France, where she had been for instruction in the monastic life; and not many years ago there was a small rock at this place, called St. Mildred's rock, where, on a great stone, her footstep was said, by the monkish writers, to have remained impressed. (fn. 1) Below the church of Minster, southward, is the large level of marshes, called Minster level, at the southern extremity of which runs the river Stour, formerly the Wantsume, which, as has already been noticed before, was antiently of a much greater depth and width than it is at present, flowing up over the whole space of this level, most probably almost to the church-yard fence, being near a mile and an half distance; but the inning of the salts by the landholders, which had been in some measure deserted by the waters of the Wantsume at different places, so far lessened the force of the tide, and of the river waters mixing with it, that it occasioned the sands to increase greatly near this place, where it was at length entirely choaked up, so that a wall of earth was made by the abbot of St. Augustine, since called the Abbot's wall, to prevent the sea at high water overslowing the lands, which now comprehend this great level of marshes, at present under the direction and management of the commissioners of sewers for the district of East Kent. A part of these marsh lands have been much improved by means of shortening the course of the river Stour to the sea, by the cut at Stonar, which lets off the superfluous water in wet seasons with greater expedition, and a very valuable tract of near two hundred acres has been lately inclosed by a strong wall from the sea near Ebbs-fleet. Between the above-mentioned wall and the river Stour lie a great many acres of land, which the inhabitants call the salts, from their being left without the wall, and subject to the overflowing of the tide, so long as it continued to flow all around this island. Over against the church is a little creek, which seems to have been the place antiently called Mynstrefleet, into which the ships or vessels came, which were bound for this place. As a proof of this, there was found some years ago in a dyke bounding on this place, in digging it somewhat deeper than usual, some fresh coals, which very probably had fallen aside some lighter or boat in taking them out of it. (fn. 2)

 

I ought not to omit mentioning, that on the downs on the north part of this parish, where the old and present windmills were placed, is a prospect, which perhaps is hardly exceeded in this part of the kingdom. From this place may be seen, not only this island and the several churches in it, one only excepted; but there is a view at a distance, of the two spires of Reculver, the island of Sheppy, the Nore, or mouth of the river Thames, the coast of Essex, the Swale, and the British channel; the cliffs of Calais, and the kingdom of France; the Downs, and the town of Deal, the bay and town of Sandwich, the fine champion country of East Kent, the spires of Woodnesborough and Ash, the ruins of Richborough castle, the beautiful green levels of Minister, Ash, &c. with the river Stour winding between them; the fine and stately tower of the cathedral of Canterbury, and a compass of hills of more than one hundred miles in extent, which terminate the sight.

 

In the marshes on the south of this parish, there was found in 1723, an antique gold ring; on the place of the seal, which seemed to represent an open book, was engraved on one side an angel, seemingly kneeling, and on the other side a woman standing with a glory round her head; on the woman's side was engraved in old English characters, bone; on that of the angel, letters of the same character, but illegible. A fair is kept in this village on a Good Friday for pedlary and toys.

 

By the return made to the council's letter, by archbishop Parker's order, in the year 1563, there were then computed to be in this parish fifty-three housholds. By an exact account taken of Minster in 1774, there were found to be in this parish one hundred and forty-nine houses, and six hundred and ninety-six inhabitants; of the houses, sixteen were farm-houses, and one hundred and thirty three were inhabited by tradesmen, labourers, and widows.

 

THE MANOR and ABBEY OF MINSTER was antiently called Thaket manor, and continued so till, from the foundation of the abbey or minster within it, it acquired the name of the manor of Minster, though in the survey of Domesday, taken in the year 1080, it is still called Tanet manor, Kar exoxnv; but I have met with it no where else so late by that name.

 

This manor was in the year 670 in the possession of Egbert, king of Kent, whose two nephews Ethelred and Ethelbright, sons of his father's elder brother Ermenfride, deceased, (who left likewise two daughters, Ermenburga, called also Domneva, married to Merwald, son of Penda, king of Mercia, and Ermengitha, were left to his care, under promise of their succeeding to the kingdom. These princes were kept under the inspection of one Thunnor, a flattering courtier, who persuaded the king to have them murdered, left they should disturb him in the possession of the throne; which Thunnor undertook and perpetrated. To expiate this crime, the king, by the advice of archbishop Theodore, and Adrian, abbot of St. Augustine's, sent to Domneva, who had taken the vow of chastity on her, to offer her any satisfaction for this crime, when, as an atonement, she requested of the king, according to the custom of those times, to grant her a place in Tenet, where she might build a monastery to their memory, with a sufficient maintenance, in which she, with her nuns, might continually pray for the king's forgiveness, who immediately by his charter, which concludes with a singular curse on the infringers of it, (fn. 3) granted her for the endowment of it full one half of this island, being the eastern part of it, comprehended within the bounds of this manor, and since separated from the western part of the island and manor of Monkton, by a broad bank or lynch, made quite across the island, since called St. Mildred's Lynch, and remaining at this day.

 

The story of this grant, as told by Thorn, a native of this parish, and a monk of St. Augustine's monastery, in his chronicle of that abbey, is, that Egbert granting Domneva's petition, demanded of her how much land she desired; who replied, as much as her deer could run over at one course; this being granted, the deer was let loose at Westgate, in Birchington, in the presence of the king, his nobles, and a great concourse of people. Among them was Thunnor, the petrator of the murder, who, ridiculing the king for the lavishness of his gift and the method of its decision, endeavoured by every means to obstruct the deer's course, both by riding across and meeting it; but Heaven, continues the chronicler, being offended at his impiety, whilst he was in the midst of his career, the earth opened and swallowed him up, leaving the name of Tunnor's-leap, or Thunor's hyslepe, to the ground and place where he fell, to perpetuate the memory of his punishment, though it was afterwards called Heghigdale. Meanwhile the deer having made a small circle eastward, directed its course almost in a strait line south-westward across the island from one side to the other, running over in length and breadth forty-eight plough-lands; and the king, immediately afterwards delivered up to Domneva the whole tract of land which the deer had run over.

 

This tract or course of the deer, which included above ten thousand acres of some of the best lands in Kent, is said to have been marked out by the broad bank, or lynch, across the island, since called St. Mildred's Lynch, thrown up in remembrance of it; (fn. 4) but notwithstanding this well-invented story of Thorn, it is more probable that this lynch was made to divide the two capital manors of Minster and Monkton, before this gift to Domneva.

 

Puteus Thunor, (or Thunor's leap) says the annalist of St. Augustine's monastery, apparet prope Cursum Cervi juxta Aldelond; and the place where the king stood to see this course is represented to be by it, where formerly was a beacon, it being some of the highest land hereabouts, where the king might see the course. This Puteus Thunor, or Thunorslep, is very plainly the old chalk pit, called Minster chalk-pit, which its not unlikely was first sunk when the abbey and church here were built, and the bottom of it in process of time, being overgrown with grass, gave occasion for the invention of this sable of Thunor's being swallowed up by the earth at this place. The name of Thunorslep has been long since obliterated, and even the more modern one of Heghigdate has been long forgotten. Weever says, he lieth buried under an heap of stones, which to that day was called Thunniclam.

 

Domneva being thus furnished with wealth and all things necessary, founded, in honor of the B.V. Mary, a monastery, or cloyster of nuns, afterwards called ST. MILDRED'S ABBEY, on part of this land, on the south side of the island near the water, in the same placewhere the present parochial church stands. Archbishop Theodore, at the instance of Domneva, consecrated the church of it, and she afterwards appointed the number of nuns to be seventy, and was appointed by the archbishop, the first abbess of it; she died here and was buried on the glebe of the new monastery. Ermengitha, her sister, was after her death sainted, and lived with Domneva, in the abbey here, where she died, and was buried in a place about a mile eastward of it, where the inhabitants have found numbers of bones, and where it is probable, she built some chapel or oratory. In a field or marsh called the twenty acres, a little more than a quarter of a mile eastward of the church of Minster, are several foundations, as if some chapel or oratory had been built there. (fn. 5)

 

Domneva was succeeded as abbess by her daughter Mildred, who was afterwards sainted. She is said to have been buried in this church. On her death Edburga succeeded in the government of this monastery, who finding it insufficient for so great a number of nuns, built another just by, larger and more stately, which was consecrated by archbishop Cuthbert, and dedicated to St. Peter and St. Paul; and to this church she, about the year 750, removed the body of St. Mildred, at whose tomb many miracles were said to be wrought afterwards. Edburga was buried at Minster in her own new church, and was afterwards sainted. She was succeeded as abbess of this monastery by Sigeburga. In her time was the first depredation of the Danes in Thanet; who sell upon the people, laid every thing waste, and pludered the religious in this monastery; from this time they continued their ravages throughout this island almost every year; hence by degrees, this monastery fell to decay, and the nuns decreased in number, being vexed with grief and worn down with poverty, by the continual insults of these merciless pirates, who landed in this island in 978, and entirely destroyed by fire this monastery of St. Mildred, in which the clergy and many of the people were shut up, having fled thither for sanctuary; but they were, together with the nuns, all burnt to death, excepting Leofrune the abbess, who is said to have been carried away prisoner.

 

The Danes, however, spared the two chapels of St. Mary, and of St. Peter and St. Paul, in one of which divine service was afterwards performed, for the inhabitants of this parish and the adjoining neighbourhood. The antient scite of the monastery, together with this manor, and all the rest of the possessions of it remained in the king's hands, and they continued so till king Cnute, in the year 1027, gave the body of St. Mildred, together with the antient scite of the monastery, this manor and all its land within this island and without, and all customs belonging to this church, to the abbot and convent of St. Augustine, which gift was confirmed by king Edward the Confessor. (fn. 6)

 

The abbot and convent of St. Augustine becoming thus possessed of this manor, fitted up the remains of the abbey to serve as the court-lodge of it; accordingly it has ever since borne the name of Minstercourt. In the survey of Domesday, taken in the 15th year of the Conqueror's reign, anno 1080, this manor is thus described, under the general title of Terra æcclæ Sci Augustini, the land of the church of St. Augustine.

 

In Tanet hundred. St. Mildred's.

 

The abbot himself holds Tanet manor, which was taxed at forty-eight sulings. The arable land is sixty-two carucates. In demesne there are two, and one hundred and fifty villeins, with fifty borderers having sixty-three carucates. There is a church and one priest, who gives twenty shillings per annum. There is one salt-pit and two fisheries of three pence, and one mill.

 

In the time of king Edward the Confessor it was worth four times twenty pounds, when the abbot received it forty pounds, now one hundred pounds.

 

Of this manor three knights hold so much of the land of the villeins as is worth nine pounds, when there is peace in the land, and there they have three carucates.

 

After which king Henry I. granted to the monastery of St. Augustine, about the 4th of his reign, a market, to be yearly held within this their manor of Minster, with all customs, forseitures, and pleas; which was confirmed among other liberties by Edward III. in his 36th year, by inspeximus.

 

King Henry III. in his 54th year, anno 1270, granted to the abbot and convent of St. Augustine, free-warren in all their demesne lands of Minster. (fn. 7) King Edward II. in his 6th year, confirmed to the abbot free-warren in this manor among others, and next year anno 1313, in the iter of H. de Stanton and his sociates, justices itinerant, the abbot, upon a quo warranto, claimed and was allowed sundry liberties therein mentioned, in this manor, among others, and likewise free-warren in all his demesne lands of it, view of frank pledge, and wreck of the sea; one market weekly on a Friday, and one fair yearly on the eve and day of St. Mildred the Virgin, and other liberties therein mentioned; as having been granted and confirmed by divers of the king's predecessors, and allowed in the last iter of J. de Berewick and his sociates, justices itinerant; and that king Edward II. by his charter in his 6th year had sully confirmed all of them, and by the register of this monastery, of about this time, it appears that this manor had within its court the same liberties as those of Chistlet and Sturry. King Edward III. in his 5th year, exempted the abbot's homagers and tenants of this, among other of their manors, from their attendance at the sheriff's tourne, and afterwards by his charter of inspeximus in his 36th year, confirmed to this abbey all the manors and possessions given to it by former kings; and by another charter, the several grants of liberties and confirmations made by his predecessors, among which were those abovementioned; and king Henry VI. afterwards confirmed the same.

 

Next year the abbot and his servants taking distresses on their tenants of this manor, the tenants, to the number of six hundred, met and continued together for the space of five weeks, having got with them a greater number of people, who coming armed with bows and arrows, swords and staves, to the court of this manor and that of Salmanstone, belonging likewise to the abbot, laid siege to them, and after several attacks set fire to the gates of them. For fear of these violences, the monks and their servants at Salmanstone kept themselves confined there for fifteen days, so that the people enraged at not being able to encompass their ends in setting fire to the houses, destroyed the abbot's ploughs and husbandry utensils, which were in the fields; and cut down and carried away the trees on both these manors.

