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Central Park West, Upper West Side, Manhattan, New York City, New York, United States of America
Summary
Soaring over Central Park, the profile of the San Remo is among the most important components of the magnificent skyline of Central Park West. The first of the twin-towered buildings which give Central Park West its distinctive silhouette, and one of the New York's last grand apartment houses built in the pre-Depression era, it was designed by Emery Roth, then at the pinnacle of his career as a specialist in apartment house architecture. A residential skyscraper in classical garb, the San Remo epitomizes Roth's ability to combine the traditional with the modern, an urbane amalgam of luxury and convenience, decorum and drama.
Development of Central Park West
Central Park West, the northern continuation of Eighth Avenue bordering on the park, is today one of New York's finest residential streets, but in the mid-nineteenth century it was a rural and inhospitable outpost, notable for its rocky terrain, browsing goats and ramshackle shanties. With the creation of Central Park in the 1860s, followed by Riverside Park (begun 1876), as well as a series of transportation improvements such as the Ninth Avenue Elevated Railroad (1879), the Upper West Side in general experienced a period of intense real estate speculation. The 1880were the first decade of major development, and set the pattern for the Upper West Side, where rowhouses line the side streets, and multiple dwellings, commercial and institutional structures are sited on the avenues.
Not surprisingly, those avenues closest to the parks. Central Park West and Riverside Drive, were immediately considered the most desirable. (Ninth Avenue, re-christened Columbus in 1890, Tenth Avenue, renamed Amsterdam in the same year, and Broadway—the Boulevard before 1899 — were all, in varying degrees marred by cable car and elevated railway lines.)
The potential of the parkside avenues for development as prime locations led to an anticipatory increase in land values; prices rose to such extravagant heights that many speculative builders shied away from row house and tenement construction, from which they would realize relatively meager returns, while the very wealthy, who could afford to build mansions, for the most part remained on the more fashionable East Side- As a result, the development of Central Park West lagged behind the general development of the Upper West Side. It was not until the turn of the century that Central Park West's construction boom began and it emerged as a- boulevard of elegant tall apartments punctuated by impressive institutional buildings—a kind of grand proscenium to the architectural variety show of the Upper West Side.
The stage had been set By two great monuments, the American Museum of Natural History between 77th and 81st Streets, (begun 1874, architects Vaux & Mould, and a designated New York City Landmark), and the Dakota, the pioneering luxury apartments at 72nd Street (1880-84. architect Henry Hardenbergh, and a designated New York City Landmark). Yet a survey of roughly a decade later revealed that more than half the block fronts along the park from 60th to 96th Streets remained vacant or contained only old, modest frame houses. A few rather unprepossessing apartment hotels (at
least, relative to the Dakota) were constructed in the early 1890s, among them the San Remo at 75th Street, designed in 1890 by architect Edward Angel 1.2 was described by Moses King in his Handbook as "an immense and imposing edifice, finely situated on the high ground of West 75th Street and facing on the lawns, woods and waters of Central Park. The rooms . . . are all in suites"; and more recently as "a ten-story, high Victorian pile, a mixture of Gothic and Romanesque details . . . unremarkable from an architectural standpoint except for the steep pyramidal towers at its corners."
Among the other apartment hotels on the avenue, were the Beresford at 81st Street, the Majestic (architect Alfred Zucker) just south of the Dakota, both erected in the early 1890s, and the El Dorado at 90th Street of 1901. These have all been replaced by their towered namesakes of the late 1920s and early '30s, but they had already been architecturally superceded by grand apartments houses of the early 1900s—such as the Prasada (1904) at 65th Street, the Langham (1905) at 73rd Street, the Kenilworth (1908) at 75th Street. This phase in Central Park West's development was interrupted by World War I, when construction ground to a halt. The second major phase of development began with the great prosperity of the '20s producing the Art Deco towered buildings, and Roth's Beresford and San Remo Apartments which now define the skyline.
The 1920s provided a generation of aspiring immigrants with the opportunity to move up in the world, both economically and geographically. Many Jewish immigrants, refugees from Csarist pogroms, had achieved prosperity in New York by the late 1920s, and looked from the Lower East Side and the Boroughs to the Upper West Side as a cultural and architectural haven. By the mid-1930s more than half the residents of the Upper West Side from 72nd to 96th Streets were Jewish, and more than a third of these families was headed by a parent born in Europe. Emery Roth was himself a Jewish immigrant of Horatio Algeresque stamina and optimism, a family man and Upper West Sider, although he arrived by a more circuitous route than most of his neighbors.
The Architect
Emery Roth was born in 1871 in the town or Galzecs, Hungary, then part of the Austro-Hungarian Empire. When he was thirteen the family's fortunes took a turn for the worse, and it was decided that young Emery, alone, would immigrate to America. Passing through Ellis Island, he continued on to Chicago where his success story began.
When still a teenager living a hand to mouth existence in Bloomington, Illinois, Roth determined to become an architect. He worked for both a local builder and a local architect. In 1889, having won a national-government sponsored contest, the Maize Competition—for which he drew a living room utilizing the corn plant as a decorative motif—Roth took his $100 prize money and set out for Kansas City. Apparently he could not find architectural employment there, but while he was still in Bloomington, had applied to join the office of Burnham & Root. Offered the job by mail. Roth moved on to Chicago and worked under Charles Atwood (who had succeeded John W. Root after his death in 1891.) Roth helped to prepare drawings for the celebrated Palace of Fine Arts. While at the fair, he met Richard Morris Hunt, the recognized dean of American architects, who offered to hire him if he ever came to New York. After the fair, with true to form optimism, Roth made his way to New York, where Hunt's casual offer was honored. Assigned to draft interior perspectives for The Breakers, the Newport mansion of Cornelius Vanderbilt, Roth came in contact with Ogden Codman, a noted architect, interior designer and socialite. In 1895 Roth went to work for Codman, where his decorative and planning abilities were sharpened.
By 1898 Roth believed himself ready for private practice. Two young architects, Theodore G. Stein and E. Yancy Cohen, after involved negotiations, sold Roth their architectural practice for $1000. As part of the agreement, Roth was entitled to represent himself as a partner in Stein, Cohen & Roth in order to capitalize on the good will of the existing firm. In fact, Roth was on his own.
Roth's first major commission was the Hotel Belleclaire of 1901-03 on upper Broadway, a designated New York City Landmark. While it was under construction Roth was approached by Leo and Alexander Bing, Manhattan real estate developers. The Bing brothers admired the Belleclaire and commissioned Roth to design a group of five-story apartment buildings in Washington Heights. This alliance inaugurated a lifelong association.
In the following years, Roth had several commissions, among them Bancroft Hall of 1910—a student housing facility for Columbia University, and a series of religious structures, including the Congregation Ahavith Achem of 1908 in Brooklyn and the First Reformed Hungarian Church of 1916 on East 69th Street in Manhattan.
The year 1918 was a traumatic one for Roth. He lost his vision in one eye, the result of glaucoma, and nearly died in the great influenza epidemic. But the prosperity of the 1920s was to carry him into a period of great achievement. After the hiatus in construction caused by the First World War, building was again undertaken. In New York City, a 1921 ordinance exempting new residential construction from real estate taxes for the next decade, opened the door to a building boom. The Bing brothers commissioned a series of apartment buildings and hotels from Roth, many of which Ruttenbaum aptly terras "fine background buildings," while two other developers, Samuel Minskoff and Harris H. Uris commissioned Roth to design a number of handsome medium height apartment houses which the architect dubbed "skyscratchers."
In 1926 Roth in association with Thomas Hastings, the surviving partner of the eminent firm of Carrere & Hastings, designed the Ritz Tower at Park Avenue and 57th Street, a 41-story apartment hotel In a neo-Renaissance style, its extreme height making it "a symbol of a new way to live for wealthy New Yorkers." After the Ritz Tower, Roth went on to design a host of luxury residential skyscrapers, among them the Oliver Cromwell Hotel on West 72nd Street (1928), the Beresford Apartments on Central Park West, and as a consultant to Margon & Holder, the Art Deco style El dorado Apartments also on Central Park West (1929-31, and a designated New York City Landmark). From the mid-1920s on, the signature of a major Roth apartment house was its tower(s). Initially designed to conceal water tanks, they evolved in the Beresford with its three towers into a major element of the design.
In the San Remo. among Roth's finest works, the towers are carried even further, becoming an integral component of this residential skyscraper. This fusing of the functional with the aesthetic was equally characteristic of his apartment plans. Roth's sons credit their father with the creation of the foyer plan, and if not the originator he was certainly a refiner of this type. Roth's best apartments seem effortlessly interlocked, wasteful corridor space reduced to a minimum, with spacious, well-lit rooms in their stead.
Roth's last great work was the Normandy Apartments on Riverside Drive of 1938-39 (a designated New York City Landmark), by which time his sons had joined the firm. The majority of his later buildings in concession to the Depression had smaller apartments and fewer amenities, while still maintaining high standards. Roth died in 1947, and his sons continued the firm, which has been prosperous and prolific.
The San Remo
In an advertisement of May 18, 1930, in the New York Times the San Remo was heralded as:
The Aristocrat of Central Park West Apartments Designed for You Built by the builders of the Beresford
Every detail of these sumptuous apartments has been carefully planned to make living in them the last word in luxury. Only private homes have ceilings as lofty as these and rooms as- spacious. Every chamber has its own colored tile bathroom and is well-supplied with deep closets. Many have dressing rooms too. The long galleries and living rooms with fireplaces offer splendid decorative possibilities. The kitchens have been fitted with the most modern appliances. Up in the towers are apartments such as New York has never before seen with windows on all four sides and views of Central Park, the Hudson, and Westchester. Other specially designed apartments have slate terraces overlooking the park.
Six to sixteen rooms, simplex and duplex apartments H.R.H. Construction Company 11
Contemporary writers essentially concurred with this euphoric description, and were impressed by the height of the building, the twin-towered silhouette, good plans and luxurious detailing. The New Yorker magazine (a publication which in 1930 seems, at least to modern eyes, to all but ignore the 1929 Crash) featured two articles on the San Remo, one by "Penthouse" [Marcia Clarke Davenport]. Davenport is impressed by the views, the size of the terraces and rooms, and "the remarkable sun and light everywhere." Perhaps a hint of the Depression can be detected in her interest in costs--"This is not one of the houses you use to illustrate that rents are lower on the West Side." An eighteen-room duplex was offered at $21,000 per year.
The second New Yorker contributor, "T-Square" [George S. Chappell] considers the San Remo in more strictly architectural terms and as a design by Roth "whose name must be inextricably associated with the development of this section" of Manhattan.
...the Italian baroque [is] skillfully adapted to modern conditions. Cornices are reduced to a minimum, becoming simply bandcourses, but such detail as is used is classic in derivation. The twin towers with their circular colonnades of Corinthian columns, crowned by bronze lanterns,
are fine in silhouette____ The proportions are
well-studied and the warm light brick used above the limestone substructure give a delightful effect.
Chappell also praises the watertank coverings and the innovative window design with upper and lower movable transoms.
Despite its popular success, the San Remo fell prey to the pervasive economic mayhem of the 1930s. A full year after it had officially opened, nearly a third of its apartments remained vacant, and the Bank of the United States which held its $5 million mortgage had collapsed, its officers charged with recklessly "gambling" on the San Remo. In an
effort to attract tenants rents were reduced, and some of the larger apartments were subdivided. But after a succession of owners and bankruptcies, in 1940 the San Remo was sold along with the Beresford, which was experiencing similar financial woes, for a mere $25,000 over existing mortgages.
In its near sixty-year history, the San Remo has had numerous well-known and famous tenants, among them David Nemerov and his wife, owners of Russeks Stores, and parents of Howard Nemerov, poet and critic, and Diane Arbus, photographer, Eddie Cantor, the singer and comedian, and more recently, singer Barry Manilow, and actors Dustin Hoffman, Diane Keaton, Tony Randall and Mary Tyler Moore.
Architectural Sources and Style
The San Remo is a skyscraper which, in the conservative early twentieth-century tradition, applies an historical style to a contemporary form. Roth, who had a lifelong predilection for classicizing styles (although he used others), here turned to the Late Italian Renaissance for inspiration,,. Broken pediments, both curved and triangular, cartouches, and boldly scaled pilasters and columns with composite capitals, and overlapping architectural elements—all hallmarks of the Late Italian Renaissance—are the components of the San Remo's detailing. Ruttenbaum has noted similarities in the crowning temples of the San Remo with the ancient Greek choragic monument of Lysicrates, which Roth had studied in his youth at the Chicago exposition. Certainly, there are parallels, especially in the proportions, but perhaps equally important are such Late Renaissance structures as Bramante's celebrated Tempietto in Rome, or—in terms of placement as much as form—Michelangelo's lantern atop St. Peter's dome.
Much closer to home are such general prototypes as McKim, Mead & White's Municipal Building of 1909-13, a skyscraper topped by a temple and designed in a neo-classical style.
Truly tall skyscrapers, rather than the "skyscratchers" of Roth's terminology, up until the 1920s had been almost exclusively erected as commercial structures. Roth's first very tall apartment building, the 41-story Ritz Tower of 1926, had been erected as an apartment hotel, for which less stringent building code requirements applied than for apartment houses. The Ritz Tower was exactly what the name implied—one preliminary scheme even called for a lantern clearly derived from the tower of the Florentine Palazzo Vecchio. In residential terms, this was a new building type, one which reached a fuller expression in the San Remo.