 

At the same time they entered into a confederacy and raised money here by tallages and assessments, by means of which they drew to them no small number of others of the cinque ports, who had nothing to lose, so that the abbot dared not sue for justice in the king's courts; but a method it seems was found to punish these rioters, or at least the principal of them, who were fined to the abbot for these damages six hundred pounds, a vast sum in those days, and were imprisoned at Canterbury till the fine was paid. The uneasiness of the tenants under such respective suits and services, seems to have occasioned the abbot and convent to have compounded with them, which they did in the year 1441, anno 20 Henry VI. By this composition the abbot and convent agreed, that the tenants should not in future be distrained for the rents and services they used to pay; but instead of them should pay compositions for every acre of the land called Cornegavel and Pennygavel, (fn. 8) which composition for the Cornegavel and Pennygavel land, continues in force at this time, being sixpence an acre now paid for the Cornegavel land.

 

In the time of king Richard II. this manor, with its rents and other appurtenances, was valued among the temporalities of the abbot and convent, at 232l. 4s. 3d. per annum; and the quantity of land belonging to it was by admeasurement 2149 acres and one rood.

 

In which state this manor continued till the final dissolution of the abbey of St. Augustine, which happened in the 30th year of Henry VIII. when it was surrendered, together with the rest of the possessions of the monastery, into the king's hands; at which time the manor and rents were of the value of 276l. yearly. (fn. 9) After which, the see of this manor, with the antient court-lodge of it, formerly the monastery, and then called Minster-court, with all the lands and appurtenances belonging to it, continued in the crown, till king James I. in his 9th year, by his letters patent, granted to Sir Philip Cary, William Pitt, esq. afterwards knighted; and John Williams, citizen and goldsmith of London, this lordship and manor of Menstre, with its rights, members, and appurtenances, late parcel of St. Augustine's monastery, except and reserved to the king's use, all advowsons and patronages of churches, chapels, &c. belonging to this manor; and he granted likewise all the rents of assize called Cornegavel land, in the parish of St. John, parcel of this manor; and the rents of assize of free tenement called Pennygavel land, in the parishes of St. Peter and St. Laurence, (fn. 10) to hold the manor, with its right, members and appurtenances, of the king, as of his manor of East Greenwich, by sealty only, in free and common socage, and not in capite, nor by knight's service; and to hold the rents of assize of the king in capite, by the service of one knight's fee; which grant and letters patent were conconfirmed by an act specially passed for the purpose, that year.

 

Some years after which, the heirs of the beforementioned Sir Philip Carey and John Williams, then Sir John Williams, bart. of Carmarthenshire, divided this estate; in which division, the manor itself with the court-lodge, part of the demesne lands, royalties, and appurtenances, was allotted to Sir John Williams, bart. (who died in 1668, and was buried in the Temple church, London); whose descendant of the same name, bart. of Carmarthenshire, dying without male issue, his daughter and sole heir, then the widow of the earl of Shelburne, carried it in marriage, at the latter end of king Charles II.'s reign, to Col. Henry Conyngham, afterwards a major-general in king William's reign, who died possessed of it in 1705. He left two sons, William and Henry, and a daughter Mary, married to Francis Burton, esq. of Clare, in Ireland. William, the eldest son of the general, succeeded him in this manor and estate in Minster, but died without surviving issue, upon which this estate descended to Henry Conyngham, esq. his younger brother, second son of the general, who was in 1753, anno 27 George II. created baron Conyngham, of Mount Charles, in Donegall, in Ireland; and afterwards by further letters patent, in 1756, viscount Conyngham, of the same kingdom; and again in 1780, earl Conyngham, and likewise baron Conyngham, of the same kingdom, with remainder of the latter title to his sister's sons. He married Ellen, only daughter of Solomon Merret, esq. of London, by whom he had no issue. He died s.p. in 1781, and was succeeded in his title of baron Conyngham by his nephew Francis Pierpoint Burton Conyngham, eldest son of his sister Mary, by her husband Francis Burton, esq. above-mentioned, which Francis, lord Conyngham, died in 1787, leaving by his wife Elizabeth, eldest daughter of Nathaniel Clements, esq. and sister of Robert, lord Leitrim, (who survived him) two sons, Henry, who succeeded him in title, and Nathaniel, and three daughters, Catherine married to the Rev. John Shirley Fermor, of Sevenoke; Ellen, to Stewart Weldon, esq. and Henrietta.

 

Henry, so succeeding his father as lord Conyngham, was created in December 1789, viscount Conyngham and baron Conyngham, of Mount Charles, in Donegall, to whom the inheritance of this manor and estate now belongs; but the possession of it for life is vested in the right hon. Ellen, countess dowager Conyngham; widow of Henry, earl Conyngham, above-mentioned. The arms of lord viscount Conyngham are, Argent, a shake-sork, between three mullets, sable. Supporters. The dexter—An horse charged on the breast with an eagle, displayed, or, maned and hoofed of the last. The sinister—A buck proper, charged on the breast with a griffin's head, erased, or, attired and unguled of the last. Crest—Anunicorn's head erased, argent, armed and maned, or. Motto—Over fork over.

 

A court leet and court baron is held for this manor, by the stile of the courtleet, and view of frank pledge, for the manor of Minster, in the hundred of Ringslow, alias Tenet, and the court baron for the said manor.

 

The court-lodge, formerly a part of the nunnery, was, after the dissolution of it, made use of as a farmhouse, in which some of the monks of St. Augustine resided, to manage the estate of it, which they kept in their own hands. On the north side of it, which seems to have been the front or entrance, is a handsome stone portal, on the top of which, in the middle, within a circle, are the arms of the abbey of St. Augustine, viz. Sable, a cross, argent. At a small distance from it stood antiently a very large barn, sufficient to hold the corn growing on all the demesnes, being in length 352 feet, and in breadth 47 feet, and the height of the walls 12 feet, with a roof of chesnut. When the estate was divided, 154 feet in length of this building was carried to Sevenscore farm, where it was burnt, by an accident unknown in 1700, and the remaining part here was burnt by lightning afterwards. On the south side of the house stood a chapel, said to have been built by St. Eadburga, the third abbess here. In it the body of St. Mildred is said to have been placed by her, or rather translated from the other monastery. Some of the walls and foundations of this chapel were remaining within the memory of some not long since deceased, but it is now so entirely demolished, that there is nothing to be seen of it, excepting a small part of the tower, and of the stairs leading up into it. Just by these ruins of the tower is a small piece of ground, in which lately in digging for mould, several human bones were dug up. There is a view of the remains of this nunnery in Lewis's Thanet.

 

THE OTHER PART of this estate, the scite of which lies about a mile eastward from Minster-court, since known by the name of SEVENSCORE, on which is built a substantial farm-house, with large barns and other necessary buildings, was allotted to —Carey, in whose successors viscounts Falkland, this estate continued down to Lucius Ferdinand, viscount Falkland, who not many years since alienated it to Josiah Wordsworth, esq. of London, whose son of the same name died possessed of it about the year 1784, leaving two sisters his coheirs, one of whom married Sir Charles Kent, bart. and the other, Anne, married Henry Verelst, esq. who afterwards, in right of their respective wives, became possessed of this estate in undivided moieties; in which state it still continues, Sir Charles Kent being at this time entitled to one moiety, and Mrs. Verelst, the widow of Henry Verelst, esq. above-mentioned, who died in 1785, and lies buried in this church, being entitled to the other moiety of it.

 

WASCHESTER is an estate lying at a small distance westward from Minster church, part of which was formerly parcel of the demesnes of the manor of Minster, and was included in king James's grant to Sir Philip Carey, William Pitt, esq. and John Williams, goldsmith, as has been mentioned before in the account of that manor; they in the year 1620, joined in the sale of them to Jeffry Sandwell, gent. of Monkton, who purchased other lands of different persons in this parish, Monkton and Birchington, the whole of which he sold in 1658, to John Peters, M. D. Philip le Keuse, and Samuel Vincent, which two latter alienated their shares soon afterwards to Dr. Peters; at which time all these lands together, not only comprehended Waschester farm, but likewise part, if not the whole of another called Acol. From Dr. Peters this estate descended to Peter Peters, M. D. of Canterbury, who died in 1697, upon which the inheritance of it descended to his sole daughter and heir Elizabeth, who in 1722 carried it in marriage to Thomas Barrett, esq. of Lee, whose second wife she was; he died possessed of it in 1757, upon which it descended to their only daughter and heir Elizabeth, who entitled her husband, the Rev. William Dejovas Byrche, to the fee of it. He died in 1792, leaving an only daughter Elizabeth, married to Samuel Egerton Brydges, esq. of the Middle Temple, barrister-atlaw, but now of Denton-court, who in her right possessed it, and afterwards sold it to Mr. Ambrose Maud, who now owns it.

 

SHERIFFS COURT is an estate lying somewhat less than a mile westward from Waschester, in the hamlet of Hoo in this parish; it was formerly called Sheriffs Hope, from the hope, or place of anchorage for ships, which sailed in the river Wantsume, which once ran close by this place. It is said by some to have taken its name from its having been part of the possessions of Reginald de Cornhill, who was so long sheriff of this county that he lost his own name and took that of Le Sheriff, from whence this place gained the name of Sheriffs hope, or court. He was sheriff from the 4th to the 9th years of king Richard I. in the last year of that reign and during the whole reign of king John. His arms are on the stone roof of the cloysters at Canterbury, being Two lions passant, debruised of a bendlet, impaling three piles. After this name was extinct here, the family of Corbie became possessed of this estate; one of whom, Robert de Corbie, died possessed of it in the 39th year of king Edward III. whose son Robert Corbie, esq. of Boughton Malherb, leaving a sole daughter and heir Joane, she carried it in marriage to Sir Nicholas Wotton, who, anno 3 Henry V. was lord mayor of London. His descendant Sir Edward Wotton procured his lands in this county to be disgavelled by the acts both of 31 Henry VIII. and 2 and 3 Edward VI. and from him this manor descended to Thomas, lord Wotton, who dying anno 6 Charles I. without male issue, his four daughters became his coheirs, of whom Catherine the eldest carried this estate in marriage to Henry, lord Stanhope, son and heir of Philip, earl of Chesterfield, whose widow Catherine, lady Stanhope, sold it to Henry Paramor. He was the tenant and occupier of Sheriff's court, being the eldest son of John Paramor, of Preston, the grandson of Thomas Paramor, of Paramor-street, in Ash, near Sandwich. They bore for their arms, Azure, a fess embattled, counter embairled, between three etoils of six points, or. (fn. 11) . He left it to his brother Thomas Paramor, whose grandson of the same name died possessed of it in 1652, and was buried with his ancestors in this church; from his heirs this estate was alienated to Thatcher, in which name it continued, till at length it was sold by one of them, to Mr. Robert Wilkins, gent. of St. Margaret's, Rochester, who possessed it for many years. He died without issue, and it has since become the property of Mrs. Terry, the present owner of it.

 

TO THIS MANOR is appurtenant the small MANOR OF PEGWELL, or COURT STAIRS, in the parish of St. Laurence.

 

ALDELOND GRANGE, usually called Allen Grange, situated about a mile northwardfrom Minster church, on the open high land, was so called in opposition to Newland Grange, in St. Laurence parish. It was antiently part of the possessions of the abbey of St. Augustine, and was in the year 1197, assigned by Roger, the abbot of it, to the sacristy of the abbey, for the purpose of upholding and maintaining the abbey church, as well in the fabric as ornaments, but on the condition that the sacrist for the time being, should perform all such services to the court of Minster as were due, and had been accustomed to be done for the land of it. (fn. 12)

 

The measurement of this land, according to Thorne, amounted to sixty-two acres; and to this Grange belong all the tithes of corn and grain, within the limits of the borough of Wayborough, excepting those which are received by the vicar. On the dissolution of the abbey of St. Augustine, in the 30th year of Henry VIII. this estate, then amounting to six score acres, came, with the rest of the possessions of the monastery, into the king's hands, where it did not continue long, for he settled it in his 33d year, by his dotation charter, on his new founded dean and chapter of Canterbury, with whom the inheritance of it continues at this time.

 

It has been demised by the dean and chapter, on a beneficial lease, the rack rent of it being 413l. per annum, for twenty one years, to Mr. Edward Pett, of Cleve-court, the present lessee of it. Messrs. Jessard and Paramor are the under lessees and occupiers of it.

 

POWCIES, which stands about half a mile northeastward from Allan grange, was formerly a gentleman's mansion, a large handsome building standing on much more ground than it does at present, with a gate house at the entrance into the court before it; all which being pulled down, a modern farm-house of brick has been built on the antient scite of it.