In early 1929, a new Multiple Dwelling Act was passed, allowing apartment houses of large ground area greater height and the use of towers. The San Remo, the first of the vast twin-towered West Side apartments, was designed in response to these new stipulations. An innovative design, based on Roth's experience with single-towered structures, it was quickly emulated: yet the sheer size and height of the San Remo apparently struck others as fundamentally "modern." The Century Apartments and the Majestic Apartments are exercises in the contemporary Art Deco style. Even the Normandy, Roth's own last great building combines elements of the Style Moderne with neo-Italian Renaissance motifs. Yet, as the architectural critic, Paul Goldberger (himself a resident of the San Remo) has remarked, "Roth's greatest gift was his ability to adapt Renaissance and classical details to modern building forms." 21
Description
The San Remo Apartments occupy the Central Park West blockfront from 74th to 75th Streets. A residential skyscraper, the main block of the building is 17 stories in height, with terraced setbacks from the 14th to 17th stories. Two symmetrical towers, each ten stories in height surmounted by elaborate suprastructures culminating in circular temples with lanterns give the building its dramatic profile. The building is executed in light brick. The first three stories are in rusticated limestone, lightly vermiculated at the first two stories, with smooth lower relief at the third. The facade is 26 bays wide, with two main entryways. The southern elevation is 19 bays wide, and the northern is 16. {The southern elevation is 180 feet in length, the northern, 150.) Each has a single main entrance. (There are four office entrances on the Central Park West facade, two on the south elevation, and three on the north. The towers are five bays wide on the facade and side elevations.
The rear, western elevation...which owing to its height above the side street rowhouses, is largely visible is executed in the same light brick, and is ranged around a T-shaped courtyard. The towers have terraced rear extensions. A large chimney abuts the north tower.
The facade and side elevations are articulated above the three-story base by shallow brick pilasters and slight projections signalized as pavilions by the Renaissance detailing at the upper stories. The facade of the main block of the building has a basic vertical arrangement of bays as: 1-1-1-6-1-6-1-6-1-1-1. At the terrace levels the central six bays and outermost three bays function as true pavilions between the setbacks. The towers have massive, pier-like enframements at the corners. Cornices are effectively and sparingly used to accentuate the upper stories of the main block of the building, the upper stories of the towers, and the suprastructures.
Architectural detailing, executed in stone, terra cotta and metal, is Late Italian Renaissance in character, and highlights entrances and window configurations at the upper stories. Balustrades, pilasters, engaged columns, broken pediments, both circular and triangular, garlands, urns, cartouches, scrolls, consoles and roundels are employed. The detail is executed in limestone up to the fourth story and in terra cotta above. The terraces have either terra-cotta balustrades or metal railings. The lantern is of copper. (All such detailing is described below.)
Detailing
Fenestration:
The windows are uniformly treated on the designed elevations, with metal casements featuring movable transoms above and below the principal windows. The upper transom swings out, the lower transom (or hopper) swings in. The central large windows open outward in the conventional manner. The windows have six panes (2 over 2 over 2). This innovative design was intended to facilitate the regulation of temperature and air circulation. There are some variations in width which reflect interior spaces (living rooms, bedrooms etc.) but the basic configuration remains the same, except in the second-story windows above the Central Park West entrances, and at the uppermost stories of the facade central pavilion, which are tripartite with nine panes of glass (3 over 3 over 3). On the rear elevation the windows are more varied in their treatment, with single double, triple and double leaf casement windows, some of which do not have the lower transom. A few windows have been altered, most notably on the rear tower elevations.
Main Entrances:
Facade [Central Park West] (two, symmetrically located at the 6-7th bays and 20-21st bays).
A broken triangular pediment surmounts the double doors , executed in bronze and glass with paneled, solid bronze transoms. The doors are each divided into three parts, with square panels ornamented by bronze medallions and bordering acanthus leaver set in a rectilinear bronze grillework. Metal and glass lanterns flank the doorway. A double-height limestone enframement surrounds the doorway and second-story tripartite window, and is composed of flanking pilasters with composite capitals , with reliefs depicting classical urns above, and supporting a dentiled curved, broken pediment. At the center of the pediment is a large scrolled cartouche draped by a garland which is looped over a rosette at each side. The doorways have sheltering canopies on bronze supports.
North [75 St.] and south [74th St.] elevations (one, located in the 13th bay, north side, and in the 11th bay, south side).
Both have deep reveals and limestone enframements with a surmounting console table on console-like supports with a central scrolled cartouche. The single bronze and glass doors follow the same design as those on the facade and have transoms with an octagonal panel with central medallion and acanthus leaves. Lanterns flank the doorways.
Office Entrances:
Facade [Central Park West] (four, symmetrically located at the 3rd, 10th, 17th and 24th bays).
These have limestone enframements and surmounting entablatures with scrolled ornamental keystones. The single doors are of bronze with a glazed upper panel and transom.
North elevation [75th St.] (three, at the 4th, 8th, and 15th bays).
These are detailed like those on the facade.
South elevation [74th St.] (two, at the 6th and 14th bays).
Set within deep reveals and enframed by the rusticated walls, each has a bronze door with a glazed upper panel and transom.
Service Entrances:
North [75th St.] and south [74th St.] elevations, (two, located at the rear of each elevation).
A rusticated wall which follows the design of the building walls and extends to the second story contains an arched doorway with a large keystone and is surmounted by a paneled overdoor. A decorative metal gate with a panel reading "Service" fills the archway. At the south elevation, a metal railing atop a brick wall extends westward along the property line.
Third Story Window Enframements:
Facade [Central Park West], north [75th St. ] and south [74th St.] elevations, (four, each set at the second bay from the Central Park West corners).
The windows have limestone relief enframements with side elements in the shape of a console in profile, and rosettes. .. . .
Fourth Story Window Enframements:
Facade [Central Park West] (two, symmetrically placed, 5-8th bays and 19-22nd bays).
A balustraded balcony set upon four large ornamented console brackets extends for four bays. The central two bays have a limestone enframement and are separated by a smooth limestone panel. Flanking pilasters support an entablature upon which a triangular broken pediment is superimposed. At the center is a scrolled escutcheon with a garland and ornamental tablet.
Facade [Central Park West], north [75th St.] and south [74th St.] elevations, (four, each set at the second bay from the Central Park West corners).
Each has an entablature with a superimposed triangular pediment, both dentil led, and a central ornamented keystone flanked by plain stones. Pilasters and enframements surround the windows which also have a balustrade executed in high relief.
Fourth Story Cartouche:
Facade [Central Park West] (one, between the 13th and 14th bays).
A large scrolled cartouche, placed at the center of the facade, it has the completion date of the building 19—30 placed to each side.
Eleventh-Twelfth Story Window Enframements:
Facade [Central Park West] (two, symmetrically located at the 5-8th and 19-22nd bays).
A balustrade on Four console brackets, which visually echoes the fourth-story treatment below, extends across four bays. A double-height, two-bay wide central section is recessed, with flanking brick pilasters, in which the capitals are seemingly "overlapped" by the outer wall surface. Two embossed rosettes appear in the panel which is enframed by bandcourses between the 11th and 12th stories. Two additional embossed rosettes appear in the outer bays. A scrolled cartouche with garlands draped over rosettes, similar to those of the facade main entrances, surmount the composition.
Thirteenth to Fifteenth Story Window Enframements:
Facade (Central Park West], north [75 th St. ] and south [74 th St.] elevations, (four, each set at the second bay from the Central Park West corners).
Placed similarly to the window enframement of the fourth story, these three-story compositions also serve to accentuate and anchor the Central Park West corners of the building. In each,, ornamented console brackets at the 13th story level support a balustered balcony one bay wide. At the 13th story and balcony level, are bandcourses which continue along the walls, articulating the designed elevations. The 14th-story windows are surmounted by curved broken pediments and ornamented at the center by escutcheons. Garlands and floral motifs appear below the pediments, upon the window frames. The 15th-story windows are surmounted by a scrolled escutcheon. Double height brick pilasters with rosettes flank the windows and support a broken triangular pediment. Cartouches appear at the center. The band courses of the pilasters and broken pediments also continue along the wall surfaces and here help to define the three-bay wide corner pavilions. These pavilions are further defined by flanking brick pilasters with rosettes.
Thirteenth to Seventeenth Story Window Enframements:
Facade [Central Park West] (one, at the 12-13th bays).
This composition, which signalizes the central six-bay wide pavilion, reiterates many of the elements of the four corner compositions just described, although it is two bays wide, rather than one. Ornamented consoles at the 13th story support the 14th story balustered balcony. Instead of two windows there are single tripartite windows. The 14th and 15th story windows are detailed like those at the corners, but here the broken pediment enframing the carouche is curved rather than triangular. The composition continues to the 16th and 17th stories, which are also flanked by brick pilasters. The tripartite window at the 16th story is richly enframed with a central garlanded tablet, and a broken triangular pediment. At the 17th story is a central garlanded cartouche. The central pavilion has terminating brick pilasters with embossed rosettes like those of the corner pavilions.
Twenty-third Story Window Enframements:
Facade [Central Park West], north [75th St.] and south [74th St.] elevations, (four, set in the central bays).
These window, set mid way on the designed elevations of the towers, function as medallions on the relatively unadorned tower shafts. The windows have elaborate enframements with ornamental keystones and curved, broken pediments.
Twenty-sixth - Twenty-seventh Story Window Enframements:
Facade [Central Park West], north [75th St. ] and south [74th St. ] elevations, (four, set in the 2-4th bays).
Set between bandcourses and balustrade and pediment level, which continue on the wall surfaces of the towers, are these three boldly scaled three-bay wide compositions. The central bay has a projecting balustrade and above, double-height engaged columns on brackets, with foliate capitals. These columns enframe the two windows and support a curved broken pediment. At the center of the pediment is a large cartouche. The side bays have balustrades and above, double-height pilasters on podia, with foliate capitals. These pilasters flank the two windows and support triangular broken pediments.
Suprastructure Window Enframements:
Facade [Central Park West], north [75th St.] and south [74th St.] elevations and the two inner faces of the towers (six, set at the second story of the suprastructure and in the penthouses).
These double-height compositions each include a framed window with flanking brick pilasters with embossed rosettes at capital-level. Above the window is a broken triangular pediment and a central escutcheon. Six small penthouses with semi-circular roofs have their facades placed above the pediments. The windows of these are curved at top and bottom and elaborately enframed and have metal grilles. They are each flanked by console brackets which support the curved pediment of the penthouse.
Temples:
North and south towers, (two, located at the top of the building).
Above the suprastructure each tower is surmounted by a circular temple of brick and terra cotta, set upon a base articulated by boldly scaled console brackets on eight buttressing pedestals. Large urns, draped with garlands, crown each pedestal and the intervening walls are ornamented with scrolled cartouches beneath balustrades. The temples, set on simple brick podia, are encircled by colonnades of smooth columns with foliate capitals. These support plain dentil led friezes beneath balustrades. Above on each tower is a circular base with copestones, which supports the crowing element — a fenestrated and electrified copper lantern, above elongated foliate scrolled consoles. (The temples and lanterns have recently been restored.)
- From the 1987 NYCLPC Landmark Designation Report
Portrait entitled ‘Anne de Boleyn’ by French nineteenth century photographer E Neurdein. Created in his studio that was situated in Paris.
Sculpture entitled Souaci Gesú by Buranese artist Remigio Barbera. The sculpture is located in a park between the Fondamenta dei Squeri and Via San Mauro on Isola di Burano in the Laguna Veneto in Italy.. The sculpture is near the vaporetto stop and is one of the first things that visitors to Burano see.
The sculpture faces the waterfront and is said to depict a woman expressing complete despair. Many Buranese men are fishermen or watermen, so one may speculate that the sculpture depicts grief and despair for a loved one lost at sea.
Private press book entitled 'Lo Paradiso Di Dante Alghieri'. The third and final part of Dante's Divine Comedy, following the Inferno and the Purgatorio. Published by The Ashendene Press, 1905.
Cover bound fully in green morocco by Katherine Adams with gilt foliate decoration of of berries and leaves naturalistically rendered to the fore edge. Spine with raised banding and title and date in gilt. Printed on vellum in red and black fount. With illuminated initials designed by Graily Hewitt in gold, red, green and blue. Woodcut illustrations throughout by C. Keates after those of the edition of 1481.
From the library belonging to Emery Walker. CAGM.1991.1016.996.T13
This sculpture entitled 'Seated' is on show outside the De La Warr Pavilion, Bexhill from 19th April - 29th October 2023.
It is by Tschabalala Self and she says "Taking a seat is a universal act of leisure and calm. I wanted to create a monumental sculpture for the public that spoke to this simple joy. The woman is strong, beautiful and self-possesses. She represents all individuals, but women in particular, who understand the power and importance of simple gestures that assert their right to take up space." (2022).
Tschabalala Self was born in 1990 and is an American artist
Tschabalala Self's first public sculpture stands three metres high and is made from patinated bronze. This monumental work was an everyday object - a seat - as an entry point for questions of permission and performance within public space. Its subject - poised, immaculately dressed, glancing to her left - emboldens onlooks to sit with confidence and comfort.
Through an expansive practice bringing together painting, printmaking, sculpture and collage, Self's depictions, predominantly of women, traverse different artistic traditions. Bland and femme bodies are particularly prevalent in her work, heating different subjects, or characters, with individual and powerful identities, many of which are reimagined from chance encounters. Through mediations on race and gender, Self's work is concerned with what it means to flourish as a human and how the self is performed and perceived within contemporary life.
Read how the local community came together to make a statement after she was vandalised......
www.theguardian.com/artanddesign/2023/jun/03/uk-seaside-c...
In 1943/44 my dad, who was enlisted in the Royal Canadian Navy, travelled with the Navy Show which was entitled, "Meet the Navy". Not sure he was actually in the cast, so I'll have to pull his file at Archives Canada in Ottawa. Since he was a Certified Public Accountant, he might have watched the books. The show went across Canada by train. I know that Dad was not with the production that went overseas in 1945.
Dad is second from the right in the above photo. Here's the story of the Navy Show:
From my Herbert Charles Barber Collection
www.flickr.com/photos/21861018@N00/collections/7215760076...
"Meet the Navy" was a Royal Canadian Navy musical revue produced during World War II under the supervision of Capt Joseph P. Connolly, director of Special Services for the RCN. Rehearsals began in June 1943 at Hart House in Toronto. The production staff and company were recognized officially, though somewhat after the fact, by a Government of Canada Treasury Board order-in-council, 13 Aug 1943, as 'an Establishment to be known as "The Navy Show" for the... Entertainment of Naval, Army and Air Force personnel on Active Service; Promotion of recruiting; [and] Maintenance of public morale and goodwill'.
The show itself, called "Meet the Navy" and directed by Louis Silver (a Hollywood producer) and Larry Ceballos (a Broadway choreographer), was premiered for servicemen 2 September at Toronto's Victoria Theatre and opened to the public 4 September. It opened in Ottawa 15 September at the Capitol Theatre (Ottawa). During a year-long national tour, which covered some 10,000 miles by train, Meet the Navy entertained about a half-million Canadians. It travelled in 1944 to Britain, opening 23 October in Glasgow and touring England (11 cities in the provinces), Ireland, and Wales and playing at the Hippodrome in London (1 Feb-7 Apr 1945, including a command performance 28 February). Performances followed in Paris' Théâtre Marigny, the Brussels Music Hall, and Amsterdam's Carré Theatre. Meet the Navy closed 12 September in Oldenburg in occupied Germany. In 1945 the National Film Board produced the film Meet the Navy on Tour. Though plans for a Broadway run fell through, the show itself was filmed in November in Britain.
Meet the Navy included skits, dance routines, and several songs: 'In Your Little Chapeau,' 'Rockettes and the Wrens,' 'Brothers-in-Arms,' 'Meet the Navy,' and 'Beauty on Duty,' all by R.W. Harwood (words) and P.E. Quinn (music); 'The Boys in the Bellbottom Trousers' by Quinn; 'Shore Leave' by Noel Langley and Henry Sherman (words) and Quinn; and the showstopper (sung by John Pratt) 'You'll Get Used to It', with words by Pratt to music by Freddy Grant. Eric Wild (who conducted the pit orchestra) and Robert Russell Bennett arranged the music.
Leading roles were taken by Pratt, Robert Goodier, Cameron Grant, and Lionel Merton. Other featured performers included Dixie Dean, Ivan Romanoff (who conducted a balalaika orchestra and a chorus in 'Scena Russki'), Carl Tapscott (who did choral arrangements), the bass Oscar Natzke, and the dance team Alan and Blanche Lund. Members of the 25-piece orchestra included the violinists Victor Feldbrill, Bill Richards, and Joseph Sera, the trombonist Ted Elfstrom, and the saxophonist-clarinetist Howard 'Cokie' Campbell.
After the London debut of Meet the Navy, Beverley Baxter wrote in the London Evening Standard: 'Why is this piece so exhilarating, so completely satisfying and, since the first class always touches the emotions, why was it so stirring? Perhaps the answer is that quite outside the professional slickness and the terrific pace of the whole thing, we were seeing the story of Canada unconsciously unfolding itself to our eyes'.
In 1980, to celebrate the 70th anniversary of the Canadian navy, the Nova Scotia government revived Meet the Navy with several members of the original cast.
Phillips, Ruth. 'The history of the Royal Canadian Navy's World War II show Meet the Navy,' unpublished manuscript (1973)
Southworth, Jean. 'Actor revives his wartime role,' Ottawa Journal, 19 Aug 1980
From: The Encyclopaedia of Music in Canada
This photograph was published online in an aricle in THE GUARDIAN entitled:
'' Build a hedgehog highway! 33 ways to welcome more wildlife into your garden '', by Rachel Dixon on June 26th 2024
The Guardian is part of the Guardian Media Group and a global news organisation in the UK, Europe, Australia, New Zealand, Canada and the USA as well as Asia Pacific, famous for decades, based in the UK.
I'm standing in my kitchen on a cold, wet summer afternoon making a Tassimo Costa L'or double shot Latte whilst taking a quick break from watching Sweden versus Slovakia (I've seen more action in a chess match!), on TV in the Euros football tournament when a rain soaked fox enters my garden!
My camera is upstairs still with the Lee SW150 filter holder and circular polarizer attached, and round here, foxes normally do not surface much in daylight nor spend long before scampering away, so I rush up and grab it, hastily tampering with the settings, forgetting to set the vibration control to the on position....
I'm skulking in the corner of the kitchen, shooting through closed, rain splattered windows and the fox can sense my presence and every movement. Far from ideal, but such a joy to have a few brief moments in the presence of such a magnificent animal.
And they say any shot is better than NO shot, don't they......
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©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
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©DESPITE STRAIGHT LINES (Paul Williams)
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Photograph taken at an altitude of Fifty one metres at 15:36pm on a cold morning on Friday 18th June 2021, off Chessington Avenue in Bexleyheath, Kent.
Here we see a young Red fox (Vulpes vulpes), the largest of the true foxes (a genus of the sub-family Caninae which form a proper clade or monophyletic or natural group). Red foxes are the largest of the worldwide foxes, and also the most commonly widespread across the Northern hemisphere, Europe and North Africa.
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Nikon D850 Focal length 420mm Shutter speed: 1/400s Aperture f/6.3 iso1000 Hand held with no VC Image area FX (36 x 24) NEF RAW L (14 bit uncompressed) Size L (8256 x 5504) Focus mode: AF-C AF-Area mode: 3D-tracking Priority Selection: Release. Nikon Back button focusing enabled. 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual mode Metering mode: Matrix metering White balance on: Auto1 (5190k) Colour space: Adobe RGB Picture control: Neutral (Sharpening +2)
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
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RAW (TIFF) FILE: 130.00MB NEF FILE: 90.9MB
PROCESSED (JPeg) FILE: 45.60MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
Virginia creeper or five-leaved ivy (Parthenocissus quinquefolia) is a woody vine native to eastern and central North America, in southeastern Canada, the eastern and central United States, eastern Mexico, and Guatemala, west as far as Manitoba, South Dakota, Utah and Texas.
It is a prolific climber, reaching heights of 20 to 30 m in the wild. It climbs smooth surfaces using small forked tendrils tipped with small strongly adhesive pads 5 mm in size. The leaves are palmately compound, composed of five leaflets (rarely three leaflets, particularly on younger vines) joined from a central point on the leafstalk, and range from 3 to 20 cm (rarely 30 cm) across. The leaflets have a toothed margin, which makes it easy to distinguish from poison-ivy, which has three leaflets with smooth edges.
The flowers are small and greenish, produced in clusters in late spring, and mature in late summer or early fall into small hard purplish-black berries 5 to 7 mm diameter. These berries contain oxalic acid, which is poisonous to humans and other mammals, and may be fatal if eaten. However, accidental poisoning is uncommon, likely because of the bad taste of the berries. Despite being poisonous to mammals, they provide an important winter food source for birds. Oxalate crystals are also contained in the sap, and can cause irritation and skin rash [1]
From my set entitled “Fibrous Begonia”
www.flickr.com/photos/21861018@N00/sets/72157607213642582/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Begonia is a genus in the flowering plant family Begoniaceae. The only other member of the family Begoniaceae is Hillebrandia, a genus with a single species in the Hawaiian Islands. The genus Symbegonia is now included in Begonia. "Begonia" is the common name as well as the generic name for all members of the genus.
With ca. 1500+ species, Begonia is one of the ten largest angiosperm genera. The species are terrestrial (sometimes epiphytic) herbs or undershrubs and occur in subtropical and tropical moist climates, in South and Central America, Africa and southern Asia. Terrestrial species in the wild are commonly upright-stemmed, rhizomatous, or tuberous. The plants are monoecious, with unisexual male and female flowers occurring separately on the same plant, the male containing numerous stamens, the female having a large inferior ovary and two to four branched or twisted stigmas. In most species the fruit is a winged capsule containing numerous minute seeds, although baccate fruits are also known. The leaves, which are often large and variously marked or variegated, are usually asymmetric (unequal-sided).
Because of their sometimes showy flowers of white, pink, scarlet or yellow color and often attractively marked leaves, many species and innumerable hybrids and cultivars are cultivated. The genus is unusual in that species throughout the genus, even those coming from different continents, can frequently be hybridized with each other, and this has led to an enormous number of cultivars. The American Begonia Society classifies begonias into several major groups: cane-like, shrub-like, tuberous, rhizomatous, semperflorens, rex, trailing-scandent, or thick-stemmed. For the most part these groups do not correspond to any formal taxonomic groupings or phylogeny and many species and hybrids have characteristics of more than one group, or fit well into none of them.
The genus name honors Michel Bégon, a French patron of botany.
The different groups of begonias have different cultural requirements but most species come from tropical regions and therefore they and their hybrids require warm temperatures. Most are forest understory plants and require bright shade; few will tolerate full sun, especially in warmer climates. In general, begonias require a well-drained growing medium that is neither constantly wet nor allowed to dry out completely. Many begonias will grow and flower year-round but tuberous begonias usually have a dormant period, during which the tubers can be stored in a cool and dry place.
Begonias of the semperflorens group are frequently grown as bedding plants outdoors. A recent group of hybrids derived from this group is marketed as "Dragonwing Begonias"; they are much larger both in leaf and in flower. Tuberous begonias are frequently used as container plants. Although most Begonia species are tropical or subtropical in origin, the Chinese species B. grandis is hardy to USDA hardiness zone 6 and is commonly known as the "hardy begonia". Most begonias can be grown outdoors year-round in subtropical or tropical climates, but in temperate climates begonias are grown outdoors as annuals, or as house or greenhouse plants.
Most begonias are easily propagated by division or from stem cuttings. In addition, many can be propagated from leaf cuttings or even sections of leaves, particularly the members of the rhizomatous and rex groups.
The cultivar Kimjongilia is a floral emblem of North Korea.
From my set entitled “Tuberous Begonia”
www.flickr.com/photos/21861018@N00/sets/72157607213634242/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Begonia is a genus in the flowering plant family Begoniaceae. The only other member of the family Begoniaceae is Hillebrandia, a genus with a single species in the Hawaiian Islands. The genus Symbegonia is now included in Begonia. "Begonia" is the common name as well as the generic name for all members of the genus.
With ca. 1500+ species, Begonia is one of the ten largest angiosperm genera. The species are terrestrial (sometimes epiphytic) herbs or undershrubs and occur in subtropical and tropical moist climates, in South and Central America, Africa and southern Asia. Terrestrial species in the wild are commonly upright-stemmed, rhizomatous, or tuberous. The plants are monoecious, with unisexual male and female flowers occurring separately on the same plant, the male containing numerous stamens, the female having a large inferior ovary and two to four branched or twisted stigmas. In most species the fruit is a winged capsule containing numerous minute seeds, although baccate fruits are also known. The leaves, which are often large and variously marked or variegated, are usually asymmetric (unequal-sided).
Because of their sometimes showy flowers of white, pink, scarlet or yellow color and often attractively marked leaves, many species and innumerable hybrids and cultivars are cultivated. The genus is unusual in that species throughout the genus, even those coming from different continents, can frequently be hybridized with each other, and this has led to an enormous number of cultivars. The American Begonia Society classifies begonias into several major groups: cane-like, shrub-like, tuberous, rhizomatous, semperflorens, rex, trailing-scandent, or thick-stemmed. For the most part these groups do not correspond to any formal taxonomic groupings or phylogeny and many species and hybrids have characteristics of more than one group, or fit well into none of them.
The genus name honors Michel Bégon, a French patron of botany.
The different groups of begonias have different cultural requirements but most species come from tropical regions and therefore they and their hybrids require warm temperatures. Most are forest understory plants and require bright shade; few will tolerate full sun, especially in warmer climates. In general, begonias require a well-drained growing medium that is neither constantly wet nor allowed to dry out completely. Many begonias will grow and flower year-round but tuberous begonias usually have a dormant period, during which the tubers can be stored in a cool and dry place.
Begonias of the semperflorens group are frequently grown as bedding plants outdoors. A recent group of hybrids derived from this group is marketed as "Dragonwing Begonias"; they are much larger both in leaf and in flower. Tuberous begonias are frequently used as container plants. Although most Begonia species are tropical or subtropical in origin, the Chinese species B. grandis is hardy to USDA hardiness zone 6 and is commonly known as the "hardy begonia". Most begonias can be grown outdoors year-round in subtropical or tropical climates, but in temperate climates begonias are grown outdoors as annuals, or as house or greenhouse plants.
Most begonias are easily propagated by division or from stem cuttings. In addition, many can be propagated from leaf cuttings or even sections of leaves, particularly the members of the rhizomatous and rex groups.
The cultivar Kimjongilia is a floral emblem of North Korea.
In 1943/44 my dad, who was enlisted in the Royal Canadian Navy, travelled with the Navy Show which was entitled, "Meet the Navy". Not sure he was actually in the cast, so I'll have to pull his file at Archives Canada in Ottawa. Since he was a Certified Public Accountant, he might have watched the books. The show went across Canada by train. I know that Dad was not with the production that went overseas in 1945.