 

This seat was once in the possession of the family of Goshall, of Goshall, in Ash, where Sir John Goshall resided in king Edward III.'s reign, and in his descendants it continued till about the reign of king Henry IV. when it was carried in marriage by a female heir to one of the family of St. Nicholas, owners likewise of the adjoining manor of Thorne, in whom it continued down to Roger St. Nicholas, who died in 1484, leaving a sole daughter and heir Elizabeth, who entitled her husband John Dynley, of Charlton, in Worcestershire, to the possession of it. By her he had two sons, Henry and Edward, the eldest of whom succeeded to this estate, which he afterwards alienated, about the middle of queen Elizabeth's reign, to John Roper, esq. of Linsted, afterwards knighted, and anno 14 James I. created baron of Teynham; whose great grandson Christopher, lord Teynham, in king Charles I.'s reign, conveyed it to Sir Edward Monins, bart. of Waldershare, who died possessed of it in 1663, leaving Elizabeth his widow surviving, who held it in jointure at her death in 1703; upon which it devolved to the heirs and trustees of Susan, his eldest daughter and coheir, late wife of Peregrine Bertie, deceased, second son of Montague, earl of Lindsey; and they, in the reign of king William and queen Mary, joined in the sale of it to Sir Henry Furnese, bart. of Waldershare, who died possessed of it in 1712, as did his son Sir Robert in 1733. After which it became, with his other estates, vested in his three daughters and coheirs, and on a partition of them, anno 9 George II. this estate of Powcies was wholly allotted, among others, to Anne the eldest sister, wife of John, viscount St. John, which partition was confirmed by an act passed next year; after which it descended down to their grandson George, viscount Bolingbroke, who in 1790 alienated it to Mr. Henry and John Harnett, the present possessors of it.

 

THORNE, or as it is vulgarly called, Thourne, is a manor in this parish, situated about a mile southward from Powcies above mentioned, being so named from the quantity of thorny bushes growing on and about it. This manor was antiently the seat of a family which took their name from it, one of them, Henry de Thorne, was owner of it in the year 1300, anno 29 Edward I. and resided here; against whom it seems complaint was made to the abbot of St. Augustine, that he caused mass to be publicly said in his private oratory, or chapel, (the remains of which are still so entire as to be made use of as a granary, &c.) at this his manor of Thorne, (apud spinam) to the prejudice of the mother church, and the ill example of others; and he accordingly was inhibited from so doing in future, by the archbishop's letters to the vicar of Minster, dated that year. And under the cross in this church, in the north wall of it, is an antient tomb or coffin of solid stone, let into the wall under an arch of antient Saxon ornaments. On the stone which covers the tomb is a cross flory, on each side of which are two blank shields, and round the edge of the stone these words in old French letters: Ici gift Edile de Thorne, que fust Dna del Espine. This seems probable to have been one of the family, owners of this manor.

 

After this family of Thorne were become extinct here, that of Goshall, of Goshall, in Ash, appear to have been possessors of this manor; in whom it continued till about the reign of king Henry IV. when it went by marriage by a female heir to one of the family of St. Nicholas, in whose descendants it continued down to Roger St. Nicholas, who died in 1474, and as appears by his will, was buried before the image of St. Nicholas, in the chancel of Thorne, at Minster. Roger St. Nicholas, his son and heir, left an only daughter Elizabeth, who entitled her husband John Dynley, esq. of Charlton, in Worcestershire, to the possession of it. After which it continued down in the same owners as Powcies last above-described, till it came into the possession of George, viscount Bolingbroke, who in 1790 alienated it to Mr. Henry Wooton, the present owner of it.

 

See a custom for the demise of tenements by will within the borough of Menstre, secundum consuetudinem manerii, anno 55 Henry III. Itin. Kanc. rot. 18, in Robinson's Gavelkind, p. 236.

 

Charities.

THE OCCUPIER of Salmeston Grange, in St. John's parish, is bound by his lease to distribute to six poor inhabitants of the parish of Minster, to be nominated by the minister and churchwardens, in the first week, and on the middle Monday of Lent, to each of them, nine loaves and eighteen herrings; and to three poor people of the same, to each of them, two yards of blanket; and every Monday and Friday in each week, from the Invention of the Holy Cross to the feast of the Nativity of St. John the Baptist, to every poor person coming to Salmeston Grange, one dishfull of peas dressed.

 

THOMAS APPLETON, of Eastry, yeoman, by his will in 1593, gave to the relief of the poor of this parish, the sum of 5l. to be paid to the churchwardens yearly, for the use of the poor people, inhabitants there, fourteen days before Christmas day, the same to be paid out of certain lands belonging to him, called Hardiles, in the parish of Woodnesborough.

 

RICHARD CLERK, D. D. vicar of Minster, partly by deed in 1625, and partly by will on Nov 6, 1634, gave 120l. to be lent unto four parishioners, born in Minster, whose fathers were deceased, and they not sufficiently stocked, for the term of one, two, or three years, but not exceeding that; the interest arising from it to be divided among the poor of the parish. With this money the trustees purchased houses, which are at present divided into four tenements, besides the parish work-house, called the seoffees houses; and seven other tenements, called Cheap Row, the rent of which is annually distributed in clothing to the poor persons of the parish. They are all at present let to the churchwardens and overseers for the time being, by a lease of 99 years, from 1729, at the rent of 6l. This trust is now vested in Mr. William Fuller, of Doctors Commons, as heir of the last trustee; the trust not having been filled up since the year 1696.

 

JOHN CAREY, esq of Stanwell, in Middlesex, by will in 1685, gave 10l. per annum to be paid yearly to the churchwardens, out of his farm of Sevenscore; to be disposed of to the poor yearly, on St. Thomas's day.

 

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Westbere.

 

The church, which is dedicated to St. Mary, is a very handsome structure, consisting of a nave and two side isles, a cross sept, and east chancel; the nave is of Saxon, the transept and chancel of gothic architecture; the last is curiously vaulted with stone, and provision was made for the same in the transept, but it was never completed. In it are eighteen collegiate stalis, in good preservation. At the west end of the church is a tall spire steeple, in which is a clock and five bells.

 

When the Danes plundered and burnt the abbey of Minster, they seem to have spared the two chapels of St. Mary, and of St. Peter and St. Paul, or however the stone work of them was preserved, and not burnt with the roof and other works of timber. The former of these was afterwards made into the present parish church, and has since been considerably enlarged.—The nave or body of the church seems to have been the old building; the pillars of which are thick and short, and the arches all circular, and a low roof was probably upon them, according to the simplicity and plainness of those times; but since the wall has been built higher, as appears by the distance there is, betwixt the top of the arches and the wall plate across; and an handsome chancel added at the east end, and a square tower on the west, with a high spire covered with lead placed on it. The chancel or choir and the middle of the cross are vaulted, and by the footings which are left, it was certainly intended that the whole cross should have been finished in the same manner. The eighteen stalls mentioned before, have very handsome wainscot behind, according to the mode of those times; in these the monks, vicars, and priests used to sit during the performance of divine service. Besides the high altar in this church, there were before the reformation other altars in it, dedicated to the Holy Trinity, St. James, and St. Anne. At these, as likewise before the Holy Cross, were lights constantly burning; for the maintenance of which, there were societies or fellowships, who contributed towards the maintenance of them, and those who died left in their last wills constantly small sums of money for that purpose. Under the middle of the cross was the rood-lost, the going up to which out of the chancel is yet to be seen, as are the mortice holes in which the timbers were put, on which the lost was built. On the north wall of it is the antient tomb of Edile de Thorne. On the pavement, as well as in the church porch, are several large flat gravestones, the inscriptions, if any on them, entirely worn away; they seem very antient, and are not improbably, memorials of some of the religious of this place, but they do not seem always to have lain where they do now. On the front of the tower of the steeple is a shield, carved in the stone work, viz. A fess, between three lion's passant. Among other memorials in this church, in the chancel, is one for Francis, son and heir to Edward Saunders, gent. of Norbourne-court, which Edward married the female heir of Francis Pendrick, esq. by his wife, who was nurse to queen Elizabeth. He died anno 1643; arms, A chevron, between three elephants heads, impaling a saltier, ermine, between three leopards faces. In the middle isle a monument for Bartholomew Sanders, gent. and Mary his wife, daughter of Henry Oxenden, esq. of Wingham; arms, Per chevron, sable and argent, three elephants heads, counterchanged, impaling Oxenden. On a mural monument are the effigies of a man and woman. kneeling at a desk, for Thomas Paramor, esq. sometime mayor of Canterbury, and Anne his first wife; arms, Azure, a fess embattled, between three stars of six points, or, impaling or, on a chevron, three stars of six points, sable, between as many dragons heads, quartered. In the north isle are several memorials for the Paramors. On a wooden frame, near the altar, a memorial for Col. James Pettit, obt. 1730. On the south side of the chancel, a mural monument for Mary, youngest daughter of Robert Knowler, gent. of Herne, wife of John Lewis, vicar of this church, obt. 1719. A memorial for John Lewis, formerly vicar of this church, obt. 1746, æt. 72. A memorial for Elizabeth Blome, daughter and coheir of John Blome, gent. of Sevenoke, obt. 1731; arms, in a lozenge, A cross fitchee, and cinquefoil, quartered with a greybound, current. A mural monument for Harry Verelst, esq. of Aston, in Yorkshire, formerly governor of Bengal, obt. 1785; he married Anne, coheir of Josiah Wordsworth, esq. of Wadworth, in Yorkshire, and of Sevenscore, in this parish, and left by her four sons and five daughters. In the south isle memorials for the Harnetts, Kennetts, and Colemans. In the middle isle are memorials for several of the Jenking's. Leland, in his Itinerary, vol. vii. p. 130 says, S. Florentius jacet in Cemiterio S. Mariæ in Thanet, cujus Tumba Crescit signis. (fn. 13)

 

On the top of the spire was formerly a globe, and upon that a great wooden cross, covered with lead, over which was a vane, and above that, an iron cross; but about the year 1647, the noted fanatic Richard Culmer, having got the sequestration of this vicarage, took it into his fancy that these were monuments of superstition and idolatry, and got these crosses demolished by two persons of the parish, whom he had hired, after he had himself before day, by moon light, fixed ladders for them to go up and down, from the square of the tower to the top of the spire. But if all the figures of a cross are monuments of idolatry, and to be removed, the poor caitiff has done his work but by halves, or rather not all, when he took down these from the spire and left the church standing, which is itself built in the form of a cross.

 

The church of Minster was antiently appendant to the manor, and as such was granted with it, first to Domneva, and afterwards became part of the possessions of the abbey founded by her here; and after the destruction of it came with the manor, by king Cnute's grant, to the abbot and convent of St. Augustine, to which it became appropriated in the year 1128, anno 29 Henry I. and was at that time assigned, with the chapels of St. John, St. Peter, and St. Laurence, with all rents, tithes, and other things, belonging to them, to the sacristy of that monastery; which regulation was confirmed by archbishop Theobald, and afterwards, in 1168, by pope Alexander, who consigned it to the reparation of the church of the monastery, which had been but just before burnt down. (fn. 14)

 

In the year 1176, anno 23 Henry II. the tenants of the Halimot, or manor court of Minster, agreed, that from thenceforth they would all cop their corn; and that they and their heirs, then and for ever afterwards, should pay all their tithes lawfully by cops, and all other matters of tithes, which they were accustomed to pay, as amply as they had ever paid them from the time of the dedication of the church of St. Mary of Menstre.

 

By an agreement entered into in 1182, between the archbishop and the abbot of St. Augustine's, this church was exempted from the payments of all dues and procurations to the archdeacon; and that year the archbishop confirmed this church to the monastery; which agreement was renewed in 1237, by archbishop Edmund; and further, that the abbot and convent should present to the archbishop, in the chapels of St. Peter, St. John, and St. Laurence, fit perpetual chaplains to the altarages in them, provided those altarages were worth ten marcs, with which the chaplains should be content, on pain of forfeiting the same; the vicar of the mother church of Menstre, having a sufficient vicarage taxed from antient time in the same, taking and receiving in right of his vicarage, the tenths of small tithes, viz. of lambs and pigs, and the obventions arising from marriages and churchings, which were forbid at the chapels, and were solemnized, &c. at the mother church only, and the burials of certain corpses, being those of the tenants or occupiers of lands in these chapelries, who were to be buried at Minster, unless the vicar gave leave to the contrary. At the same time the archbishop, with the consent of the archdeacon, confirmed this church to the abbot and convent, together with the several archiepiscopal confirmations of it, and those of the several kings of England. This part above-mentioned of the revenue of the vicarage of Minster, arising from these chapelries, has long since been lost, except that out of Salmestone Grange, amounting to 10s. a year; which, perhaps, might be a composition for the tenths of the small tithes, &c. in them. The altarages above-mentioned were the customary and voluntary offerings at the altar, for some religious office or service of the priest. To augment these, the regular and secular priests invented many things. For it is to be observed, that only a portion of these offerings, to the value of ten marcs, or 6l. 13s. 4d. was what the chaplains of these three chapels were presented to, and that they were accountable for the residue to the abbot and convent, and that if they presumed to detain any more of these offerings beyond that sum, they were to be deprived even of that. For this reason, they were to swear to the abbot and convent, to give a true account of the offerings made at their several altars, on their respective offering days, and in no shape to detriment their parish of Menstre, as to legacies or obventions, personal or predial, but to conserve all the parochial rights of the same, entire and untouched, to the utmost of their power. Then marcs appear now but a small sum for the maintenance of a parish minster; but when the value of money at the time when this composition was made is considered, it will be found to be a handsome and generous allowance to a chaplain, especially as their stipends were then paid by authority; ten marcs were then equal to more than sixty pounds now, and in a council held at Oxford but fifteen years before, it was decreed, that where the churches had a revenue as far as five marcs per annum, they should be conferred on none but such as should constantly reside in person, on the place, as being a sufficient maintenance. In 1348 H. Kinghton informs us, a chaplain's usual stipend was no more than four or five marcs, or two and his board; as for the chaplains of these three chapels, though they were to receive no more than ten marcs of these altarages, they were not excluded the enjoyment of the manses and glebes, given to these chapels when they were first consecrated, which made some addition to their income, and perhaps enabled them to keep a deacon to assist them. (fn. 15)

 

On the great and principal festivals, the inhabitants of these three chapelries, preceded by their priests and other officers, with their banners, tapers, &c. were used to go in procession to Minster, their mother church, there to join at the solemn mass and other divine service then performed, to make their offerings and pay their accustomed dues, in token of their subjection to their parochial or mother church.