Dad is second from the right in the above photo. Here's the story of the Navy Show:
From my Herbert Charles Barber Collection
www.flickr.com/photos/21861018@N00/collections/7215760076...
"Meet the Navy" was a Royal Canadian Navy musical revue produced during World War II under the supervision of Capt Joseph P. Connolly, director of Special Services for the RCN. Rehearsals began in June 1943 at Hart House in Toronto. The production staff and company were recognized officially, though somewhat after the fact, by a Government of Canada Treasury Board order-in-council, 13 Aug 1943, as 'an Establishment to be known as "The Navy Show" for the... Entertainment of Naval, Army and Air Force personnel on Active Service; Promotion of recruiting; [and] Maintenance of public morale and goodwill'.
The show itself, called "Meet the Navy" and directed by Louis Silver (a Hollywood producer) and Larry Ceballos (a Broadway choreographer), was premiered for servicemen 2 September at Toronto's Victoria Theatre and opened to the public 4 September. It opened in Ottawa 15 September at the Capitol Theatre (Ottawa). During a year-long national tour, which covered some 10,000 miles by train, Meet the Navy entertained about a half-million Canadians. It travelled in 1944 to Britain, opening 23 October in Glasgow and touring England (11 cities in the provinces), Ireland, and Wales and playing at the Hippodrome in London (1 Feb-7 Apr 1945, including a command performance 28 February). Performances followed in Paris' Théâtre Marigny, the Brussels Music Hall, and Amsterdam's Carré Theatre. Meet the Navy closed 12 September in Oldenburg in occupied Germany. In 1945 the National Film Board produced the film Meet the Navy on Tour. Though plans for a Broadway run fell through, the show itself was filmed in November in Britain.
Meet the Navy included skits, dance routines, and several songs: 'In Your Little Chapeau,' 'Rockettes and the Wrens,' 'Brothers-in-Arms,' 'Meet the Navy,' and 'Beauty on Duty,' all by R.W. Harwood (words) and P.E. Quinn (music); 'The Boys in the Bellbottom Trousers' by Quinn; 'Shore Leave' by Noel Langley and Henry Sherman (words) and Quinn; and the showstopper (sung by John Pratt) 'You'll Get Used to It', with words by Pratt to music by Freddy Grant. Eric Wild (who conducted the pit orchestra) and Robert Russell Bennett arranged the music.
Leading roles were taken by Pratt, Robert Goodier, Cameron Grant, and Lionel Merton. Other featured performers included Dixie Dean, Ivan Romanoff (who conducted a balalaika orchestra and a chorus in 'Scena Russki'), Carl Tapscott (who did choral arrangements), the bass Oscar Natzke, and the dance team Alan and Blanche Lund. Members of the 25-piece orchestra included the violinists Victor Feldbrill, Bill Richards, and Joseph Sera, the trombonist Ted Elfstrom, and the saxophonist-clarinetist Howard 'Cokie' Campbell.
After the London debut of Meet the Navy, Beverley Baxter wrote in the London Evening Standard: 'Why is this piece so exhilarating, so completely satisfying and, since the first class always touches the emotions, why was it so stirring? Perhaps the answer is that quite outside the professional slickness and the terrific pace of the whole thing, we were seeing the story of Canada unconsciously unfolding itself to our eyes'.
In 1980, to celebrate the 70th anniversary of the Canadian navy, the Nova Scotia government revived Meet the Navy with several members of the original cast.
Phillips, Ruth. 'The history of the Royal Canadian Navy's World War II show Meet the Navy,' unpublished manuscript (1973)
Southworth, Jean. 'Actor revives his wartime role,' Ottawa Journal, 19 Aug 1980
From: The Encyclopaedia of Music in Canada
From my set entitled “Boats and Ships”
www.flickr.com/photos/21861018@N00/3206986832/in/set-7215...
In my collection entitled “Transportation”
www.flickr.com/photos/21861018@N00/collections/7215761271...
In my photostream
www.flickr.com/photos/21861018@N00/
From my set entitled “Jamestown”
www.flickr.com/photos/21861018@N00/sets/72157606230698243/
In my collection entitled “Virginia: Beach, Williamsburg, Jamestown, Yorktown: May 2008”
www.flickr.com/photos/21861018@N00/collections/7215760622...
Reproduced from Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Jamestown,_Virginia
Jamestown (originally also called "James Towne" or "Jamestowne") is located on the James River in what is currently James City County in the Commonwealth of Virginia. The site is about 40 miles (62 km) inland from the Atlantic Ocean and the entrance to the Chesapeake Bay and about 45 miles (70 km) downstream and southeast of the current state capital city of Richmond. Both the river and the settlement were named for King James I of England, who was on the throne at the time, granted the private proprietorship to the Virginia Company of London's enterprise.
The location at Jamestown Island was selected primarily because it offered a favorable strategic defensive position against other European forces which might approach by water. However, the colonists soon discovered that the swampy and isolated site was plagued by mosquitoes and tidal river water unsuitable for drinking, and offered limited opportunities for hunting and little space for farming. The area was also inhabited by Native Americans (American Indians).
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
Despite inspired leadership of John Smith, chaplain Robert Hunt and others, starvation, hostile relations with the Indians, and lack of profitable exports all threatened the survival of the Colony in the early years as the settlers and the Virginia Company of London each struggled. However, colonist John Rolfe introduced a strain of tobacco which was successfully exported in 1612, and the financial outlook for the colony became more favorable. Two years later, Rolfe married the young Indian woman Pocahontas, daughter of Wahunsunacock, Chief of the Powhatan Confederacy, and a period of relative peace with the Natives followed. In 1616, the Rolfes made a public relations trip to England, where Pocahontas was received as visiting royalty. Changes by the Virginia Company which became effective in 1619 attracted additional investments, also sowing the first seeds of democracy in the process with a locally-elected body which became the House of Burgesses, the first such representative legislative body in the New World.
Throughout the 17th century, Jamestown was the capital of the Virginia Colony. Several times during emergencies, the seat of government for the colony was shifted temporarily to nearby Middle Plantation, a fortified location on the high ridge approximately equidistant from the James and York Rivers on the Virginia Peninsula. Shortly after the Colony was finally granted a long-desired charter and established the new College of William and Mary at Middle Plantation, the capital of the Colony was permanently relocated nearby. In 1699, the new capital town was renamed Williamsburg, in honor of the current British king, William III.
After the capital was relocated, Jamestown began a gradual loss of prominence and eventually reverted to a few large farms. It again became a significant point for control of the James River during the American Civil War (1861–1865), and then slid back into seeming oblivion. Even the Jamestown Exposition of 1907 was held elsewhere, at a more accessible location at Sewell's Point, on Hampton Roads near Norfolk.
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Beginning in 1893, 22.5 acres of the Jamestown site were acquired by the Association for the Preservation of Virginia Antiquities. A crucial sea wall was built in 1900 to protect the shoreline near the site of James Fort from further erosion. In the 1930s, the Colonial National Historical Park was established to protect and administer Jamestown, which was designated a National Historic Site. The U.S. National Park Service acquired the remaining 1,500 acres (6.1 km²) of Jamestown Island through eminent domain in 1934.
For the 350th anniversary in 1957, Jamestown itself was the site of renewed interest and a huge celebration. The National Park Service provided new access with the completion of the Colonial Parkway which led to Williamsburg, home of the restored capital of Colonial Williamsburg, and then on to Yorktown, the other two portions of Colonial Virginia's Historic Triangle. Major projects such as the Jamestown Festival Park were developed by non-profit, state and federal agencies. Queen Elizabeth II of Great Britain and Prince Philip attended. The 1957 event was a great success. Tourism became continuous with attractions regularly updated and enhanced.
The two major attractions at Jamestown are separate, but complementary to each other. The state-sponsored Jamestown Settlement near the entrance to Jamestown Island includes a recreated English Fort and Native American Village, extensive indoor and outdoor displays, and features the three popular replica ships. On Jamestown Island itself, the National Park Service operates Historic Jamestowne. Over a million artifacts have been recovered by the Jamestown Rediscovery project with ongoing archaeological work, including a number of exciting recent discoveries.
Early in the 21st century, in preparation for the Jamestown 2007 event commemorating America's 400th Anniversary, new accommodations, transportation facilities and attractions were planned. The celebration began in the Spring of 2006 with the sailing of a new replica Godspeed to six major East Coast U.S. cities, where several hundred thousand people viewed it. Queen Elizabeth II and Prince Phillip joined America's festivities on an official state visit to Jamestown in May 2007.
Newpaper clipping, likely from the Belleville Intelligencer entitled "Photographs"
"By far the most interesting item in the photographic section is the remarkable exhibit of Mr. A. C. Ponton (No. 92). Had there been special awards of greater importance than the silver medal I should have given one to this entry. Its interest lies in the fact that it reveals to use the effect of what appears to be an influence hitherto unexplored and undeveloped. The “effluve” of vapour from the contents of a fresh egg (or a similar emanation from sugar and many other common substances) acting in the dark is found to have a curious effect upon chloride of silver paper, darkening it in iridescent tints, which remain permanent after the unaffected silver has been removed by the ordinary method of “'fixing” in “hypo.” The effect is in some respect comparable to effects observed by Hunt in the earliest days of photography, and attributed to heat; to those attributed by Le Bon to human light emanation (e.g. from the finger-tips placed in contact with a dry-plate in the dark) to those exerted by radium, and many other “radio-active"” substances, and to those found by Dr. Russell, when wood, card-board, and many other substances were placed near, or in contact with a dry-plate in the dark.
Mr Ponton has possibly not gone so far as some of the other observers in testing his active material under very varied conditions, but he has gone quite beyond them in suggesting a possible practical use for his process, by interposing stencils between the “effluve” and the sensitive surface. Apart from this, and even if no possible practical application had been or ever was to be suggested, the observation and investigation of a series of facts such as Mr Ponton has placed before us, is of prime importance."
Donated by Allan Dempsey.
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
This is close -up of the finished 3D Painting entitled Centurion.
See the full slide show in the Epic Journey in the Transformation of this 3D Painting here.
www.flickr.com/photos/57605784@N06/sets/72157625891634410...
When I first saw this picture I know I had to paint it, full credit to the original artist, it is a masterpiece. Bursting out of the Colosseum, on the left you have the elements of history and tradition, and on the right you have the future, which looks like a space craft, and in the middle you have the Centurion, signalling, forward...the past and future being lead by the present, how it should be.
Working full time as well, this picture may take me 3 to 4 days to complete, every night I will post more & more stages to completion. If you click on the Slideshow link below you can watch a Slideshow showing the many stages in the painting of the picture, iv uploaded 11 so far, it may take as many as 30 until im happy with it. Every night if you click on the same link you will see the new additions automatically added to the slidehow, giving you an insight into how 3D Paintings are created.
Transformation Slideshow :
www.flickr.com/photos/57605784@N06/sets/72157625891634410...
As with all civilisations, nations & empires, its not how strong you are, its what you stand for that counts , it is these values, not military might & brute force, that determines longevity & prosperity.
Many things have been said about the Romans, the recent film released 2010 entitled Centurion is a good example, as was Spartacus, and the birth & life of Jesus Christ. When all is said & done the Romans lasted an aweful long time, they must have been doing something right.
There demise was started with the emergence of a movement that put forth to mankind a much higher set of values, not a stronger military force. That movement is Christianity.
The Roman civilisation tried to Adapt, tried to absorb, but its decline was inevitable. The Catholic Church is what remains of the Roman branch of Christianity.
This piece, entitled "Canoe on Lake Huron", is from page 35 of Anna Jameson's sketch book, donated to the library by the Bain family in 2000.
Title: Sketchbook
Creator: Anna Brownell Jameson, 1794-1860
Date: 1837
Identifier:jameson-album-053-p35-cropped Format: Picture
Rights: Public domain
Courtesy: Toronto Public Library.
More information: View more images by Anna Jameson
I waI was tempted to entitle this, "Christmas in Prison," but I feel as if I've used too many lines from John Prine already.
Flickr apparently only supports sRGB, so when I inadvertently upload anything in a different colorspace, the colors aren't read correctly. By the same, Flickr doesn't like it when I try to upload file sizes in excess of 20mb. Thus, the full-size of this was a no-go, unfortunately. Thankfully, you, the viewer, aren't missing much, as this place isn't exactly visually diverse. Really, all you're missing is the retina-puncturing sharpness my camera captures.
Also, on a semi-related note, hand-shooting the P65+ is difficult. With DSLRs, I can often shoot at shutter speeds of less than 1/20th (with wide-angle lenses), and still have respectably sharp images. Unfortunately, the inverse-focal-length-adage is kind of useless for this camera, as I can't seem to get a sharp image unless I use something closer to 1/3f. Clearly, this is intended for tripod use.
This is close -up of the finished 3D Painting entitled Centurion.
See the full slide show in the Epic Journey in the Transformation of this 3D Painting here.
www.flickr.com/photos/57605784@N06/sets/72157625891634410...
When I first saw this picture I know I had to paint it, full credit to the original artist, it is a masterpiece. Bursting out of the Colosseum, on the left you have the elements of history and tradition, and on the right you have the future, which looks like a space craft, and in the middle you have the Centurion, signalling, forward...the past and future being lead by the present, how it should be.
Working full time as well, this picture may take me 3 to 4 days to complete, every night I will post more & more stages to completion. If you click on the Slideshow link below you can watch a Slideshow showing the many stages in the painting of the picture, iv uploaded 11 so far, it may take as many as 30 until im happy with it. Every night if you click on the same link you will see the new additions automatically added to the slidehow, giving you an insight into how 3D Paintings are created.