 

The appropriation of the church of Minster, together with the advowson of the vicarage, continued, in manner as has been already mentioned, with the abbot and convent till the dissolution of their monastery in the 30th year of king Henry VIII. when it was surrendered, together with the rest of the possessions of the monastery, into the king's hands. After the dissolution of the monastery, there could not be said to be any parsonage or appropriation of this church, for the demesne lands of the manor of Minster, which are very extensive in this parish, were subject, as to the tithes of corn, to only a small modus or composition to the vicar, of eighteen shocks or cops of wheat, and eighteen shocks or cops of barley, or thereabouts; and the vicar was intitled, in right of his vicarage, to the corn tithes of the lands in the remaining part of the parish, as will be further noticed hereafter.

 

When the vicarage of this church was endowed and a vicar instituted, is no where found; but certainly it was before the year 1275; for in the act of consecration of the church or chapel-yard of St. Laurence that year, when that chapel was made parochial, mention is made of the vicar of Menstre, &c. and in the year 1384, anno 8 Richard II. this vicarage was valued at thirty marcs. After the dissolution of the abbey of St. Augustine, the advowson of this vicarage continued in the hands of the crown, till king Edward VI. in his first year, granted it, among other premises, to the archbishop, since which it has continued parcel of the pos sessions of that fee, the archbishop being the present patron of it.

 

This vicarage is valued in the king's books at 33l. 3s. 4d. and the yearly tenths at 3l. 6s. 8d. In 1588 here were three hundred communicants, and it was valued at 1501. It is endowed with a manse and glebe of about twenty-four acres of land, upland and marsh; all the corn tithes, and other tithes of that part of the parish called Street-borough; and of about one hundred acres in the other borough, called Weyborough, except the corn tithes of the demesnes of the manor of Minster, for which the modus or composition above-mentioned is paid.

 

¶The land in Minster level, which is pasture, paying but four-pence an acre for tithes, Dr. Richard Clarke, vicar here in 1597, made a composition with his parishioners, by which they obliged themselves to pay him at the vicarage house, within three days after every quarter, after the rate of twelve-pence an acre for their marsh land, or else to lose the benefit of the composition. (fn. 16) Dr. Meric Casaubon, who succeeded Dr. Clarke, would not abide by this composition, but afterwards compounded with the occupiers, at the rate of twelve-pence an acre for the worst of the land, and of fourteen pence and sixteen pence for that which is better; and in the year 1638 he demanded his tithes of the marsh land in kind, or eighteen pence per acre, which was agreed to by the parishioners, and paid by them till the year 1643; when the civil wars being begun, and this county in the power of the parliament, Dr. Casaubon, being continually threatened to be turned out of his vicarage, was content to receive one shilling per acre for the marsh land; in which manner he received it till the end of the year 1644, when this vicarage was sequestered, and one Richard Culmer was put into possession of this vicarage, (fn. 17) who to ingratiate himself with the parishioners, agreed to take no more than twelve pence an acre of them, as did Dr. Casaubon in 1660, on his being restored to this vicarage; at which rate the tithes were afterwards uniformly taken, till the time of the present vicar; the several vicars not being disposed to quarrel with their neighbours, though the land now lets for as much again as it did in Dr. Casaubon's time, viz. at 28s. an acre and upwards. There have been several litigations and issues at law tried between the present vicar, Mr. Dodsworth, and his parishioners, on account of this modus for the marsh land, all which have been decided in the vicar's favor, who set aside the modus of one shilling per acre by the verdict in his favor, and now takes from 1s. 6d. to 2s. 6d. for the grass land, according to its goodness; yet there are ten acres of grass land late in the possession of Josias Fuller Farrer, esq. which never having paid more than four-pence per acre, remain at that composition. The present value of it is about 350l. per annum.

 

www.british-history.ac.uk/survey-kent/vol10/pp264-294

The history of the Austrian Museum of Applied Arts/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.

1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .

1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.

1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .

1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director .

1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag finishes his Directorate .

1932 / Richard Ernst is the new director .

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the Directorate Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as the new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.

1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director .

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as Director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria

1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .

2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.

2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.

2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.

www.mak.at/das_mak/geschichte

Laurent Giles Dorus Mohr ketch, another superb powerful yacht from this famous yacht designer. The first of 4 to be built, the original construction of this yacht was no expense spared, all teak hull, decks and superstructure. 4 cylinder Gardner engine. 4 berths in 2 luxurious double cabins, plus settee berth in the saloon. Good 2010 survey report. This is a very comprehensively equipped yacht in extremely smart condition and ready to go. A better example you will not find.

 

£ 98,000

Specs

Builder: Port Hamble Ltd

Designer: J. Laurent Giles

Flag of Registry: United Kingdom

Keel: Full

Hull Shape: Displacement

 

Dimensions

Beam: 12 ft 2 in

LWL: 38 ft 0 in

Length on Deck: 49 ft 3 in

Minimum Draft: 6 ft 0 in

Maximum Draft: 6 ft 0 in

 

Engines

Total Power: 56 HP

 

Engine 1:

Engine Brand: Gardner

Engine Model: 4LW

Engine/Fuel Type: Diesel

Propeller: 3 blade propeller

Drive Type: Direct Drive

Engine Power: 56 HP

  

Tanks

Fresh Water Tanks: (280)

Fuel Tanks: (134)

 

Accommodations

Number of single berths: 1

Number of twin berths: 2

Number of cabins: 3

Number of heads: 2

Number of bathrooms: 2

 

Electronics

Autopilot - Autohelm 7000

Compass

Radar

VHF - Navico. XM DSC.

Radar Detector

Depthsounder - Autohelm

Plotter - Garmin

Wind speed and direction

Log-speedometer

 

Sails

Battened mainsail

Genoa

 

Rigging

Steering wheel

 

Inside Equipment

Oven

Refrigerator

Marine head

Electric bilge pump

Manual bilge pump

Battery charger - Numar

Hot water - Valiant gas heaters

Heating - Eberspacher warm air and Shipmate solid fuel.

 

Electrical Equipment

Shore power inlet

 

Outside Equipment/Extras

Liferaft - 6 man

Tender - Plastimo 240 + Tohatsu outboard

Total Liferaft Capacity: 6

Electric windlass

 

Covers

Mainsail cover

Lazyjacks

  

Full specification

A classic Jack Laurent Giles design, the first of 4 that were been built to this design.

 

Built by Port Hamble Ltd, in 1961. This is a top quality and very expensive original construction in all teak hull, deck and superstructure.

 

She has had a recent refit, autumn 2010 and is looking very smart indeed.

 

The hull is planked in teak, all copper and bronze fastened to heavy oak frames with twin steamed intermediates

 

Oak floors on the heavy frames, galvanised straps on the steamed timbers.

 

Lead keel, bronze keel bolts.

 

Extra thick sheer strake in classic Laurent Giles style with gold cove line.

Exceptionally fair hull.

Solid yacht-laid teak deck, caulked and payed with varnished king plank and cover-boards and deep varnished teak toe rail.

 

Stainless steel stanchions, pulpit and push-pit.

 

Delta plough anchor self-stows in a stemhead fitting.

 

Danforth bower anchor self stows in a hawse in the stbd bow with stainless steel protection plate.

 

Superstructure in 4 parts:

a shallow coach-roof over the fore cabin, galley and fwd heads:

 

the next step up over the sunken deck saloon

 

step up to the wheel shelter over the midships cock-pit

 

after coach-roof over the aft cabin.

 

The coamings are in varnished teak with chromed port holes and window frames.

 

Varnished grab rails on the coach-roof decks

 

Fine chromed vents on Dorade boxes.

 

Modern Lewmar style flush deck hatch on the fore deck.

 

Perspex roof in the wheel shelter allows the helmsman to see the sails above.

 

Bermudian ketch rig on varnished spruce masts and spars.

 

The main mast is stepped on the forward coach-roof with a steel tube compression post

 

below. Single spreaders with jumper struts above.

 

Stainless steel rigging with swaged terminals and bronze rigging screws to internal

 

stainless steel chain plates.

 

Twin lowers and cap shrouds, twin fore stays to the stemhead, twin standing back-stays.

 

Twin topping lifts to the main boom which stows in a crutch on the wheel-house roof.

 

Main boom 3-point attachment sheet on the after coach-roof.

 

The mizzen mast is stepped through the aft deck.

 

Cap shrouds round twin forward swept spreaders, twin well-spaced lowers, twin standing back-stays to the push-pit.

Mizzen boom sheets to the push-pit.

3 x Barlow 26 top action sheet winches on the after coach-roof under the wheel shelter.

 

Pair of captive wire and brake halyard winches on the main mast take the headsail and main sail halyards.

Single top-action Lewmar winch on the main mast.

Mizzen mast halyard winch.

 

Sails

Mainsail with lazy jacks and sail cover

Mizzen with lazy jacks and sail cover

Genoa.

 

Gardner 4LW 56hp 4-cyl diesel engine with Gardner gear-box to centre-line 3-blade prop.

 

Fresh water cooled with remote header tank.

 

Remote heat exchanger.

 

Borg Warner Velvet Drive gear box allows very smooth gear change.

 

Separate gear and throttle controls.

 

Tanks:

Fuel 603 litres

Water 1278 litres.

Batteries

Engine start 2 x 12v

Service 4 x 12v

Numar battery charger

 

Accommodation:

4 berths + saloon settee.

V-berths in for cabin.

Centre bulkhead door to passageway with stbd heads and port galley.

The heads compartment has a Blake sea toilet with varnished teak seat, porcelain hand

Basin and shower. Teak grating shower tray. Paloma gas bulkhead mounted water heater.

Galley with Plastimo Neptune 2500 2 burner grill and oven gas cooker, new 2010, sink,fridge and Valiant gas water heater on the bulkhead.

Steps up to the saloon with U-shaped dinette to port upholstered in blue fabric around the double drop leaf teak table.

Chart desk/side-board down to stbd side with drawers and cupboards under and stowage under the side deck.

 

Shipmate stainless steel sold fuel cabin heater on the fwd bulkhead with flue to deck,

tiles on the bulkhead behind.

Beautiful varnished teak joinery, glinting brass of lamps, clock and barometer.

 

Centre-line step up to the cock-pit with port helm and helmsman’s seat. Seat lockers each side.

 

From the saloon, steps down in the after stbd corner to a passageway through to the aft cabin.

Lockers to stbd under the side deck. Engine room to port.

Aft cabin with port and stbd berths, dressing table between.

Hanging locker in the fwd stbd corner by the door, heads compartment in the forward port corner with Blake sea toilet, porcelain hand basin, shower with hot water from

Valiant gas waster heater on the bulkhead.

All original varnished mahogany joinery with drawers under the generous berths.

 

Compass,

Radar

XM DSC VHF

Navico VHF

Garmin 65 GPS

Garmin Map 185 chart plotter

Autohelm 7000 auto-pilot

Autohelm speed indicator

Autohelm depth sounder

Autohelm wind indicator

Autohelm electronic compass

Clock and barometer

Rudder indicator

Eberspacher warm air cabin heater.

Kent Clearview screen

Boarding ladder

Vetus 24v windlass

Ample chain

Danforrth bower anchor

Delta kedge anchor

Plastimo 240 RIB with Tohatsu o/b engine

S/s davits over the stern

6-man life raft

2 x life buoys with lights

Radar reflector

Manual and 12v bilge pumps

Plastimo MOB rescue sling.

Warps and fenders

 

An exceptionally fine and practical classic yacht.

Inspected spring 2011.

2010 survey report.

Designer Sarees by Surily Goel now available online at www.partyandweddingdresses.com , www.partyandweddingsarees.com , contact us at adhyaasarees@gmail.com

Designer: Qin Mingliang (秦明良)

1975, May

Study well the theory of the dictatorship of the proletariat

Xuehao wuchan jieji zhuanzhengde lilun (学好无产阶级专政的理论)

Call nr.: BG E37/204 (Landsberger collection)

 

More? See: chineseposters.net

Designer - Country Cottage Needleworks

AI Wintertraining

Designers guild

Used for a baby shower game: guess the designer!

Another Paperwallet Collaboration.

 

Andres x paperwallet: Whether its illustration, typography, street art, or photography Andres has got you covered. This retro wallet / pastel wallet not only brings you back in time, but makes the sun come out and shine. Photography wallet coming up…

 

Like all paperwallet accessories you can expect the highest quality from from Andres’s paperwallet. This Tyvek wallet is paper-thin, durable, comfortable, expandable, tear-resistant, water proof, and long lasting. The paper wallet design has 2 credit card slots, 2 business card flaps, 2 side pockets and a cash compartment. There is no compromise in functionality here.

 

Hi, I'm Andres, I was born in 1987 in Rosario, Argentina. I am a designer, illustrator, street artist and photographer. I've collaborated on both local and international projects, collective shows and specialized publications in design and illustration. I don't know how to ride a bike, or how to read analog clocks. I love airplanes, peppermint tea, winter and I'd hate to die eaten by an anaconda.

 

www.paperwallet.com

Fight against Winter

Taken during a MKU3A trip to Liverpool.

Designer Robert Best creates Pink Ribbon™ Barbie® doll, a wonderful tribute to the Susan G. Komen Breast Cancer Foundation. Joining the fight against breast cancer, Barbie® doll wears a frothy pink organza gown featuring a shirred design with tiers of ruffles. An attached, pink ribbon proudly states Barbie® doll's support. A sparkly, tulle stole and long pink gloves complete the stylish ensemble! The Komen Foundation will receive a minimum of $100, 000 from Mattel to support the fight against breast cancer. For questions about breast health or breast cancer, visit the Komen Foundation's Web site at www. komen. org or call the Komen Foundation's National Toll-Free Breast Care Helpline at 1. 800 I'M AWARE® (1. 800. 462. 9273).

 

Deboxing the Designer SQ Elsa and Hans Doll Set. Prince Hans has been fully deboxed. He is posed free standing.

 

I have finally deboxed the Designer Fairytale Snow Queen Elsa and Hans Doll Set (2015). My set is #4597 of 6000. It was the only set that I didn't get at the Disney Store raffle, so I had to order her online. I show the set boxed, during deboxing and fully deboxed. After deboxing them, I place them back on their display stand, in a different pose.

 

I was a little surprised that Elsa has the body construction of the 2012 DS Classic Princess dolls, so has external hinged knee joints and ankle joints. It makes her legs a bit unsightly when they are exposed by opening the slit of the skirt. She has shiny pearlescent skin that is similar to the Harrods Elsa doll, but doesn't have the heavy blush. Her Snow Queen outfit also has embellishments that are more similar to that of the Harrods Elsa rather than that of the LE 2500 Snow Queen Elsa. But rather than the jeweled snowflakes of the 17'' LE Elsa she has single clear rhinestones throughout her braid, and a few on her head. The snowflake and icicle design in her cape are printed rather than embroidered (as in the 17'' LE Elsas) or glittered (as in the Classic Elsa). They are flat and smooth, and I don't think are as effective in depicting ice.

 

The major embellishments of Designer Hans over Classic Hans are the addition of white gloves, and a sword. However, It's disappointing that there is no scabbard for the sword - it is loosely sewn to his pants legs, which looks rather cheap.

 

I will show the dolls in side by side comparisons to other Elsa and Hans dolls in future postings.

 

Elsa and Hans Doll Set - Disney Fairytale Designer Collection

US Disney Store

$129.95

Item No. 6003040901259P

 

Released in store 2015-10-27

Released online 2015-10-28

Sold out online in less than 25 minutes

Purchased online 2015-10-28

#4597 of 6000

 

Designer:尚洋館前店 Mia

www.facebook.com/sunyoung23149699

預約電話:02-2314-9699

Sydney Fashion Week Kick Off Grand opening show all designers

 

Photographer: Anabella Ravinelli

  

1. Show 1: Opening Show: Friday 17 August 2012 - all designers plus Guerilla Burlesque

Director: Ananya Mai

  

Host: Nala Kurka

 

Script Writer: Chamonix Boudreaux

 

DJ: Justice Topaz www.triplejunearthed.com/Artists/PlayedOnTripleJ.aspx

Show photographer: Anabella Ravinelli

 

NOTE: SCRIPTWRITER - Please tell the audience to take a seat in the boats provided :D

 

Designers:

 

1 C'est-la-vie- Larcoco Mathy

2 [[LD Major - Loovus Dzevavor]] Vikeejeah Xevion

3 Legal insanity DATRIP Blackbart

4 House of {TORN} Torn Difference

5 TreiZe Elyna Carver

6 + ezura + Ezura Xue

7 AD Creations Aliza Karu

8 Boudoir Vitabela Dubrovna and Precious Restless

9 Deese's skins NatalieWells

10 [AMARELO MANGA] Luana Barzane

11 VERO MODELO Bouquet Babii

12 Kunglers Barbra Kungler and AvaGardner Kungler

13 *SoliDea FoLiEs* Mila Tatham

14 Countdown AntoniaXp

15 -Desir- Vivien Emerald

  

Sponsors:

 

Sponsors:

 

M s B l a c k (blackliquid.tokyoska) - Makeup

Nakia Decosta - .:RUSSH LUSSH:. - Makeup

Kunglers Barbra Kungler and AvaGardner Kungler Jewelry and shoes for selected shows

Deese's skins NatalieWells

κεɴɖરλ (kendra.zaurak) Fanatik for selected show

Aymec Millet ==========BUILD BOX STORE========== Cruise Ship

[[LD Major - Loovus Dzevavor]] Vikeejeah Xevion

Mo Miasma Morantique Lush

  

1. Intro -

 

2. 8.15am - 8.30 (pending lag) Guerilla Burlesque dancers

 

Then runway starts!

 

Models:

 

1. Ananya Mai

2. blackLiquid Tokyoska

3. Cade Nansen

4. Cornelia Dyrssen

5. 兔 Sera (gig1)

6. KATHERINE COMET

7. NatalieWells Resident

8. Steele Sirnah

9 Ashia Denimore

    

First name (blue) second name (pink)

 

Walk 1. House of {TORN} pics to come

 

(if dont get outfits soon please wear {TD}Maxine dress B yellow , ash red)

 

Ashia Denimore Tokyoska {TD}Exclusive Leah its a leotard with leopard print bottoms high neck

 

blackLiquid Tokyoska Exclusive {TD}Trinity halter dress mini with a long coat trimmed in an x stitiching

 

Walk 2: ..::LeGaL InSaNiTy::..

 

Cade Nansen LI - Jimi shirt tuxedo1

..:: Legal Insanity ::.. shorts black jeans

 

Steele Sirnah LI - Lenny Tank - White melange

LI - urban cowboy pants - grey

 

Walk 3: ::C'est la vie !::

 

Cornelia Dyrssen Green and white spots

 

Gig1. Resident "Sera" same dress but with mustard spots

 

Walk 4: [[LD Major - Loovus Dzevavor]] exclusive

 

KATHERINE COMET Style Info:

Hair: Snooze-a-Roo

Jumpsuit: Rippa Romper Print 6

Bag: Irwin Pantone Satchel in Tangerine

Shoes: Pantone Pumps in Honey

 

NatalieWells Resident

 

Hair: Snooze-a-Roo

Dress: Shiela Maxi Dress Print 1

Bag: Irwin Pantone Satchel in Chartreuse

*NOTE* No shoes are needed for this look. The alpha covers the feet.

 

Walk 5: Deeses skins

  

Ashia Denimore

 

Kate: Flat White - natural }{ Deesses

 

Kate: Flat White - eyeshadow 3 }{ Deesses

 

Kate: Flat White - lipstick 5 }{ Deesses

 

alpha teeth }{ Deesses

 

blackLiquid Tokyoska

 

Kate: Caramel Mocha - no eyebrows }{ Deesses

 

Kate: Caramel Mocha - eyeshadow 7 }{ Deesses

 

Kate: Caramel Mocha - lipstick 10 }{ Deesses

 

alpha teeth }{ Deesses

 

Please purchase marketplace.secondlife.com/p/Simply-Aussie-Pride-Bikini-A... I will reimburse

 

Walk 6: [AMARELO MANGA]

 

Ananya Mai [AM] - Bikini Itamaraca - (Orange 2), Summer Hat Green 01 [Amarelo Manga] - Sunglasses Rhmanona [Metals] Bronze

 

KATHERINE COMET [AM] - Swimsuit Suape - Green 01 Summer Hat Green 01 [Amarelo Manga] - Sunglasses Rhmanona [Metals] Green

 

walk 7: VERO MODELO

 

Cade Nansen

[VM] VERO MODERO / Mehmet Mesh Jacket 1

VERO MODERO / Linen Pant Khaki

 

Blackliquid

[VM] VERO MODERO / SummerDance top and [VM] VERO MODERO / Mesh_Harem Pants

 

Walk 8: Kunglers

 

Gig1. Resident "Sera" (Kunglers) Gisele dress - Teal (Kunglers) Morgana pumps - Phyton skin - Teal

 

Cornelia Dyrssen (Kunglers) Marina dress - Mint (Kunglers) Morgana pumps - Phyton skin - Black

  

Walk 9: blackLiquid

 

Ananya Mai

ISON - leather leggings (black)

blackLiquid MAKEUP - lash alpha

blackLiquid MAKEUP - Ziggy

blackLiquid BANGLE - orbital tangerine(both)

blackLiquid COLLAR - orbital tangerine

blackLiquid HAIR - Quiff blonde & white (tinted)

blackLiquid MAKEUP - lashy

blackLiquid NAILS - orbital tangerine (left)

blackLiquid NAILS - orbital tangerine (right)

blackLiquid PIERCING - Winehouse

blackLiquid SHOE - Ultra Platform Tangerine Tango

ISON - geometric corset

blackLiquid SKIN - YOKO PAPER

(please do not add any jewelry but add a shaved hairbase to this look)

  

Ashia Denimore

 

blackLiquid BANGLE - orbital imperial purple(both)

blackLiquid BANGLE - orbital imperial purple (r)

blackLiquid COLLAR - orbital imperial purple

blackLiquid HAIR - ESHI (midnight)

blackLiquid MAKEUP - life lash summer

blackLiquid NAILS - orbital imperial purple

blackLiquid PIERCING - Winehouse

blackLiquid SHOE - Ultra Platform Imperial Purple

ISON - geometric corset -XXS- (black)

blackLiquid SKIN - YOKO PAPER

(please do not add any jewelry but add a black hairbase to this look)

Black Dahlia Upper Sleeve R & Black Dahlia Upper Leg L & R & Black Dahlia Pants (only)

ESHI OTAWARA BLACK DAHLIA SUBSCIBO GIFT

   

Walk 10 - TreiZe

 

NatalieWells TreiZe - Flow pink

 

blackLiquid

 

Walk 11: Countdown

 

KATHERINE COMET - Love on Top

 

Steele Sirna Gabriel

  

Walk 12: - Desir-

 

Cornelia Dyrssen (comes with dot face tattoo and flower eyelashes)

 

Gig1. Resident "Sera"

 

Walk 13: + ezura + Exclusive pictures to come

 

Ananya Mai + ezura + MAI Be Goth (includes hat and cuffs)

 

blackLiquid Tokyoska + ezura + Peu Loli

 

Walk 14: Boudoir

 

Ashia Denimore Vita's Boudoir gown for miss Australia

 

Gig1. Resident "Sera" ***Fairy Butterfly Dress***

 

Walk 15: AD Creations

 

KATHERINE COMET [AD] Aries mesh dress EXCLUSIVE FOR SYDNEY Fashion Week

  

NatalieWells Resident [Aliza Karu] Rock wedding spring

Walk 16: *SoliDea FoLiEs*

 

Ananya Mai *SoliDea FoliEs* Sidney - Exclusive for Sydney Fashion week

 

blackLiquid Tokyoska *SoliDea FoliEs* Justice

  

1. Ananya Mai

2. blackLiquid Tokyoska

3. Cade Nansen

4. Cornelia Dyrssen

5. Gig1. Resident "Sera"

6. KATHERINE COMET

7. NatalieWells Resident

8. Steele Sirna

9 Ashia Denimore

   

Pier 45 (Christopher Street Pier), Greenwich Village, Manhattan

 

The Empire State Building is today the best-known symbol of New York City. Its name, Its profile, and the view from its summit are' familiar the world over, and a visit to New York is generally conceded to be incomplete without a trip to the Empire State Building's observatory.

 

The Empire State was the final and most celebrated product of the skyscraper frenzy produced by the economic boom of the 1920s, and'the most prominent of the modernistic towers that created the midtown skyline in those years. Its completion in April, 1931, on the former sits of the Waldorf-Astoria Hotel, marked the transformation of midtown from New York's preeminent residential area for the social elite into the commercial center of the metropolis.

 

The engineering and construction of the Empire State Building were perhaps the most awesome accomplishments of its creators. Its design, in many ways shaped by the constraints of time, cost, and structure, was the finest work of architect William Lamb, chief designer for Shreve, Lamb 6 Harmon. The slender, modernistic silhouette he created fit the building so well that even today, when it is no longer the tallest, it remains one of the handsomest of New York's skyscrapers.