Transformation Slideshow :
www.flickr.com/photos/57605784@N06/sets/72157625891634410...
As with all civilisations, nations & empires, its not how strong you are, its what you stand for that counts , it is these values, not military might & brute force, that determines longevity & prosperity.
Many things have been said about the Romans, the recent film released 2010 entitled Centurion is a good example, as was Spartacus, and the birth & life of Jesus Christ. When all is said & done the Romans lasted an aweful long time, they must have been doing something right.
There demise was started with the emergence of a movement that put forth to mankind a much higher set of values, not a stronger military force. That movement is Christianity.
The Roman civilisation tried to Adapt, tried to absorb, but its decline was inevitable. The Catholic Church is what remains of the Roman branch of Christianity.
West 13th Street, NYC
by navema
The controversial documentarian turned artist Mr. Brainwash launched a massively hyped pop art exhibition earlier this year in New York City. Based on the response, the artist re-opened the show entitled ICONS REMIX on Mother’s Day, May 9 2010, and he presented several new art pieces.
The original ICONS show ran from February 14th – March 31st, 2010
Los Angeles based French street artist, Mr. Brainwash (aka Thierry Guetta), celebrated his first solo show in New York with ICONS. Mr. Brainwash is the alter-ego of French immigrant Thierry Guetta, who now lives in Los Angeles. His preoccupation with street art and graffiti led him to years filming the people behind the work, and eventually he became an artist too.
This body of work is the result of traveling throughout Europe and the United States as the subject of Banksy's documentary, Exit Through the Gift Shop. This documentary about the process secretly premiered at the Sundance Film Festival in January of 2010. It wasn’t listed in the program, but quickly became the hottest ticket at the festival. Featuring famed street artists like Banksy, Ron English, Borf and Shepard Fairey, the viewer is able to watch the famous fiends at work. One of the most memorable scenes is of Banksy installing an inflatable replica of a Guantanamo torture victim right next to a roller coaster in The Happiest Place On Earth — Disneyland.
Being a trusted accomplice of Banksy is no small feat — and accomplice is perhaps a better word than friend, given that Banksy described Guetta as “maybe just someone with mental problems who happened to have a camera.”
Since his entrance onto the contemporary art scene in 2008 with his Los Angles show “Life is Beautiful”, Mr. Brainwash (Guetta) has raised a lot of questions, namely ‘is he for real?’ Guetta began to follow the exploits street artists’ Shepard Fairey and Banksy with a digital video camera, but soon Banksy turned the camera on Guetta, encouraging him to create his own persona, which is the end product of Exit Through the Gift Shop, the documentary being billed as ‘the world’s first street art disaster movie’. Critics and gallerists alike have written him off as a hack, or simply a regurgitation of Banksy and Shepard Fairey’s existing work.
Held in a two story converted gallery space, at 415 West 13th Street, the show featured pop portraits, prints, and engaging large scale sculptures. An enormous multi-level space packed with jumbo canvases and installations, including a life-size horse made from tire treads. In the middle of the upper level was a pink-splattered can of paint so big you could hold a party inside it. Combining pop art sensibilities with graffiti culture, Mr. Brainwash’s relentless riffing on celebrity culture is at once familiar and colorful. He recasts Angelina Jolie as Marilyn Monroe, smothers a 7′ can of spray-paint with Louis Vuitton’s famous monogram, and recreated Jimi Hendrix on a canvas covered in crushed records. At the back of the room, almost hidden in the dark, was a classic NYC cab sealed inside life-sized Matchbox packaging.
The feeling of the show? A Warholian art revival with walls filled up with dozens of replicant Madonna images, as in Warhol's Campbell's Soup series, so much so that it could be difficult to say if the whole thing is just a joke or Mr. Brainwash really believes he is 'an original'. To underline his artistic personality, though, all the silkscreens were colored with spray paint or had some additional details.
Regardless of sentiment, Guetta’s work draws a crowd. Without endorsing or refuting his credibility as an artist, Brainwash certainly fulfilled the exhibitions’ namesake. Under his nom de guerre, Guetta created or reproduced images that are easily identifiable; the subjects are no longer individuals, but rather logos in our collective cultural memory.
For more about the artist, visit: www.mrbrainwash.com
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
From my set entitled “Peonies”
www.flickr.com/photos/21861018@N00/sets/72157607186459134/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.
Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.
The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower
The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.
The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.
In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".
Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.
In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.
Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).
Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.
Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.
Peonies are a common subject in tattoos, often used along with koi-fish.
On entitlements, Speaker Boehner acknowledged that structural changes to Medicare and Social Security would produce little or no savings in the immediate budget window because changes will be phased in to give people time to plan and adjust. However, "making relatively small changes now can lead to huge dividends down the road in terms of debt reduction."
In return for the public service of bring cheer and levity to the roadway, artcar artists should receive diplomatic privileges....at least vehicular ones. We should be able to park wherever we want, not pay meters, and have special plates.
12-14 June 2022, Cairo/Minya, Within the framework of implementing the project entitled “Improved Livelihoods, Nutrition and Empowerment of Rural Women and their Families affected by COVID-19 crisis in Minya Governorate - OSRO/EG/102/Canada” and its work plan, a visit to Cairo and Minya was foreseen for Mr Nikita Eriksen, GAC’s Food Security Specialist during the period 09 – 15 June 2022. Mr Eriksen is interested in the food crisis as it is a major preoccupation of senior management at Global Affairs Canada so his visit/discussion will be very relevant to informing Canada’s global and local response. He is also interested to better understand the particular challenges of the Egyptian agriculture sector and intersection with climate change
As per the attached Agenda, Mr Nikita Eriksen shall visit FAO office on the 12th of June then will undertake a field mission to Minya on the 13th and 14th of June to have an overview of the project implementation activities and attend a nutrition awareness campaign. The field mission shall take place in 2 villages: in Deir El Garnous, Maghagha District and in Derwa in Mallawi District.
Photo credit must be given: ©FAOEgypt
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
St Edmundsbury Cathedral (formally entitled the Cathedral Church of St James) is the cathedral for the Church of England's Diocese of St Edmundsbury and Ipswich. It is the seat of the Bishop of St Edmundsbury and Ipswich and is in Bury St Edmunds. Originating in the 11th century, it was rebuilt in the 12th and 16th centuries as a parish church and became a cathedral in 1914; it has been considerably enlarged in recent decades.
A church has stood on the site of the cathedral since at least 1065, when St Denis's Church was built within the precincts of Bury St Edmunds Abbey. In the early 12th century the Abbot, Anselm had wanted to make a pilgrimage along the Way of St James to Santiago de Compostela. He was unsuccessful and instead rebuilt St Denis's and dedicated the new church to Saint James, which served as the parish church for the north side of Bury St Edmunds. Anselm was also responsible for building the abbey gate tower, known today as the Norman Tower, alongside St James's, which also served as the church's belfry and it continues in this function to the present day.
This church was largely rebuilt, starting in 1503, in the Perpendicular style by John Wastell, a master mason who also worked on King's College, Cambridge. Further alterations to the building were undertaken in the 18th and 19th centuries, notably a new chancel and a hammerbeam roof by George Gilbert Scott. When the Diocese of St Edmundsbury and Ipswich was created in 1914, St James's Church was made the cathedral. In 1959 Benjamin Britten wrote the Fanfare for St Edmundsbury for a "Pageant of Magna Carta" held in the cathedral grounds.
From 1959 onwards there was renewed building work designed to transform the former parish church into a cathedral building. Between 1959 and 1970, the Victorian chancel was demolished and replaced with a new quire, a cloister was added on the west side; also transepts, a Lady chapel and a side chapel dedicated to St Edmund were built. The cathedral architect from 1943 to 1988 was Stephen Dykes Bower and he left £2 million for the completion of the cathedral. In the cathedral grounds a new choir school and visitor's centre were which were opened in 1990, built by Dykes Bower's successor, Alan Rome. Work started on a Gothic revival style tower in 2000; funded by the Millennium Commission, the Stephen Dykes Bower Trust and others, the Millennium Tower was designed by Hugh Matthew, an associate of Dykes Bower. The 150 foot (46 metre) structure was built from 600,000 bricks and faced with Barnack and Clipsham stone. Its completion was officially celebrated on 22 July 2005. Further additions are the Chapel of the Transfiguration and the East Cloister, both completed in 2009, and the Crypt Treasury in 2012.
The Dean of St Edmundsbury is the head (primus inter pares – first among equals) and chair of the chapter of canons, the ruling body of the cathedral. Before 2000 the post was designated as a provost, which was then the equivalent of a dean at most English cathedrals. The first provost was John Orpen.
Entitled Playboy Marfa and created by artist Richard Phillips, the controversial art piece was formerly located in Marfa, TX but was moved to Dallas in the Spring of 2014 when the Texas Department of Transportation deemed it illegal.
Painting entitled The Shepherdess by John Reid Murray (1861 - 1906). It was painted in the artist's adopted home town of Prestwick, Ayrshire, in the 1890s.
An oil painting on a panel and mounted in a moulded frame decorated with leaves. The subject is a shepherdess sitting under trees on a hillside watching over her flock. In the distance is the sea and blue sky with clouds.
John Reid Murray was one of the Glasgow Boys movement when graduates of the Glasgow School of Art in the nineteenth century developed their own distinctive style of painting.
For more information on the Yesterd@ys project, please visit Our Website, or email us at NAHeritage@North-Ayrshire.gov.uk
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The material began life as a Cosmopolitan magazine serial entitled A Letter To Five Wives. The first draft of the script whittled it down to four, and subsequent drafts to the trio implied by the title . . .
The letter is sent by the never-seen Addie Ross (her voice was supplied by an uncredited Celeste Holm, who brings surprising subtlety to the catty character), a "classy" woman who is the feminine ideal for all three husbands of our married heroines (Addie's actual husband went out for a paper one evening and never came back). On the day she's supposed to accompany her "dearest friends" on a charity outing for a local orphanage, she skips town sending a short note that states she has run off with one of their husbands. Unable to contact said husbands (this was the days before smart phones and wi-fi), each of the wives is left to ponder why their husband might have skipped town with Addie . . .
And all three marriages are under pressure; Deborah Bishop (Jeanne Crain) fears that she is too much a hayseed to fit in with her wealthy husband's ((Jeffrey Lynn) friends and that he still pines for his old girlfriend Addie. Rita Phipps (Ann Sothern) makes more money in a month as a radio writer than her school-teaching husband (Kirk Douglas) does in a year; also, he has a certain amused contempt for most commercial radio and thinks she has become too much a creature of her professional surroundings. Lora Mae Hollingsworth (Linda Darnell) started dating her department-store owning husband (Paul Douglas) in a cynical effort to get a promotion to help her struggling family, and keeps playing hardball until he marries her. The resolution of the story is both amusing and surprisingly touching and feels very "right," which is rare in commercial films.
Even with the same script (by Joseph Mankiewicz, who also directed), the film wouldn't have worked as well without the cast he put together. Ann Sothern had been wasted in one too many "B" movies at MGM over the past decade and would soon be lost to television--this was her first really meaty role in a long time and she was splendid as the smart, funny woman who is very aware of the pitfalls of soap-opera writing, but also of the compensations (such as the weekly salary of "one hundred pieces in the most restful shade of green"); Jeanne Crain, gets a chance to show not only her dramatic chops, but to let loose in a bit of farce (her drunken waltz on the dance floor at the country club is a genuine hoot), and Linda Darnell, given the most complicated character in the film delivers a layered and touching performance as someone whose ideas may be wrong, but they ARE definite and she's going to live by them, even if it leads to pain. This is the sort of movie that people mean when they talk about smart entertainment, something you're more likely to find on television than in movie theaters these days. Which is a pity.
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
The Inauguration of Robert Burns as Post Laureate of Canongate Kilwinning Lodge 1787.
www.lck2.co.uk/Robert_Burns_Poet_Laureat.html
www.atlasobscura.com/places/robert-burns-masonic-apron
Much has been said on the subject in recent years regarding Burn’s Laureateship but very little has been said of the extensive work on the subject by Hugh C Peacock Past Depute Master and Secretary of the Lodge 1872-73 and many years subsequently. The Book entitled “Robert Burns Poet-Laureate of Lodge Canongate Kilwinning Facts substantiating his Election and Inauguration on 1st March 1787”. The book was published in 1894 and, following the death of Peacock en route to a committee meeting, was completed by Allan Mackenzie who had been assisting in its compilation. The picture shown above was extracted from the book and its significance is fully explained by Peacock. All the details of correspondence between D Murray Lyon and Peacock/Mackenzie are detailed in the book and the evidences produced by Peacock in this publication are overwhelming. The Preface to Peacocks book written by R W Macleod Fullarton QC gives a concise view of the facts for - and the lack of facts against - the Inauguration of Canongate Kilwinning’s first Poet Laureate. The full text of Fullarton’s Preface, written in 1894, verbatim is as follows:-
“I have been asked by some of the principal Office-bearers, past and present, of Lodge Canongate Kilwinning, No. 2, to write a few words by way of Preface to the statement of the evidence, compiled mainly by Brother Allan Mackenzie, as to the formerly undoubted, but recently controverted fact that Robert Burns held the Honorary Office of Poet Laureate of that Lodge. I have accordingly gone carefully through that evidence, which is so well arranged, so exhaustive, and I may add so conclusive, that it might well be left to speak for itself. I propose, therefore, to confine my remarks to the most salient points in the evidence, and to the nature of the case sought to be made against the hitherto received tradition. And first, as to the positive evidence of the fact. Not, certainly, the oldest, but certainly the principal document in its support, is the Resolution passed on the 8th June 1815, and duly recorded in the Minutes of the Lodge, authorising a subscription for a Mausoleum to Robert Burns, who is therein described as one " who had been Poet Laureate of the Lodge" This resolution was seconded by Charles More, who was a prominent official of the Royal Bank of Scotland, who had been Depute Master of the Canongate Kilwinning Lodge, No. 2, both before and in the year 1787, (in which year Robert Burns joined the Lodge as an Honorary affiliated member, and is traditionally alleged to have been also appointed Poet Laureate of the Lodge), and who had continued in unbroken connection with the Lodge from that time to the signing of the Minute of 8th June 1815. Surely, if any man must have known whether this statement of the resolution was accurate or not, that man must have been the seconder, Brother Charles More. But it does not stop there. At the time when this resolution was passed, the Lodge included amongst its members about one hundred persons, who had been members before and during the events of 1787, many of whom had continued members down to 1815. A number of those must in the nature of things have been present at the Meeting at which the resolution was passed.
Moreover, this resolution was sent round with a subscription list to all the members, so that it must have come to the knowledge of those members who were not present. amongst the one hundred members referred to were many who knew Robert
Burns intimately, including Louis Cauvin, Burns's French Teacher ; Alexander Nasmyth, who painted his portrait ; Lord Balcarres, Dugald Stewart, Sir John Sinclair of Ulbster ; Sir Hay Campbell, President of the Court of Session ; Dr. Andrew Duncan; Sir Henry Jardine, R. W. Master, 1790; Sir Charles Hope of Granton, President of the Court of Session, who survived till 1851 ;
and many others. A Committee was appointed to carry out the object of this resolution, and on the 2nd January 1817, George Simson, Esq., Past Master of the Lodge, who appears to have acted as the Secretary, wrote to George Burnet, Esq., Advocate, R. W. Master of Canongate Kilwinning Lodge, as follows :-
I beg leave to report to you that having been furnished by your
Secretary with the sum of Twenty Guineas voted by the Lodge as a contribution towards the erection of a Mausoleum to the memory of our late Poet Laureate, Burns, I, in obedience to the instructions of the Committee, remitted that sum to the Rev. Dr. Duncan, Dumfries." From this it is evident that after eighteen months' publicity amongst all those most likely, nay certain to
know whether the statement which constituted the express ground and plea on which their subscriptions were solicited was true or false, not only had none denied it, but the Lodge itself had formally ratified and adopted it on a second occasion by voting twenty guineas to the fund on this very ground
and title. A goodly number of these hundred members must have been still alive in 1835, when Hogg, the Ettrick Shepherd, was elected to succeed Robert Burns as Poet Laureate, and when at his initiation or on the occasion of his being made a Mason, he expressly acknowledged the compliment of being
asked to succeed Robert Bums, and the Lodge toasted the memory of Burns as "the last Poet Laureate of the Lodge" Nay, some of them, e.g.
Sir Charles Hope were alive in 1845, when the Lodge resolved to commemorate the event by a Picture. All this is on record, nor is it contested that the tradition has been handed down continuously to the present time.
There is, however, one piece of documentary evidence older than any of the above entries, though not, of course, as old as the memory and knowledge of the persons above-mentioned, who were all members and contemporaries of Burns in 1787. This is the engraved portrait of Burns still hanging in the Lodge, and which appears to have been placed there in the beginning
of this century, within a few years of his death. That portrait bears a contemporary Inscription, describing him as Poet Laureate of the Lodge.
This carries the documentary evidence of the tradition back to the very beginning of the century; but the evidence does not stop there. It appears that Brother William Petrie, who was connected with several Lodges, and down to a date shortly before his death in 1845, was one of the Tylers of the Lodge, bore testimony to the fact of having been present at the
inauguration of Burns as Poet Laureate of Lodge No. 2. It is true
that Brother William Officer rejects this direct and specific evidence, on the ground that as Petrie is not recorded in Grand Lodge Books as a member of No. 2, he cannot have been a member of No. 2. But in another place (see his letter of I2th January 1889) he himself demolishes his own argument by frankly admitting that " The registration of the members of the Lodge (No. 2) in the Register of Grand Lodge in the
beginning of the present century was irregular." The same applies to the Minutes of No. 2 in the year 1787, and all the neighbouring years as Brother Mackenzie has conclusively shewn.
Neither Brother Officer nor any other person has adduced a single fact to lead one to suppose that Brother Petrie was not a truthful person or that he had any motive to give false evidence. His evidence is in entire accordance with all the current of tradition and of authority above referred to ; and in the absence of any positive evidence to the contrary is worthy of confidence and respect.
One remark falls to be made with regard to the whole of the above evidence. It is of a positive character, and is such as reasonable men are in the habit of accepting as sufficient in the absence of any positive evidence to the contrary. Is there any positive evidence to the contrary? None whatever. Those who, in recent times, have attacked the long received tradition, and in particular, Brothers Officer and Murray Lyon, rely wholly,
not on the presence of any, even the smallest contrary evidence, but only on the absence of certain records, which, if they existed, would give contemporary corroboration to the positive evidence adduced. That this is no exaggeration will be seen at a glance, if we consider the principal arguments put forward by them by way of "disproof" of the received tradition.
These are:-
1. No contemporary entry of the appointment in the Minutes of No. 2.
2. Before such appointment the office must have been created ; and this could not be done without the consent of Grand Lodge.
There is no entry of the creation, or of such consent.
3. If created, it must be annual, and re-election must be annual :
whereas there is no entry of any further election till 1835, when
(as they allege) the office was created.
4. Burns himself does not mention it.
5. The testimony adduced to prove it is not contemporaneous.
It is obvious that all this amounts to no more than pointing out what additional evidence would in their judgment place the tradition beyond all possible doubt. Not one of the five points, nor all of them together, is logically inconsistent with the truth of the positive evidence adduced.
But let us look more closely at the five points seriatim.
1. "No contemporary Minute of the appointment."
This is plainly their principal, one may say their only material point.
If such a Minute existed, where would be their case ? And yet, so far is such an entry from being necessary to satisfactory evidence of the transaction it professes to record, that in English Common Law such an entry is not admissible as any evidence at all of the transaction. The only use that could be made of it would be to refresh the memory of the person
who had made the entry, as to his own recollection of the transaction which he recorded, and then only if he had been present at the transaction.
Brother Petrie's evidence, on the contrary, though given many years after, would have been admissible primary evidence of an eye-witness. No doubt, however, apart from legal rules of evidence, the absence of any entry is a suspicious circumstance, provided it appears that the books have been regularly and carefully kept. If it appears they have been irregularly and carelessly kept, such omission would carry no weight. Which, then, is the case here ? Brother Mackenzie has conclusively shewn by many instances that the Books of No. 2 were at this time most carelessly and irregularly kept. I refer for brevity to his statement, and will quote only one instance.
The Hon. Henry Erskine is entered as elected to the chair on 24th June 1780, but no previous Minute exists to show that he ever joined the Lodge. This is the exact converse of Burns' case, where his admission as Honorary member is recorded, but not his appointment as Poet-Laureate.
It is worthy of note that the omission to record the act of making a man a Mason, or of admitting him member of a Lodge, is a much more serious omission than the omission to record a merely honorary appointment within the Lodge, which is in no way essential to the practical working of the Lodge, and might fall into desuetude without affecting that working. In point of fact, not only after Burns's death was this office left unfilled,
but twice or thrice after 1835, when Brothers Officer and Murray Lyon admit it was in existence, the Lodge omitted to fill it up, though careful to fill up those offices which are essential to the practical working and constitutional completeness of the Lodge. These omissions are duly shewn in a table of appointments inserted in Brother Mackenzie's statement. May I here be permitted to suggest that the admirable and scrupulously exact
manner in which Brother Murray Lyon keeps the Books of Grand Lodge, tends perhaps to make him too exacting in his demands upon the past.
2." Before Burns could have been appointed, the office must have been created, and this required the consent of Grand Lodge, which has no record of such consent."
This is merely an erroneous and very pedantic objection. Where is the rule of Grand Lodge forbidding any Lodge to appoint an Honorary Poet Laureate without previous solemn creation of the office with the consent of Grand Lodge? Moreover, it proves a great deal too much, and is in fact contradicted by Brothers Officer and Murray Lyon themselves. They both assert that
the office was created in 1835, and has existed since then to the present time. They deny that it existed before the appointment of Hogg. Was the appointment of Hogg preceded by any " creation of the office ? Is there any record in Grand Lodge of any previous application to Grand Lodge
for its consent to "create the office?" Or do our incredulous Brethren suggest that such application and consent was doubtless made and given, though the officials of Grand Lodge omitted to record it ? If they don't, they give up this objection as untenable. If they do, why are they so ready to believe an unrecorded transaction which has no tradition and no vestige of
evidence to support it, whilst they find it so impossible to believe an unrecorded transaction which has both evidence and tradition in its favour? If they answer " no such consent was asked or granted, because both Canongate Kilwinning, No. 2, and Grand Lodge supposed it had been obtained in 1787,"
this would still be fatal to the actual existence of the office ; moreover, they must admit that Grand Lodge assented to the truth of the tradition, and either thought its consent unnecessary, or that it had been given in 1787, though unrecorded, thus regarding the record as not essential nor conclusive.
Moreover, Grand Lodge must have considered that such office did not cease to exist, though unfilled for more than 35 years, in other words, that it need not be filled up annually.
3." If created, it must be annually vacated and filled, whereas no further election till 1835." This is sufficiently answered by the remarks just made. No one took that view in 1835, nor since. The office had then been vacant at least since Burns's death. The refilling of it then by Hogg was public and notorious, and the power of the Lodge to refill it was unquestioned, and, I may add unquestionable. The Lodge has, since then, several times omitted to fill it, when vacant, and have afterwards filled it, as of right, and without question.
The truth is, this objection also is both erroneous arid pedantic. It loses sight of the distinction between a mere honorary and non-essential office, and those which are essential to the proper constitution and working of a Lodge.
4." Burns himself does not mention it."
This objection is so trivial that it seems hardly worth answering, but as it is much insisted on, I may point out that they have not the least right to say Burns never mentioned it. All they can say is that in the very limited number of letters of his which have been preserved and published, such mention does not happen to occur. What sort of argument is that ?
They suggest that Canongate Kilwinning, No. 2, was so distinguished a Lodge, it was impossible he should not have mentioned it at the time. Well, perhaps he did. How can they prove he did not ? But let me ask them this: In February 1787, they themselves admit that this distinguished Lodge did Burns the distinguished honour of electing him an honorary member.
Where does Burns mention this fact ? And if Burns does not mention this honour, why should he mention the other? Perhaps, on second thoughts, they may suggest that the entry of February 1st 1787 cannot be true, because, if true, Burns must have mentioned it ! That would at least make their argument consistent.
5. "The testimony adduced is not contemporaneous"
That depends upon what "contemporaneous" evidence means. If it means what it means in ordinary usage, in Courts of Law, or in historical evidence, then it is contemporaneous i.e. it is evidence derived from the assertions, or the acts of contemporaries who were, in a position to know, or who claim to have such knowledge. Brother Charles More and Brother Petrie are both of this class, and so are all those who were continuously members of the Lodge during 1787, and thence to 1815, nay, some of them to 1835, when Hogg was elected expressly as his successor, and even to 1845, when the picture commemorative of it was sanctioned. The meaning which our objecting brethren put on the word is singular.
They say that Brother Petrie's testimony that he was present and saw the fact is not contemporary, because it (the testimony) was not given at the time of the occurrence itself! That the witness was there at the time is nothing ! The question is, did he give his evidence on the spot where and when the occurrence took place ! This sense of "contemporaneous testimony," is unique, and the laws of time and space and common sense are likely to keep it so.
To sum up, there is a large body of evidence, direct and indirect, including the assertions, acts and conduct of those most likely to know and most entitled to speak and to be believed. There is a continuous, and, till recent times, unchallenged tradition resting on that evidence.
On the other side there is no evidence to the contrary, but only an eager insistence upon the absence of certain additional evidence, mainly inadmissible in Law, even if it existed, and all of it such as not to present any logical contradiction of any part of the positive evidence in favour of the fact. It is not too much to say that nothing could ever be proved, if the absence of additional proof were admitted to countervail positive evidence of the fact.~”
R. W. MACLEOD FULLARTON, Q.C.
M.M., No. 2, P.J. W., No. 770,
and Grand Bard, Grand Lodge of Scotland.
Mural entitled "The Golden Muse" designed by Professor Tim Parsley and executed by Teaching Assistants and student apprentices for Art Works Cincinnati. Seen in the Over the Rhine area of Cincinnati, Ohio.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-17-204
IMMIGRATION STATUS VERIFICATION FOR BENEFITS: Actions Needed to Improve Effectiveness and Oversight
The inauguration of the ‘Mirrored Painting’ by Italian artist Michelangelo Pistoletto, entitled 'Ritratto di Paolo Nespoli - Astronauta, Missione VITA', took place on 28 March 2018 at ESRIN, ESA’s centre for Earth observation in Frascati, Italy, as the climax of a joint initiative and a permanent symbol of the important link between space and art. The event hosted by the Head of ESA ESRIN and ESA's Director of Earth Observation Programmes Josef Aschbacher, was attended by ESA astronaut Paolo Nespoli, Michelangelo Pistoletto, ASI representative Fabrizio Zucchini and RAM radiartemobile representatives Dora Stiefelmeier and Mario Pieroni.