 

With the decline in construction which accompanied the Depression, and the tendency in the post-war period towards shorter, denser office buildings, the Empire State it 1250 fser remained the world's tallest building until the 1970s, when the Sears Building in Chicago took the title of the world's tallest, end the World Trade Center took the title of New York's tallest. Yet despite the loss of the title which was one of the sources of its original renown, the Empire State Building remains New York's most widely recognized symbol, and the city's quintessential landmark.

 

The Site Development of Midtown Manhattan into the commercial center of New York

 

The site of the Empire State Building was part of a farm, owned by John Thompson, which was acquired In 1827 by William B. Astor. The site remained in Astor hands over a hundred years of development until Its purchase, in 1929, by the Empire State Building Interests.

 

Astor was the second son of John Jacob Astor, founder of the Astor dynasty in America. Using the family fortune, he acquired a great deal of undeveloped property in Manhattan, foreseeing that the northward expansion of New York along the island would eventually make his property worth many times its original price. Over the next fifty years, the area around 34th Street and Fifth Avenue developed first into an outlying rowhouse neighborhood of New York, and then into the city's most fashionable residential area.

 

By the 1850s, Fifth Avenue was lined with the palaces of the Vanderbilts, A.T. Stewart (the "merchant prince," one of New York's wealthiest men), and other millionaires. The Astors themselves moved from Astor Place up to Fifth Avenue in 1859, when John Jacob Astor, Jr., built his house at the northwest corner of Fifth and 33rd Street; shortly thereafter his brother William Backhouse Astor built an adjoining house at the southwest corner of Fifth and 34th Street. The Astor houses soon became known as the central meeting place of New York society, and home to the famous balls thrown by Mrs. Astor for "the four hundred," New York's social elite.

 

Following the traditional pattern of Manhattan growth, the city's hotels, theaters, clubs, and restaurants followed the residential development up Fifth Avenue. By the 1890s, guides to the city identified "the great hotel district" as lying "between 23d and 59th Streets, and Fourth and Seventh Avenues.... in that territory, which is little less than two miles long by a half mile wide, are half of the leading hotels of the metropolis.

 

In 1890, William Waldorf Astor, son of John Jacob Astor, Jr., having decided to move to London, tore down his house and filed plans for the Waldorf Hotel, a thirteen-story building designed by Henry J. Hardenbergh and completed in 1893. in 18S7, the neighboring Astor house having been demolished, the Astoria Hotel was erected by Astor's aunt, and connected to the Waldorf to form the Waldorf-Astoria. The new hotel soon became a major social institution of New York.

 

Forty years later the area was changing again, largely because of the influx of department stores just before and after World War i. During the final decades of the 19th century New York's fashionable stores had clustered in the area called the "Ladies Mile," along Fifth and Sixth Avenues and Broadway between 11th and 23rd Streets.

 

Altman's started the new trend northward by moving in 1906 from Sixth Avenue and 18th Street to Fifth Avenue at 34th Street. Others followed, and by the early 1920s Fifth Avenue was lined from 34th Street north by stores such as Best s, Tiffany's, Franklin Simon, Bonwit Teller, Lord & Taylor and Arnold Constable. Along with the department stores came several tall

 

office buildings, beginning in 1902 with the Flatiron Building at Fifth Avenue and 23rd Street.' Rider's New York City Guide noted that "Hotels and restaurants that have long been landmarks, such as the Manhattan, the Buckingham and Sherry's, have disappeared and tall office buildings are multiplying even on the side streets.

 

Newspapers picked up on the changes taking place in the area. Capt. William J. Pedrick, executive vice-president of the Fifth Avenue Association, was quoted extensively on the development of Fifth Avenue; he noted in particular the avenue's new tall commercial buildings: the 15-story New York Trust, the 34-story Squibb Building, the 58-story Salmon Jower (500 Fifth Avenue), and the plans for the Empire State Building.

 

To demonstrate the rate of change on Fifth Avenue, Rider's Guide gave a capsule history of the site across Fifth Avenue from the Waldorf-Astoria: a house belonging to Dr. "Sarsaparilla" Townsend, popularlzer of soft drinks, was replaced in 1867 by the "marble palace" of A.T. Stewart; in the 1890s the house was converted for use by the Manhattan Club; in 1901 it was demolished to make way for the four-story Knickerbocker Trust Building, to which, finally, in 1920-21 were added another twelve stories to create the Columbia Trust Building.

 

The changeover of Midtown Manhattan from social to commercial center was finally consummated by the demolition In 1930 of the Waldorf-Astoria Itself, and the opening on its site the following year of the Empire State Building, a speculative office building and the tallest In the world.

 

A New, Modernistic Midtown Skyline and the Skyscraper Race

 

A new skyline was created for the newly commercial Midtown by the progressively larger office buildings being erected during the 1920s, Since the beginnings of skyscraper development in New York in the last decades of the 19th century, architects had tried to adapt historical sty.es to the modern American invention of the skyscraper. The most successful and famous of these attempts produced the Woolworth Building (Cass Gilbert, 1913), the sixty-story Gothic tower christened the "Cathedral of Commerce." Towards the end of the 1920s, however, under the influence of a "modernism" derived in part from the European Art Deco, New York architects created a new "skyscraper style" which, it has been argued, more fully expressed the nature--the verticality, the metal structure, the sense of an industrial and technological future—of the skyscraper. The series of skyscrapers constructed in midtown, including ;be Chrysler, Daily News, McGraw-Hill, Chanin, RCA (now GE), Fuller, and Empire State buildings, helped Introduce the new modernistic Art Deco style to urban America, and defined midtown's characteristic look for the next several decades, until the new round of skyscraper buildings began in the 1960s.

 

At the same time, the builders of skyscrapers began to reach for progressively greater heights. The WooIworth Building's sixty stories

 

had rested unchallenged for a decade, and Its observatory was considered to have the finest view of New York.

 

In the late 1920s, however, the new commercial buildings began to challenge the title. A 110-story building announced in 1926 by developer John Larkin was never built, but in 1929 two towers, the Bank of Manhattan (927 ft, 70 stories) downtown on Wall Street, and the Chrysler Building (1,050 ft, 77 stories) in Midtown on East **2nd Street, competed in a race to see which would be the new tallest building in the world. The race was heightened by the rivalry between the architects of the two buildings, H. Craig Severance and William Van Alen, who had formerly been partners.

 

Chrysler won by arranging to have the building's spire secretly constructed inside the building and then jacked up through the top at the last minute. Shortly thereafter, however, the Chrysler Building lost Its title to the Empire State Building.

 

The Empire State Building was a speculative office building planned by John J. Raskob, who hired former New York State Governor A1 Smith to be president of the Empire State Company. As an executive of General' Motors, Raskob no doubt considered himself a rival in many ways of Walter Chrysler.

 

According to rental manager Hamilton Weber, the originally planned 86 stories of the Empire State Building were only four feet higher than the Chrysler Building, and "Raskob was worried that Walter Chrysler would pull a trick—like hiding a rod in the spire and then sticking it up at the last minute." Hence, according to Weber, the Idea for the 14-story dirigible mast which raised the building's height to 1250 feet but proved, in the end, to be unusable for its Intended purpose. The Chrysler and Woolworth buildings, seeing there could be no hope of competition with the Empire State, eventually closed their own observatories.

 

The 1920s procession of skyscrapers might have continued producing ever taller buildings: according to a Herald Tribune article discussing the Empire State project in 1930, "Charles F. Noyes let it be known some time ago that he was considering erecting 150 floors over two square blocks in the old mercantile district downtown."

 

The Depression put an end to any such plans, however, and the Empire State Building remained the tallest by far of the city's commercial towers.

 

John Jacob Raskob and Al Smith.

 

The man who conceived the idea for the world's tallest speculative office building was a self-made multi-millionaire industrialist named John J. Raskob.

 

Born Into a poor family in Lockport, New York, Raskob went to work early In life to support his widowed mother and family. He found work as a secretary for a small street railway company in Lorain, Ohio, that happened to be owned by Pierre Du Pont, of the Du Pont chemical industry family.

 

When Du Pont bought the Dallas Street Railway Company In Texas, he made Raskob treasurer, and eventually he took Raskob with him to Wilmington, Delaware, where Du Pont became president of E.I. Du Pont de Nemours and Raskob became vice president in charge of finance.

 

Early In the century, Raskob Invested heavily In the newly formed General Motors Corporation, and convinced Du Pont to do the same.

 

In 1915, Du Pont became chairman of General Motors, and in 1918 Raskob became chairman of its Finance Committee. The spectacular growth of the value of General Motors stock made Raskob a multi-millionaire, and one of the wealthiest men in the country. Shortly before the Depression Raskob co-authored an article in the Ladies' Home Journal entitled "Everybody Ought to be Rich."'

 

Aside from his organizational abilities, Raskob's chief contribution to General Motors was the invention of the installment plan for buying automobiles.

 

Like many businessmen of the time, Raskob was interested in politics, and like most millionaires he was a Republican. His entry into politics, however, was as a contributor to the gubernatorial campaign of populist Democratic governor A1 Smith. Raskob was introduced to Smith in New York City in 1926.16 The two men came from similar backgrounds--poor Irish Catholic famlies—and shared a dislike of the Prohibition amendment, an issue in Smith's later campaign for the presidency. They became friendly, and Raskob volunteered generous contributions to Smith's 1926 gubernatorial re-election campaign. Although many of Smith's closest aides distrusted Raskob, they were unable to prevent his appointment two years later as campaign manager for Smith's unsuccessful 1928 race with Hoover for the Presidency, an appointment which resulted in the anomaly of a conservative Republic millionaire becoming Chairman of the Democratic National Committee.

 

(One of Raskob's first actions as Chairman was to move thecommittee to offices in the General Motors Building on West 57th Street.)

 

Although Raskob was blamed by some Smith aides for the loss of the 1928 election, and by others for Smith's gradual shift towards a more conservative political philosophy, the relationship between the two men remained strong. When Raskob decided to get into the real estate business, and to build the tallest building in the world, he offered Smith the $50,000 a year job of President of the Empire State Corporation.

 

Al Smith and the World's Tallest Building: Public Relations at the Highest Levels."

 

Raskob's rationale for building the world's tallest building, and for making Governor Smith its president, was never clearly stated, although several explanations have been offered. Unlike its immediate predecessors—the Woolworth Building for Frank W. Woolworth and his company, the Manhattan Company Building for the Bank of Manhattan, and the Chrysler Building for Walter Chrysler and his company—the Empire State was not built to symbolize one man or company: it was not the General Motors Building or Raskob Tower, for instance.

 

The Empire State Building was instead simply a speculative office building, and it was named for New York State, home of the building and the state of which Al Smith had been four times governor. Rather than being a corporate symbol, the building became identified as the world's tallest building and a venture of Al Smith's.

 

The explanation of its height offered by the company in Its various promotional brochures was simply that of a human adventure, carrying on "the Pharaoh's dream":

 

Down through the ages, men have yearned and toiled and planned, that they might build a structure nearer to the skies than ever had been built before. Something of this great desire burned in the souls of the Pharaohs of Egypt, when the Great Pyramid of Gizeh was erected, 451 feet high, equal to thirty-four stories. St. Peter's, at Rome, lifts its dome 435 feet toward the sky. That slender and marvelous minaret in Cairo spears the heights at 280 feet and the Cremona Campanile in Italy rises 396 feet above the earth. The famous Cathedral of Cologne attains an altitude of 512 feet; the Washington Monument is 555 feet high. Then came the era of steel, heralded by the world-famous Eiffel Tower in Paris, 984 feet high, useless except as an awe-inspiring demonstration of what men, steel and machinery can accomplish.

 

The Woolworth Tower was for long the world's tallest building, rising in beautiful Gothic design to a height of sixty stories, 792 feet. The Bank of Manhattan at last surpassed it with its height of 838 feet, only to be in turn surpassed by the 1046 foot elevation cf the Chrysler Building's topmost spire. But Empire State is higher than all these. It carries to triumphant completion the vaulting ambition of the Pharaohs, of Pope Julius when he began the building of St. Peter's.

 

As for bringing ex-Governor Smith into the project, Raskob apparently suggested at the time that he was going to build the Empire State Building to give his old friend a job. Smith, having lost the presidential election and retired from the governorship of New York, faced an uncertain future.

 

His friend, actor and producer Eddie Dowling, recalled being present at the moment of Raskob's offer, the occasion being a dinner thrown by the New York State Democratic party for newly elected Governor Franklin D. Roosevelt. Smith and Dowling had gone to the men's lounge during a lull in the proceedings, and Smith was telling him of his worries, when Raskob appeared and announced, "Don't worry, A1, I'm going to build a new skyscraper--biggest in the wor!d--and you're going to be president of the company," maintaining that he was doing it all to give Smith a high-paying job.

 

The key to understanding the actual motives behind the height of the building and the involvement of Governor Smith seems to involve a newly developing science that was becoming more and more important to the art of architecture: advertising.

 

Advertising seems to have become an accepted function of office buildings in the 1920s. Arthur Tappan North, writing on the subject, noted:

 

The incorporation of publicity or advertising features in a building is frequently an item for consideration.... This feature, when possessing intrinsic merit, is consonant with and is a legitimate attribute of good architecture. It stimulates public interest and admiration, is accepted as a genuine contribution to architecture, enhances the value of the property and Is profitable to the owner in the same manner as are others forms of legitimate advertising.

 

The Empire State Company in fact launched an extensive advertising campaign capitalizing on several features of the building: its "historic site," formerly that of the Astor Mansion and the Waldorf-Astoria Hotel; its convenience ot the two rail terminals in midtown; "a board of directors that inspires confidence;" and its advertising campaign, run by the public relations firm of Belle Moscowitz, former political aide to Al Smith, hit all the leading New York newspapers 'week after week with very clever ads.

 

The value of advertising for the Empire State Building was picked up by the Real Estate Magazine, in an article entitled "Good Publicity Something More Than 'Hitting1 Front Page," in which the Empire State Building was singled out as an excellent example of how it should be done:

 

The Empire State Building has received extensive newspaper attention because of former Governor Smith's connection with the enterprise and through a number of clever creative publicity stunts, notable the mast which will top the building as a mooring spot for Zeppelins duly authorized by official Washington with reporters and cameramen obligingly on hand.-1

 

The two primary subjects of the advertising, however, the two attributes most closely identified with the building, were the involvement of Al Smith, and the building's unmatched height.

 

Al Smith's relationship to the enterprise was frankly stated In the booklet released on May ], 1931> for the building's opening ceremonies:

 

Raskob and his associates selected a leader, a man so well known to the public that his very presence placed the seal of integrity upon their undertaking. He was Alfred E. Smith, four times Governor of New York State, Presidential candidate of the Democratic Party.... known and beloved by his countrymen. He became president of Empire State, Inc. even while the mighty structure was only a dream.

 

Lists of the building's board of directors invariably began with Alfred E. Smith, and ended humbly with John J. Raskob. A New Yorker article of early

 

1931 noted that the building was "inevitably associated with ex-Governor Al Smith, fn its earlier stages his picturesque statements made excellent publicity and drew all New York's attention to the steelwork as it grew to dizzy heights."

 

Smith's biographers have noted that his functions at the building were "largely ceremonial.... The staff handled all the rental and maintenance problems, while Smith served as attention getter, greeter, and publicity man delux." To the public, however, the building was Al Smith's, and from the opening ceremonies, when his grandchildren, as representatives of "posterity," cut the ribbon at the main entrance, through the following years of giving tour upon tour to visiting royalty, politicians, sports heroes, and celebrities of every kind, he remained the building's symbol.

 

Similarly, the building's height played a major role in the company's public relations campaign. Besides constantly comparing the building's height to other tall monuments, the company emphasized the extraordinary daring of the construction workers involved in erecting the world's tallest building by commissioning photographer Lewis Hine to document the work.

 

The Company arranged for a special mechanical cage that would enable Hire to be swung out into the air to photograph the most difficult feats. The photographs were then used in advertisements, and put on display in the ground floor store windows.

 

The publicity value of tall buildings was apparently considered to be great enough that it could actually be figured in as a legitimate "expenditure," designed to bring increased prestige and, presumably, income. R.H. Shreve, one of the Empire State Building's architects, wrote in 1930 that the constraints of zoning, wind-bracing, and general costs of a very tall building determine a point...

 

...where the balance begins to swing back and the rate of return on capital investment begins to diminish as the building goes higher, unless the owner gets a markedly greater unit return for the higher space, or charges the decrease in the direct net return to "advertising."

 

Justification for this approach was probably found in the tremendous public interest which developed during the late twenties in skyscraper heights.

 

The New York Sun published a list of the fifty tallest buildings in New York, arranged by height, and shortly afterwards the architectural journal Pencil Points found It necessary to reprint it, in January 1931, noting that "Interest in the heights of New York skyscrapers does not seem to abate, if we may judge by the inquiries concerning them received in this office."

 

A cartoon in the same issue showed an architect with a rendering of a pointed skyscraper and a caption reading: "Enthusiastic Architect: 'You See, This Spike Runs Down the Entire Length of the Building and if Anyone Builds a Taller Building We Can Jack Up the Spike and Still Be the Tallest!"

 

In short, Raskob's strategy was based on an aggressive advertising campaign to market the Empire State Building, a speculative real-estate venture, as the world's tallest building, headed by the world's most popular former politician, with the world's most competent board of directors, on the world's most prestigious site, and the world's most

 

daring engineering feat, with Ai Smith personally conducting the world's famous to see the world's most overwhelming view.

 

If advertising was indeed the goal of the builders of the Empire State Building, they were extraordinarily successful. Twenty years later, Collier's described the effect of the building on the publicity-minded:

 

Douglas Leigh, who makes those superspectacular signs for Broadway, is itching to transform the top into a giant soft-drink bottle, or a glowing cigarette. Human flies want to walk up the front, flagpole sitters want to sit on the lightning rod, and high-wire artists want to traipse through space over to the Chrysler tower at Forty-second Street,

 

The effort spent on public relations paid off much sooner than the building's promoters imagined. Two weeks after the project was announced the stock market crashed, and throughout the early years of the Depression the building remained seriously undertenanted. The Empire State Building was saved from bankruptcy, in part, by the million or so visitors to the observation decks each year who paid one dollar a piece admissions.

 

Shreve, Lamb & Harmon

 

John J. Raskob was no doubt attracted to Shreve, Lamb 6 Harmon by their business-like approach to architecture. Raskob first encountered Shreve S Lamb in 1926 when his company, General Motors, commissioned a new headquarters on West 57th Street from the firm. He must have been impressed by their performance; he may also have considered it an advantage that Shreve, Lamb £ Harmon had been called in as consulting architects for the Bank of Manhattan Building, and therefore had some experience in races for the "tallest building" title, as well as experience working with the Starrett & Eken construction company which built the^Bank of Manhattan and which was later awarded the Empire State contract.

 

Richmond Haroid Shreve (1877" 1946) was born in Cornwall is, Nova Scotia, son of a former Dean of Quebec Cathedral. He studied architecture at Cornell University, graduated in 1502, and spent the next four years on the faculty of the College of Architecture there. While at Cornel! he supervised construction of Goldwiri Smith Hall, designed by the prominent New York firm of Carrere £ Hastings, and at the conclusion of the work he joined the firm.

 

William Frederick Lamb (1883-1952), son of New York builder William Lamb, was born in Brooklyn. After graduating from Williams College in 1904, he studied at the Columbia University School of Architecture, and then went to Paris to study at the Atelier Deglane. Having received his diploma from the Ecole des Beaux-Arts in 1911, he returned to New York and joined Carrere S Hastings. in 1920, both Shreve and Lamb became partners in the new firm of Carrere £ Hastings, Shreve & Lamb.

 

Four years later they broke away to form Shreve & Lamb, and in 1925 they were joined by Arthur Loomis Harmon (1878-1958) to form Shreve, Lamb & Harmon.Harmon, born in Chicago, had studied at the Art Institute there, and graduated from the Columbia University School of Architecture in .1901. From 1902 to 1911 he was a designer in the office of McKim, Head & White, in 1912-13 an associate of the firm of Wall is & Goodwlllie, and then practiced under his own name until joining Shreve £ Lamb. His work alone included battle monuments at Tours, Cantigny and Somme-Py in France, a YMCA in Jerusalem, and the award-winning Shelton Hotel in New York.

 

Of the three architects in the firm, Lamb was generally acknowledged to be the designer, and Shreve the administrator. Shreve was also active as a planner outside the firm's work; he was the director of the Slum Clearance Committee of New York after its formation in 1933, and chief architect of the group preparing plans for the Williamsburg Housing Project, as well as chief architect of the Vladeck Houses on the Lower East Side and also of Parkchester in the Bronx.

 

Shreve, Lamb & Harmon worked principally on commercial office buildings, although they also designed a number of estates and residences in the New York suburbs, and a few apartment houses in Manhattan, Their residential work largely in the neo-Tudor and other popular styles of the 1920s, while their commercial work tended to be spare and functional, reflecting little of the Beaux-Arts ornament for which Carrere & Hastings had been famous.

 

Their buildings in New York, including 500 Fifth Avenue, 14 Wall Street, the Lefcourt National Building, and the Mutual of New York Building, and also their commissions outside the city, such as the Standard Oi! Building in Albany, the Reynolds Tobacco Company building in Winston-Salem, and the Chimes Building In Syracuse, are all similarly designed with unadorned limestone cladding, metal framed windows, and simple set-back massing, occasionally with Art Deco or Streamlined ornamental motifs.

 

The spareness and economy of the firm's designs were a reflection of several architecturai notions gaining currency in the 1920s. As office buildings grew larger and their engineering and financing more complex, the nature of architecture had to adapt to new conditions, Many architects in the 1920s and 1930s, recognizing new constraints, adapted the language of the international Style and functionalist schools of thought and wrote about a new art of architecture.

 

All three architects in the firm wrote on the subject of the changing nature of architecture. Harmon listed the various forces at work on design as: steel construction, congested business areas, the need for light and air, property shape, internal lighting, zoning, the ratio of rentable area to overall area, the cost of steel, wind bracing, and elevators. William Lamb, the partner concerned least with organization and most with design, concurred:

 

An interesting development in the planning of present day office buildings is the change in the conception that the architect has of his work. The day that he could sit before his drawing board and make pretty sketches of decidedly uneconomic monuments to himself has gone. His scorn of things "practical" has been replaced by an intense earnestness to make practical necessities the armature upon which he moulds the form of his idea. Instead of being the intolerant aesthete, he Is one of a group of experts upon whom he depends for the success of his work, for the modern large building with its complicated machinery is beyond the capacity of any one man to master, and yet he must, in order to control the disposition and arrangement of this machine, -have a fairly accurate general knowledge of what it is all about. Added to this he must know how to plan his building so that it will "work" economically and produce the revenue for which his clients have made their investment.39

 

Lamb's design inclinations corresponded very well to the kind of work that Shreve brought into the office. Mrs. Lamb recalls that his tastes in most matters tended to the simple and classical. The architecture he loved best was the spare Romanesque of the southern French cathedrals. Among his contemporaries he greatly admired Raymond Hood, particularly his spare, vertical Daily News Building; HoGd also wrote about the practical side of architecture, dismissing fantastic design as unnecessary. The two men were close friends. Although Lamb's "work had much of the Modernistic to it, his opinion of the flamboyant variety of Moderne represented by the Chrysler Building was rather low—he referred to it once as the "Little Nemo school of architecture," meaning fancy and fantastic, like the comic strip. He never considered his work to be in any way describable as "Art Deco."

 

Precisely because the firm was a well-organized producer of practical and unadorned office buildings, it was able to organize the myriad elements involved and produce a striking, handsome, but still economical design for the Empire State Building, which was above all a creation of business considerations and an unrivalled engineering feat.

 

Conception and Design

 

According to the architects, the Empire State Building was largely shaped by the various economic and engineering considerations involved.

 

The program was short enough—a fixed budget, no space more than 28 feet from window to corridor, as many stories of such space as possible, an exterior of limestone, and completion by May 1, 1931, which meant a year and six months from the beginning of sketches, The first three of these requirements produced the mass of the building and the latter two the characteristics of its design.

 

Planning of the building's layout — involving the placement of elevators, utilities, ventilation, and pipe shafts in such a way as to obtain the maximum amount of rentable office space-~centered on a prototypical plan for the 30th floor, at which point the tower legally began to rise with a zoning-mandated floor-area of one-quarter the lot size.

 

The principles, established by these cooperative investigations, which covered a period of four weeks, together with the owner's requirements... formed the complete program. The "parti" was arrived at in two hours, the evening before a meeting of the owner's corporation. An all-night "charette" produced the next day a series of five or six of the essential plans, an elevation, a perspective, and a fairly accurate tabulation of rentable areas and cube.

 

Lamb described the plan arrived at through the various consultations:

 

The logic of the plan is very simple. A certain amount of space in the center, arranged as compactly as possible, contains the vertical circulation, toilets, shafts and corridors. Surrounding this is a perimeter of office space 28 feet deep. The sizes of the floors diminish as the elevators decrease in number. In essence there is a pyramid of non-rentable space surrounded by a greater pyramid of rentable space....^

 

The massing of the building was to a great extent affected by the elevator system. The elevators were placed in four banks parallel to the building's main axis, with those on the east and west sides being the low-rise group. The low-rise elevators drop off as the building rises, enabling the tower to step back...

 

...from the long dimension of the property to approach the square form of the shaft, with the result that instead of being a tower, set upon a series of diminishing setbacks prescribed by the zoning law, the building becomes all tower rising from a great five-story base.^

 

Elevators and budget were said to be the determining factors of the building's height. The elevator contractor, and Starrett Brothers and Eken, asked independently to calculate the height limit of the building based on their economic priori tie:;, each arrived at a limit of eighty stories plus five for the executive offices.