This original piece of art, created by famous artist Michelangelo Pistoletto who is known as one of the founding fathers of the Italian Arte Povera contemporary art movement, features a full-scale representation of ESA astronaut Paolo Nespoli. For Paolo’s VITA mission, ESA and ASI developed original ‘space and art’ initiatives as part of the communication activities to actively involve wider audiences. This began with Pistoletto’s development with ESA of the official patch for Paolo’s mission, which includes the artist’s symbol of his Third Paradise concept in the artwork.
A natural continuation of this cooperation was the ‘SPAC3’ app, which allowed users to select and combine Paolo’s images from space with their own photos. This activity was intended to draw attention to the wellbeing of our planet, and was inspired by the Sustainable Development Goals of the United Nations. These provided the basis for Paolo’s choice of photos, and the app users could respond with their own photos on the same theme.
As a social artwork project, SPAC3 demonstrated that the two worlds of art and science can work together with the common objective of highlighting issues affecting our planet, and showed how involving a wider public could contribute to the vision and become part of this collective work. This joint initiative was made possible via a partnership between ESA and RAM radioartemobile, in cooperation with ASI and Cittadellarte-Fondazione Pistoletto.
Photos: ESA – M. Valentini
Pier 40 (West Houston Street & West Side Highway), NYC
by navema
A beautiful ceramic mural entitled “The Shipping Mural” created by Frank Nix in 1963 showcases is situated in the lobby of Pier 40 (built in the early 1960s as a passenger ship terminal for the Holland-America lines).
Holland-America built the 14.5-acre square wharf to serve both the transatlantic passenger and cargo trade. It is the largest pier on the river. This 12-by-20-foot mural shows a map of Europe with Holland America's ports of call and the four vessels that sailed under the name Rotterdam, as well as symbols including the Atomium built for the 1958 Brussels World's Fair. The company's Cruise Ship Lines used the pier by 1970, then relocated their headquarters to Seattle in 1983. The pier was subsequently used as a warehouse and Federal Express distribution center. The wharf is currently part parking garage and recreation complex.
Built by filling in several piers in 1963, Pier 40 was one of the last attempts by the City of New York to reinvest and retain some of the commercial cargo shipping industry on it's shores, which by the 1960's had all but abandoned Manahttan in favor of Brooklyn & New Jersey. Constructed with the most up-to-date technology in breakbulk cargo apparatus and conveniently located across the street from the terminus of the High Line Railroad at the St. Johns Freight Terminal, Pier 40 was used by the Holland America Line for several years before they ceased their freight operations in 1973, leaving Pier 40 unused.
With a footprint of over 14 acres, Pier 40 is one of the largest piers in New York City, something which may have stayed it's demolition while many of the other piers on Manhattan's West Side were razed. Following years of inactivity aside from providing storage for unused vessels and as a NYCDOT parking garage, Pier 40 is now home to approximately 2,200 long-term public parking spaces and the current Hudson River Park Trust offices. Around the entire perimeter of Pier 40 is a public esplanade and the pier spaces are utilized by excursion boats, historical ships, kayak rental companies and as of 2009, the temporary home for FDNY Marine 1, one of three operational fireboats in New York City. The pier also has both indoor and outdoor athletic fields for use by soccer, football, rugby, lacrosse and baseball/softball players.
From my set entitled “Lily of the Valley”
www.flickr.com/photos/21861018@N00/sets/72157607213707592/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Convallaria
Convallaria majalis, commonly known as the Lily of the Valley or Lily-of-the-Valley, is the only species in the genus Convallaria in the flowering plant family Ruscaceae, formerly placed in the lily family Liliaceae or in its own family called Convallariaceae. This woodland plant is native throughout the cool temperate Northern Hemisphere in Asia and Europe and a limited native population in Eastern USA [1] (Convallaria majalis var. montana). There is, however, some debate as to the native status of the American species.[2] It is a herbaceous perennial plant that forms extensive colonies by spreading underground stems called rhizomes that send out stolons. These send up numerous stems each spring. The stems grow to 15-30 cm tall, with one or two leaves 10-25 cm long, flowering stems have two leaves and a raceme of 5-15 flowers on the stem apex. The flowers are white tepals (rarely pink), bell-shaped, 5-10 mm diameter, and sweetly scented; flowering is in late spring, in mild winters in early March. The fruit is a small orange-red berry 5-7 mm diameter that contains a few large whitish to brownish colored seeds that dry to a clear translucent round bead 1 to 3 mm wide. Plants are self-sterile, and colonies of one clone do not set seed.[3]
There are three subspecies [4] that have sometimes been separated out as distinct species by a few botanists.
Convallaria majalis var. keiskei - from China and Japan with red fruit and bowl shaped flowers
Convallaria majalis var. majalis - from Eurasia with white midribs on the flowers.
Convallaria majalis var. montana - from the USA with green tinted midribs on the flowers.
All parts of the Lily of the Valley are highly poisonous, containing cardiac glycosides and saponins, although the plant has been used as a folk remedy in moderate amounts[5]. If the plant is touched or handled, hands should be washed before doing anything else.
Convallaria majalis is a popular garden plant, grown for the scented flowers. A number of different forms are grown including plants with double flowers, rose colored flowers, plants with variegated foliage and forms with larger size. Some consider it a weed, because it can spread over a wide area of gardens and other places where it is planted and can be difficult to contain or remove.
Lily of the Valley is used as a food plant by the larvae of some Lepidoptera species including Grey Chi.
The flower is also known as Our Lady's tears since, according to Christian legend, the tears Mary shed at the cross turned to Lilies of the Valley. According to another legend, Lilies of the Valley also sprang from the blood of St. George during his battle with the dragon. Other names include May Lily, May Bells, Lily Constancy, Ladder-to-Heaven, Male Lily and Muguet.
Traditionally, Lily of the Valley is sold in the streets of France on May 1. Lily of the Valley became the national flower of Finland in 1967. The Norwegian municipality Lunner has a Lily of the Valley in its coat-of-arms. It is the official flower of Alpha Delta Phi fraternity, Pi Kappa Alpha fraternity, Kappa Sigma fraternity, Delta Omicron fraternity, Alpha Epsilon Phi sorority, and Alpha Phi sorority.
The name "Lily of the Valley" is also used in some English translations of the Bible in Song of Songs 2:1, although whether or not the Hebrew word "shoshana" (usually denoting a rose) originally used there refers to this species is uncertain. The meaning of this flower is "You will find Happiness."
From my set entitled “Boats and Ships”
www.flickr.com/photos/21861018@N00/3206986832/in/set-7215...
In my collection entitled “Transportation”
www.flickr.com/photos/21861018@N00/collections/7215761271...
In my photostream
www.flickr.com/photos/21861018@N00/
From my set entitled “Jamestown”
www.flickr.com/photos/21861018@N00/sets/72157606230698243/
In my collection entitled “Virginia: Beach, Williamsburg, Jamestown, Yorktown: May 2008”
www.flickr.com/photos/21861018@N00/collections/7215760622...
Reproduced from Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Jamestown,_Virginia
Jamestown (originally also called "James Towne" or "Jamestowne") is located on the James River in what is currently James City County in the Commonwealth of Virginia. The site is about 40 miles (62 km) inland from the Atlantic Ocean and the entrance to the Chesapeake Bay and about 45 miles (70 km) downstream and southeast of the current state capital city of Richmond. Both the river and the settlement were named for King James I of England, who was on the throne at the time, granted the private proprietorship to the Virginia Company of London's enterprise.
The location at Jamestown Island was selected primarily because it offered a favorable strategic defensive position against other European forces which might approach by water. However, the colonists soon discovered that the swampy and isolated site was plagued by mosquitoes and tidal river water unsuitable for drinking, and offered limited opportunities for hunting and little space for farming. The area was also inhabited by Native Americans (American Indians).
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
Despite inspired leadership of John Smith, chaplain Robert Hunt and others, starvation, hostile relations with the Indians, and lack of profitable exports all threatened the survival of the Colony in the early years as the settlers and the Virginia Company of London each struggled. However, colonist John Rolfe introduced a strain of tobacco which was successfully exported in 1612, and the financial outlook for the colony became more favorable. Two years later, Rolfe married the young Indian woman Pocahontas, daughter of Wahunsunacock, Chief of the Powhatan Confederacy, and a period of relative peace with the Natives followed. In 1616, the Rolfes made a public relations trip to England, where Pocahontas was received as visiting royalty. Changes by the Virginia Company which became effective in 1619 attracted additional investments, also sowing the first seeds of democracy in the process with a locally-elected body which became the House of Burgesses, the first such representative legislative body in the New World.
Throughout the 17th century, Jamestown was the capital of the Virginia Colony. Several times during emergencies, the seat of government for the colony was shifted temporarily to nearby Middle Plantation, a fortified location on the high ridge approximately equidistant from the James and York Rivers on the Virginia Peninsula. Shortly after the Colony was finally granted a long-desired charter and established the new College of William and Mary at Middle Plantation, the capital of the Colony was permanently relocated nearby. In 1699, the new capital town was renamed Williamsburg, in honor of the current British king, William III.
After the capital was relocated, Jamestown began a gradual loss of prominence and eventually reverted to a few large farms. It again became a significant point for control of the James River during the American Civil War (1861–1865), and then slid back into seeming oblivion. Even the Jamestown Exposition of 1907 was held elsewhere, at a more accessible location at Sewell's Point, on Hampton Roads near Norfolk.
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Beginning in 1893, 22.5 acres of the Jamestown site were acquired by the Association for the Preservation of Virginia Antiquities. A crucial sea wall was built in 1900 to protect the shoreline near the site of James Fort from further erosion. In the 1930s, the Colonial National Historical Park was established to protect and administer Jamestown, which was designated a National Historic Site. The U.S. National Park Service acquired the remaining 1,500 acres (6.1 km²) of Jamestown Island through eminent domain in 1934.
For the 350th anniversary in 1957, Jamestown itself was the site of renewed interest and a huge celebration. The National Park Service provided new access with the completion of the Colonial Parkway which led to Williamsburg, home of the restored capital of Colonial Williamsburg, and then on to Yorktown, the other two portions of Colonial Virginia's Historic Triangle. Major projects such as the Jamestown Festival Park were developed by non-profit, state and federal agencies. Queen Elizabeth II of Great Britain and Prince Philip attended. The 1957 event was a great success. Tourism became continuous with attractions regularly updated and enhanced.
The two major attractions at Jamestown are separate, but complementary to each other. The state-sponsored Jamestown Settlement near the entrance to Jamestown Island includes a recreated English Fort and Native American Village, extensive indoor and outdoor displays, and features the three popular replica ships. On Jamestown Island itself, the National Park Service operates Historic Jamestowne. Over a million artifacts have been recovered by the Jamestown Rediscovery project with ongoing archaeological work, including a number of exciting recent discoveries.
Early in the 21st century, in preparation for the Jamestown 2007 event commemorating America's 400th Anniversary, new accommodations, transportation facilities and attractions were planned. The celebration began in the Spring of 2006 with the sailing of a new replica Godspeed to six major East Coast U.S. cities, where several hundred thousand people viewed it. Queen Elizabeth II and Prince Phillip joined America's festivities on an official state visit to Jamestown in May 2007.
From my set entitled “Peonies”
www.flickr.com/photos/21861018@N00/sets/72157607186459134/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.
Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.
The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower
The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.
The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.
In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".
Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.
In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.
Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).
Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.
Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.
Peonies are a common subject in tattoos, often used along with koi-fish.
From my set entitled “Boats and Ships”
www.flickr.com/photos/21861018@N00/3206986832/in/set-7215...
In my collection entitled “Transportation”
www.flickr.com/photos/21861018@N00/collections/7215761271...
In my photostream
www.flickr.com/photos/21861018@N00/
From my set entitled “Jamestown”
www.flickr.com/photos/21861018@N00/sets/72157606230698243/
In my collection entitled “Virginia: Beach, Williamsburg, Jamestown, Yorktown: May 2008”
www.flickr.com/photos/21861018@N00/collections/7215760622...
In my photostream
www.flickr.com/photos/21861018@N00/
Reproduced from Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Jamestown,_Virginia
Jamestown (originally also called "James Towne" or "Jamestowne") is located on the James River in what is currently James City County in the Commonwealth of Virginia. The site is about 40 miles (62 km) inland from the Atlantic Ocean and the entrance to the Chesapeake Bay and about 45 miles (70 km) downstream and southeast of the current state capital city of Richmond. Both the river and the settlement were named for King James I of England, who was on the throne at the time, granted the private proprietorship to the Virginia Company of London's enterprise.
The location at Jamestown Island was selected primarily because it offered a favorable strategic defensive position against other European forces which might approach by water. However, the colonists soon discovered that the swampy and isolated site was plagued by mosquitoes and tidal river water unsuitable for drinking, and offered limited opportunities for hunting and little space for farming. The area was also inhabited by Native Americans (American Indians).
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
Despite inspired leadership of John Smith, chaplain Robert Hunt and others, starvation, hostile relations with the Indians, and lack of profitable exports all threatened the survival of the Colony in the early years as the settlers and the Virginia Company of London each struggled. However, colonist John Rolfe introduced a strain of tobacco which was successfully exported in 1612, and the financial outlook for the colony became more favorable. Two years later, Rolfe married the young Indian woman Pocahontas, daughter of Wahunsunacock, Chief of the Powhatan Confederacy, and a period of relative peace with the Natives followed. In 1616, the Rolfes made a public relations trip to England, where Pocahontas was received as visiting royalty. Changes by the Virginia Company which became effective in 1619 attracted additional investments, also sowing the first seeds of democracy in the process with a locally-elected body which became the House of Burgesses, the first such representative legislative body in the New World.