 

Floor-plan, massing, and height arrived at, the architects turned to the building's exterior. The spare design, based on massing and vertical window strips, was a product of both the building program's practical needs, and Lamb's aesthetic preferences.

 

The exterior is defined almost entirely by a system of vertical strips of windows, projecting slightly beyond the limestone walls, set in continuous vertical metal surrounds, and separated by dull aluminum spandrels; these strips are arranged singly, in pairs, and in sets of three, and run continuously from bottom to top. There is almost no ornamental detail, other than modernistic ripples in the aluminum spandrels and modernistic caps where the window strips terminate at building setbacks.

 

The practical source of the window system was "the last and perhaps_ the most important item in the owner's program-speed of construction."

 

Completion of the building by May 1st was required because that was the traditional day for the signing of new commercial leases in the city, and therefore of crucial importance in the economic planning of a speculative office building. With such a complex building program, construction had to proceed smoothly and as quickly as possible. The advantages of the system were outlined by Shreve in a special article.

 

The total effect of the massing, height, and window-spandrel-wall design is of a very tall tower, rising from a five-story base, and topped by a modernistic spire. The window strips break up the mass of the building, and emphasize its verticality, while the elimination of reveals creates effectively a smooth glass, metal, and stone skin. The expression

 

of the building's taliness is simple arid elegant, the epitome of the kind of design most admired by William Lamb.

 

On the question of the building's style, Lamb wrote:

 

Whatever "style" it may be is the result of a logical and simple answer to the problems set by the economic and technical demands of its unprecedented program.

 

He never thought of it as Art Deco. Much of the ornament can only be described as "modernistic," especially the glass and steel dirigible mooring mast, and in that sense would fall under the generic term "Art Deco" or "Moderne," but the design of the building has little in common with that of the flamboyant Chrysler Building, almost its contemporary and the generally accepted prototypical Art Deco skyscraper.

 

In its reliance on stacked massing, vertical window strips, and simplicity of materials, and in the public insistence by its architects that these elements were largely determined by sheer practical necessity, the Empire State Building seems closer to Raymond Hood's Daily News Building, also contemporary with it.

 

It is quite possible that Lamb discussed his work with his close friend Hood; he admired his work, and the Daily News was Hood's most recent success at the time. The Daily News Building is also riot a purely Art Deco creation, but in some respects an International Style slab; similarly, Hood's contemporary McGraw-Hill Building combines aspects of both, If the Empire State Building, a spare tower on a base with some modernistic details, belongs In a line of succession, it might be that of the News and McGraw-Hill Buildings, followed by the RCA tower in Rockefeller Center, of which Hood was a chief designer.

 

By contrast with the News Building, however, the Empire State is thoroughly symmetrical, and not treated with bright colors. Unlike many skyscrapers, it does not present an overwhelming mass: in midtown, pedestrians are conscious only of its five-story base, which blends into the scale of the area, while from a distance It presents 3 slender silhouette, rising from the center of the metropolis, which Is visible and recognizable from almost every point in the city and some beyond. In this sense, the Empire State Building is in its own class, and its design reflects what it, uniquely, is.

 

Description

 

Although the 1250-foot high Empire State Building is often described as 102 stories tall, that is not quite accurate. The major portion of the building is comprised of 80 stories of commercial office space, with five stories above that for the building's executive offices, and the observatory at the 86th floor. The enormous metal "mooring mast" above the building contains only an elevator encircled by a staircase, and no floors per se; its height, however, is considered by the Empire State Building management to be the equivalent of 14 stories; these, added to the 86 offices floors and two basement levels, produce the figure of 102 stories.

 

The building's tower sits on a five-story base, with facades at the lot line on West 33rd Street, Fifth Avenue, and West 34th Street. The base is a monumental modernistic version of a classical scheme: basement, colonnade, and attic. The basement is formed by the first floor shops and entrances •> the colonnade is approximated by a giant order of molded stone piers piers flanking vertical window strips; and the attic consists of small windows alternating with molded stone panels.

 

The Fifth Avenue facade centers on the building's main entrance which consists of a central pair of doors flanked on either side by a revolving door; a three-story high, three-bay wide set of windows set in modernisticalIy-designed patterns; and an attic story of a pair of windows, all set off from the rest of the facade by two giant molded-stone piers topped by stylized stone eagles above which are inscribed the words EMPIRE STATE. The rest of the facade is comprised of monumental bays, three on either side.

 

Each bay consists of a storefront of chrome-metal and glass at the first floor levei, two three-story vertical window strips separated by a narrow stone mull ton and flanked by a wide stone pier with a modernistic top in place of a capital, and two windows at the fifth-floor level separated by a narrow squat molded-stone mull ion and flanked by wide squat stone piers. These three bays are set off from the central*-entrance bay by a half-bay comprising one vertical strip of windows, and end at either corner with a half-bay set between two monumental stone piers.

 

The identical 33rd and 34th Street facades each comprise three sections of monumental bays, similar to those on the Fifth Avenue facade, separated by two entrance bays. The three sections consist of six, seven, and six bays, slightly emphasising the central section. The two entrance bays on either facade, which project slightly outward, are less elaborate versions of the main Fifth Avenue entrance bay: doors at the first floor level, three vertical window strips, and a three-window attic story, all enframed by a wide stone surround.

 

The two West 33rd Street entrances, however, are actually recessed; these entrances have sets of side doors perpendicular to the building front, and front revolving doors; a moderne light fixture hangs In the center of the recess; the doors are aluminum, set in marble walls.

 

Streamlined metal marquee-type canopies with curving corners project over the entrances on West 33rd and West 34th Streets; each is ringed by three sets of continuous horizontal metal bands. The original storefronts are almost entirely glass-fronted. Each has a black-granite base, a cornice of horizontal molded-aluminum bands framing a black-granite panel, and a central recessed entrance, and each is separated from the next by narrow molded aluminum mull ions topped by modernistic finials.

 

The storefronts form a glass wall which projects three feet beyond the five-story base and forms a banding around it; the continuous black-granite cornices are at the same level as the metal canopies over the 33rd and 34th Street entrances and form a black band course at that level. Several of the storefronts have been unsympathetically altered.

 

The design scheme above the five-story base is determined simply by massing and fenestration. On both the eastern, Fifth Avenue, facade and the western, rear, facade, the tower is dramatically set back above its base, and rises, with shallow setbacks at the 21st and 25th floors, to the 30th floor; from there It rises unobstructed to a .shallow setback at the 72nd floor, then to the 81st floor setback, somewhat more pronounced, which marks the top of the commercial office portion of the building--wi th corresponding elevator banks—and the beginning of the five-story executive suite; a final setback at the 85th floor marks the observatory. Above the tower rises the metal-faced dirigible mooring mast, topped by an enormous television broadcasting antenna.

 

The tower on the east and west facades is nine bays wide from the sixth to the 25th floor, seven bays wide to the 72nd floor, six bays wide to the 81st floor, and five bays wide to the mooring mast.

 

The north (34th Street) and south (33rd Street) facades, wider than the east and west facades, are fifteen bays wide from the sixth to the 21st floor, eleven bays wide to the 30th floor, and nine bays wide to the mooring mast; the nine bays from the 30th floor up are divided into three sections of three bays each: a central section enframed by two projecting side sections; the central section rises unbroken to the 85th floor, while the flanking projecting sections rise to a shallow setback at the 72nd floor and another at the 81st. The various setbacks produce a symmetrical massing that emphasizes the verticality of the building, and creates at the lower levels the effect of a tower rising from a layer of surrounding tapered masses.

 

A fenestration pattern of long vertical window strips is used to break up the mass of the building and emphasize Its verticality. Each window In the vertical strips protrudes slightly from the Indiana limestone cladding of the tower, and is enframed by a strip of nickel-chrome-steel ; each window is separated from the one above by a dull aluminum spandrel with modernistic molding. Where the vertical window strips rise to a setback, they end in simple modernistic metal caps, and begin again above the setback. The three central window strips on the north and south sides end at the 85th-floor level in much larger and more elaborate modernistic metal plates.

 

The strips on most of the building are arranged in pairs, each level comprising two adjacent windows separated by a nickel-chrome-steel mull ion and enframed by nickel-chrome-steel surrounds, each window having an accompanying dull aluminum spandrel; several bays however comprise triple window strips, while others comprise single window strips. The alternation between paired, triple, and single strips Is used to create a horizontal rhythm of vertical lines accentuating the center of each facade.

 

On the east and west facades, all windows are arranged in paired vertical strips, with these exceptions: the outer bay on either side from the sixth to the 25th floor, and the outer four bays on either side from the 21st to the 25th floor, consist of single vertical window strips; the outer bay on either side from the 72nd to the 81st floor likewise consists

 

Sf a single vertical window strip, and also the outer two bays from the 81st to the 84th floods. The arrangement on the wider north and south fronts Is more complicated. The outer two bays, on either side, which rise from the sixth to the 21st floor, are paired vertical window strips.

 

The next five bays on either side, rising from the sixth floor to a shallow setback at the 25th, and projecting out past the central section, are symmetrically arranged with a centra! paired-window strip bay in the center flanked on either side by two single window strips; these bays above the 25th floor setback to the 30th floor are rearranged as two paired vertical strips and a triple strip. The central five bays, from the sixth to the 30th floors, are paired vertical window strips. Above the 30th floor, where these facades are divided into two projecting sections flanking a central section, the latter comprises three paired window strips, while the former are symmetrically arranged as a triple-window strip flanked on either side by a paired window strip.

 

Rising above the 86-story office building is the aluminum, chrome-nickel-steel and glass mast, originally designed to be used for mooring dirigibles but now serving only as a support for the upper observatory tower, and housing for display lights, Four progressively smaller rectangular levels form a base from which springs a cylindrical shaft rising to a conical top. The sides of the levels forming the base are ringed by continuous horizontal metal banding. At each of the four corners of the cylindrical shaft, rising to half its height, Is a set of three overlapping metal wings from which the shaft appears to grow; the four sides of the shaft are formed by continuous glass walls.

 

The top is Jr. three sections: a cylindrical enclosed observation level, still used, of the same circumference as the shaft; a second, smaller cylindrical level surrounded by an open-air observation area, no longer in use, originally Intended as a landing platform for dirigible passengers; and a top section In the shape of a truncated cone--pierced by eight circular openings--which houses the mooring mechanism and beacon lights, and which is topped by a metal mooring pole; each of these three sections is ringed by continuous tubular metal bands. The mooring mast Is now the base for a 200-foot high television antenna, added In 1953, which completes the silhouette of the building as It has been known since that year.

 

Empire State Building: Symbol of New York

 

Following the uncertain first years of the Depression, during -which the half-tenanted building was nicknamed "Smith's Folly*" or the "Empty State Building," the Empire State became a successful commercial office building. The continuing northward trend of Midtown took the prime corporate tenants whom Raskob had hoped to attract away to office buildings north of 42nd Street; the tenancy of the building therefore has since bean largely drawn from the surrounding garment district. Among others housed In the building are the notions, shoe, shirt and hosiery industries, as well as many international corporations and banks.

 

The Empire State Building, however went beyond the aspirations of

 

Raskob for a prestigious and profitable commercial office building. The success of the observatory in drawing crowds of tourists, arid the guided tours by Governor Smith for all visiting celebrities, started a process which helped make the building famous the world over. March 1940 saw the building's four-millionth visitor (actor Jimmy Stewart), and May 1971 its forty millionth. "

 

The Empire State Building's place as symbol of New York derives perhaps equally from its function as a place to visit, from where the most spectacular view of Mew York can be had, and its function as a centrally located landmark, whose slender, pointed silhouette can be seen literally from miles around, marking out midtown Manhattan, the center of the metropolis. The famous silhouette has been reproduced in countless images, and small statues of the. building have been spotted in Far-Eastern bazaars 55 as well as In Times Square tourist shops. The building has figured In television and movies--most famous of these being King Kong—as a symbol of the summit of New York, the greatest creation of a great city.

 

In the 1970s, when the building lost Its title as world's tallest, the office of Shreve, Lamb & Harmon announced a plan to remove the mooring mast above the 86th floor observatory and replace it with twenty stories of office space, to reestablish the building's position as world's greatest skyscraper. The plan—apparently more a public relations ploy than a serious proposal —was quickly forgotten, and indeed would have been counter-productive, as It would have destroyed the silhouette by which the building is known.

 

Despite the loss of Its "world's tallest." title, In fact, the Empire State Building has lost none of Its original distinction or renown. Its design, its history, and perhaps also its position In the center of the city, have all helped it retain Its symbolic significance.

 

On the occasion of its 50th anniversary—May 1, 1981--a special proclamation was Issued by the Mayor of New York, declaring the week of May 1-8, 1981, to be "Empire State Building Week."

 

The Empire State Building remains New York's preeminent landmark.

 

- From the 1981 NYCLPC Landmark Designation Report

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