Throughout the 17th century, Jamestown was the capital of the Virginia Colony. Several times during emergencies, the seat of government for the colony was shifted temporarily to nearby Middle Plantation, a fortified location on the high ridge approximately equidistant from the James and York Rivers on the Virginia Peninsula. Shortly after the Colony was finally granted a long-desired charter and established the new College of William and Mary at Middle Plantation, the capital of the Colony was permanently relocated nearby. In 1699, the new capital town was renamed Williamsburg, in honor of the current British king, William III.
After the capital was relocated, Jamestown began a gradual loss of prominence and eventually reverted to a few large farms. It again became a significant point for control of the James River during the American Civil War (1861–1865), and then slid back into seeming oblivion. Even the Jamestown Exposition of 1907 was held elsewhere, at a more accessible location at Sewell's Point, on Hampton Roads near Norfolk.
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Beginning in 1893, 22.5 acres of the Jamestown site were acquired by the Association for the Preservation of Virginia Antiquities. A crucial sea wall was built in 1900 to protect the shoreline near the site of James Fort from further erosion. In the 1930s, the Colonial National Historical Park was established to protect and administer Jamestown, which was designated a National Historic Site. The U.S. National Park Service acquired the remaining 1,500 acres (6.1 km²) of Jamestown Island through eminent domain in 1934.
For the 350th anniversary in 1957, Jamestown itself was the site of renewed interest and a huge celebration. The National Park Service provided new access with the completion of the Colonial Parkway which led to Williamsburg, home of the restored capital of Colonial Williamsburg, and then on to Yorktown, the other two portions of Colonial Virginia's Historic Triangle. Major projects such as the Jamestown Festival Park were developed by non-profit, state and federal agencies. Queen Elizabeth II of Great Britain and Prince Philip attended. The 1957 event was a great success. Tourism became continuous with attractions regularly updated and enhanced.
The two major attractions at Jamestown are separate, but complementary to each other. The state-sponsored Jamestown Settlement near the entrance to Jamestown Island includes a recreated English Fort and Native American Village, extensive indoor and outdoor displays, and features the three popular replica ships. On Jamestown Island itself, the National Park Service operates Historic Jamestowne. Over a million artifacts have been recovered by the Jamestown Rediscovery project with ongoing archaeological work, including a number of exciting recent discoveries.
Early in the 21st century, in preparation for the Jamestown 2007 event commemorating America's 400th Anniversary, new accommodations, transportation facilities and attractions were planned. The celebration began in the Spring of 2006 with the sailing of a new replica Godspeed to six major East Coast U.S. cities, where several hundred thousand people viewed it. Queen Elizabeth II and Prince Phillip joined America's festivities on an official state visit to Jamestown in May 2007.
A plenary session entitled «Major Sports Events as a Favourable Business Investment and Sustainable Development Stimulus: Maximizing Economic, Social and Environmental Legacy of the 2014 Sochi Games » has taken place in the framework of the X Investment Forum in Sochi. In the course of the event, representatives of federal, regional and city authorities as well as heads of the “Sochi 2014” partner companies discussed the Games’ legacy for Russia as well as viewed major sports events as a catalyst for developing the investment potential of the regions, and as a platform for their sustainable development.
An exhibition entitled “PolandIn.” was held on the sidelines of the Assemblies of WIPO Member States, which met from September 24 to October 2, 2018.
It showcased the most important, most modern, and – in many cases – also iconic achievements of Polish technical know-how and design. WIPO co-organized the event with the Patent Office of the Republic of Poland and the Ministry of Culture and National Heritage of the Republic of Poland.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
... or as some of my flickr buddies might entitle it- "back from the dead".
Here I am still apologizing for my absence, but the intensive overtime is waning so I'm hoping to get back to more frequent visits to your photostreams in a week or so. I've been missing everyone like crazy and haven't even had a camera in my hand except for a few hours in almost two months. SERIOUS withdrawl.
The good news- for me!- is that I'm taking a "history of photography" class at Harvard in the evenings beginning at the end of the month. One of the perks of working at Harvard that I really appreciate.
I hope everyone's well!
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
From my set entitled “Bleeding Heart”
www.flickr.com/photos/21861018@N00/sets/72157607186479750/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Dicentra
Dicentra spectabilis also known as Venus's car, bleeding heart, Dutchman's trousers, or lyre flower, is a perennial herbaceous plant native to eastern Asia from Siberia south to Japan. This species of bleeding heart can grow to 24"-36" tall and has ternately compound leaves (leaflets that come in threes). The flowers are pendulous, shaped much like hearts, produced in a raceme bearing 3-15 individual flowers, each one 1-2" long, with pink outer petals and white inner petals. The flowering season is from early spring to mid summer. The common name of this plant, bleeding heart, comes from the heart-shaped flowers which have a longer inner petal that extends below the 'heart'.
It is a popular ornamental plant for flower gardens in temperate climates, and is also used in floristry as a cut flower. It can be a full sun plant if in a cool area but in a warm climate, prefers semi-shaded areas. It needs to be kept moist and prefers neutral to alkaline soil with good drainage although these plants can tolerate heavy clay soil as well.
It is prone to aphids, slugs and snails, which cause damage to its leaves. Propagation is by sowing the seeds when fresh. It can also be divided, preferably in the late fall or early spring. However, contact with the plant can cause skin irritation because the entire plant is toxic, so should be handled with gloves and long sleeves.
Several cultivars have been selected, including 'Alba', with pure white flowers, and 'Goldheart', a relatively new cultivar developed at Hadspen Garden in England and introduced in 1997 with fuchsia-coloured flowers that drop from the stem in a row, and yellow foliage that turns lime green by mid summer.
2022 View from the Lobby - RCA - GE Building 30 Rock Rockefeller Plaza Center in New York City - winter - 11/16/2022 NYC - large mural by the Catalan artist Josep Maria Sert entitled - American Progress - depicting a vast allegorical scene of men constructing modern America in the Grand Lobby - The ceiling figures appear to change leg position depending where you're standing in the lobby below optical illusion of perspective
From my set ewntitled “Lilies”
www.flickr.com/photos/21861018@N00/sets/72157607186495368/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Daylilies comprise the small genus Hemerocallis of flowering plants in the family Hemerocallidaceae. They are not true lilies which are Lilium in Liliaceae.
These plants are perennial. The name Hemerocallis comes from the Greek words ἡμέρα (hēmera) "day" and καλός (kalos) "beautiful". The flowers of most species open at sunrise and wither at sunset, possibly replaced by another one on the same stem the next day. Some species are night-blooming. Daylilies are not commonly used as cut flowers for formal flower arranging, yet they make good cut flowers otherwise as new flowers continue to open on cut stems over several days.
Originally native from Europe to China, Korea, and Japan, their large showy flowers have made them popular worldwide. There are over 60,000 registered cultivars. Only a few cultivars are scented. Some cultivars rebloom later in the season, particularly if their developing seedpods are removed.
Daylilies occur as a clump including leaves, the crown, and the roots. The long, often linear lanceolate leaves are grouped into opposite flat fans with leaves arching out to both sides. The crown of a daylily is the small white portion between the leaves and the roots, an essential part of the fan. Along the flower stem or scape, small leafy "proliferations" may form at nodes or in bracts. These proliferations form roots when planted and are the exact clones of the parent plant. Some daylilies show elongated widenings along the roots, made by the plant mostly for water storage and an indication of good health.
The flower consists of three petals and three sepals, collectively called tepals, each with a midrib in the same or in a contrasting color. The centermost section of the flower, called the throat, has usually a different and contrasting color. There are six stamens, each with a two-lobed anther. After pollination, the flower forms a pod.
Daylilies can be grown in USDA plant hardiness zones 1 through 11, making them some of the most adaptable landscape plants. Most of the cultivars have been developed within the last 100 years. The large-flowered clear yellow 'Hyperion', introduced in the 1920s, heralded a return to gardens of the once-dismissed daylily, and is still widely available. Daylily breeding has been a specialty in the United States, where their heat- and drought-resistance made them garden standbys during the later 20th century. New cultivars have sold for thousands of dollars, but sturdy and prolific introductions soon reach reasonable prices.
'Kwanzo' - a triple-flowered triploid cultivar
Tawny Daylily Hemerocallis fulva, and sweet-scented H. lilioasphodelus (H. flava is an illegitimate name), colloquially called Lemon Lily, were early imports from England to 17th century American gardens and soon established themselves. Tawny Daylily is so widely growing wild that it is often considered a native wildflower. It is called Roadside or Railroad Daylily, and gained the nickname Wash-house or Outhouse Lily because it was frequently planted at such buildings.
Hemerocallis is one of the most hybridized of all garden plants, with registrations of new hybrids being made in the thousands each year in the search for new traits. Hybridizers have extended the plant's color range from the yellow, orange, and pale pink of the species, to vibrant reds, purples, lavenders, greenish tones, near-black, near-white, and more. However, a blue daylily is a milestone yet to be reached.
Other flower traits that hybridizers develop include height, scent, ruffled edges, contrasting "eyes" in the center of the bloom, and an illusion of glitter or "diamond dust." Sought-after improvements in foliage include color, variegation, disease resistance, the ability to form large, neat clumps and being evergreen or semi-evergreen instead of herbaceous (also known as "dormant" — the foliage dies back during the winter.)
A recent trend in hybridizing is to focus on tetraploid plants, with thicker petal substance and sturdier stems. Until this trend took root, nearly all daylilies were diploid. "Tets," as they are called by aficionados, have double the number of chromosomes as a diploid plant.[1] Only one cultivar is known to be triploid, the brilliant orange 'Kwanzo' or 'Kwanso,' which cannot set seed and is reproduced solely by underground runners (stolons) and division. Usually referred to as a "double," meaning producing flowers with double the usual number of petals (e.g., daylily 'Double Grapette'), 'Kwanzo' actually produces triple the usual number of petals.
The flowers of some species are edible and are used in Chinese cuisine. They are sold (fresh or dried) in Asian markets as gum jum or golden needles (金针 in Chinese; pinyin: jīnzhēn) or yellow flower vegetables (黃花菜 in Chinese; pinyin: huánghuācài). They are used in hot and sour soup, daylily soup (金針花湯), Buddha's delight, and moo shu pork. The young green leaves and the tubers of some (but not all[citation needed]) species are also edible. The plant has also been used for medicinal purposes. Care must be use as some species can be toxic.
This creation is entitled “Charleston Mansion.” This mansion is an example of antebellum architecture which typifies the homes along the battery of Charleston Harbor in South Carolina. The mansion has three floors flanked by galleries, a large attic with a dormer window and is crowned with a belvedere from where one can view Fort Sumter across Charleston Harbor. It has a private balcony on the third floor as well as a two-story solarium at the back of the house. The mansion is 22 inches wide, 21 inches in length and 27 inches tall and is landscaped with lush shrubbery, flowers and palmetto trees.
Private press book entitled 'Men & Women Volume I' by Robert Browning. Printed by T.J.Cobden-Sanderson and E.Walker at the Doves Press, published 1908 from the first edition of 1855. From the library belonging to Emery Walker.
One of 13 vellum copies. Type set by J.H. Mason and embellished by hand by Edward Johnston. Text printed in red and black with shoulder notes in red. Contents page hand painted in alternating blue and green with flower motifs. Poem titles printed in red, flourished with alternating blue or green. Bound by the Doves bindery in limp vellum with title in gilt on the spine.
CAGM.1991.1016.996.X2
From my set entitled “Goatsbeard”
www.flickr.com/photos/21861018@N00/sets/72157607213997694/
www.flickr.com/photos/21861018@N00/sets/72157607217763461/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Aruncus is a genus of herbaceous plants in the Rosaceae, subfamily Spiraeoideae. Botanical opinion of the number of species differs, with from one to four species accepted.
Aruncus dioicus (Goatsbeard) is native to the temperate Northern Hemisphere, occurring throughout the cooler parts of Europe, Asia and North America. In the broad sense, this is the only species in the genus, with the species below treated as synonyms or varieties of it by some botanists.
Aruncus aethusifolius (Dwarf Goatsbeard or Korean Goatsbeard) has a restricted range, limited to Korea in eastern Asia.
Aruncus gombalanus (Yunnan Goatsbeard) occurs in the mountains of northwest Yunnan and adjacent Tibet.
Aruncus sylvester (Asian Goatsbeard) covers the widespread Asian forms of A. dioicus.
The genus was formerly treated as part of the related genus Spiraea.
Characteristics - A. sylvester For two weeks in early summer, each 4- to 6-foot stalk of goatsbeard is crowned with a 6- to 10-inch plume of tiny blossoms. Because the flowering season is relatively short and the foliage is tall, goatsbeard is generally placed at the back of a border, but it is also dramatic when massed alone as a separate planting. Its tolerance for partial shade and wet soil makes it popular in woodland gardens.
Goatsbeard does well in USDA Plant Hardiness Zones 4-9 in almost any soil, in sun, or light shade. Set plants approximately 18 - 24 inches apart. To get new plants, divide clumps in spring or fall; otherwise clumps can remain undisturbed indefinitely.
Medical Uses - A poultice from the root is applied to bee stings. A tea made from the roots is used to allay bleeding after child birth, to reduce profuse urination and to treat stomach pains, diarrhea, gonorrhea, fevers and internal bleeding. Use the root tea externally to bathe swollen feet and rheumatic joints. A salve made from the root ashes can be rubbed onto sores.