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Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008)
The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour
From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty
Existence has been variously defined by sources. In common usage, it is the world one is aware or conscious of through one's senses, and that persists independently in one's absence. Other definitions describe it as everything that 'is', or more simply, everything. Some define it to be everything that most people believe in. Aristotle relates the concept to causality.
inspired by @mariesoaerial shot "plier"
“There are patterns which emerge in one's life, circling and returning anew, an endless variation of a theme”
― Jacqueline Carey, Kushiel's Chosen
The existence of the revered sanctuary of Zeus Olympios was the principal reason for founding the city named after the god, Dion adjacent to the sanctuaries. Textual sources and archaeological finds bear witness to the presence of a sizeable settlement already in the second half of the 5th century BC. The enhancement of Dion as central sacred place of the Macedonians contributed to the development of the city, which in Hellenistic times was famed and wide for its fortification and its plendid monuments. Built on level ground and square in shape, its urban plan was laid out according to the Hippodamean grid system. Because of the several successive building phases in the city, the remnants dating from the Hellenistic period are found at great depth.
In 169 BC Dion was captured by the Romans consul Marcius Philippus. Shortly after the naval battle of Actium (30 BC), Roman citizens settled in the city, founding a colony officially named Colonia Julia Diensis. Dion enjoyed an economic and cultural heyday during the 2nd and in the early 3rd century AD. There are strong signs of a renaissance of Classical Greek civilisation and a revial of memories of the time of Alexander the Great. In this period there was extensive rebuilding of the political centre of the colony, with the construction of luxirious public and private edifices.
The epicenter of public life in Dion was always at the south entrance to the city, next to the gateway leading to the sanctuaries. The main road (cardo) of Dion ran through the city from north to south, linking the corresponding gateways in the wall. It was charted in Hellenistic times bu was not paved until the 3rd century AD. The excavation of porticoes along the kerb revealed that this street was a via colonnata.
Public buildings, bathouses, exercise facilities, infrastructures for accomodation and dining, shops and opulent residences lined both sides of the cardo. Along the wast side there were pubic lavatories and a row of shops and workshops, inside were found remains of the processing of raw materials, storage jars, coins, tools, weights and measures.
Quorn.
The first European squatters and pastoralists arrived in the Quorn area in the 1850s but the town did not come into existence until 1875. It was named after Quorn in Leicestershire by Governor Jervois whose private secretary came from there. South Australian Railways chose the site for the town of Quorn and in 1878 the government sold the first blocks of land. In 1879 Quorn became the first terminus of the Great Northern Railway line from Port Augusta. The current station with its charming Dutch gables was built in 1916. However Quorn’s greatest period of importance as a railway centre was between 1917 and 1937 when it was the junction for both the western line to Perth and the northern line to Oodnadatta and Alice Springs. This importance continued during World War II when over 400 people in the town were employed by the railways as it was a major troop stop over point with the Country Women’s Association providing over 1 million meals to the servicemen. The establishment of a new standard gauge railway to Marree and the Leigh Creek coal fields west of the Flinders Ranges in 1956 saw the town decline. The various hotels in the main street located to service the needs of travelling rail passengers then became a movie set for several films including: The Sundowners, Sunday Too Far Away, Robbery under Arms, The Shiralee and more recently Gallipoli.
Quorn’s early development was similar to that of many SA towns. One of the first structures (1878) was a flour mill for the wheat farmers built by Mr Cowan. Mr Dunn the wealthy flour miller of Mt Barker built a second three storied flour mill in 1879. It was converted to a motel in the 1960s and is now a backpacker’s accommodation centre. Other early buildings were the Austral Hotel (1878), where many of us will stay, and the Criterion Hotel built in 1881 and the Transcontinental Hotel in 1878. The first National Bank opened in 1878, along with the Post Office, the Court House (1879) and Matthews Emporium (1886). The first church in town was a Methodist Church in 1880, followed by the Anglican (1880 replaced in 1897), Catholic (1883), the Salvation Army Hall in 1884(now a gallery) and the Lutheran Church in 1890. Three years after its founding, Quorn had a population of 540 and was the 19th largest town north of Adelaide! A reservoir was made for the railways and the town. Other important public town buildings were the Institute (1881) and the Town Hall (1907). A school started soon after the founding of the town and in 1909 it became a Higher Primary School and then in 1914 it became a High School. It was the first high school in the north of SA. Quorn continued to grow in importance once the railway was extended from Quorn through to Oodnadatta in 1891.
Colebrook Home in Quorn was established by the Australian Aborigines Mission. It began as a children’s home for Aboriginals in Oodnadatta in 1926 .In 1927 the home moved to Quorn with 12 children in residence. In 1933 the Mission got a new house, 2 miles outside Quorn and in 1935 the 30 resident children were sent to Magill for the summer holidays. This practice continued until 1940 when the children spent the summer holidays at Eden Hills. Following this, the Mission established Colebrook Children’s Home at Eden Hills. Among the children raised at Colebrook were several prominent Aboriginal leaders in SA including Lowitcha O’Donoghue, Faith Thomas and Ruby Ahchee( Hammond).
Adding colour to my life is perhaps the best way to describe the effect on me when I became Jojo. No more boring clothes or seemingly like everyone else it would seem that need to hide the fact that I like sex and being sexy. As Christopher I felt like I was trapped in some sort of cage and it led to poor self-esteem as I didn't like myself as what I could see was not the real me or the dreams in my head. I never thought there would be a way but thankfully the times changed and at last I was able to step out into the sunshine and now I am trangendered enough to be happy..
Gangaikonda Cholapuram (Tamil: கங்கைகொண்ட சோழபுரம்) was built during medieval India and was erected as the capital of the Cholas by Rajendra Chola I, the son and successor of Rajaraja Chola, the great Chola who conquered a large area in South India, Sri Lanka, Bangladesh, Sumatra, Kadaram (Kedah in Malaysia), Cambodia and others at the beginning of the 11th century A.D. It occupies an important place in the history of India. As the capital of the Cholas from about 1025 A.D. for about 250 years, the city controlled the affairs of entire southern India, from the Tungabhadra in the north to Ceylon in the south and other south east Asian countries. As of 2014, the ancient city exists as a small forlorn village in the Ariyalur district of Tamil Nadu, India. The great temple of Siva at this place is next only to the Brihadisvara temple at Thanjavur in its monumental nature and surpasses it in sculptural quality. The Gangaikondaan temple is an architectural and engineering marvel.
CITY
The city was founded by Rajendra Chola to commemorate his victory over the Pala Dynasty. The name means The town of the chola who brought Ganga (water from Ganga) or who defeated (the kings near) Ganga. It is now a small village, its past eminence only remembered by the existence of the great Siva Temple. Rajendra Chola-I (1012-1044 A.D) son of the Great Rajaraja-I, established this temple after his great victorious march to river Ganges on Northern India. He assumed the title of Rajendra during his coronation and continued to rule along with his father Rajaraja-I for a while. He was awarded the supreme title of the Cholas known as Parakesari.
Rajendra-I, a great warrior, assisted his father in numerous expeditions to elevate the Cholas to supreme power. The various expeditions he conducted, were : Gangetic expedition, eastern/Western Chalukyas expedition, war against Cheras/Pandyas, Ceylon expedition, Kataram (currently called as Kedah) expedition.
His empire included the whole of southern India to the river Thungabathra in the north. For administrative and strategic purposes he built another capital and named it Gangaikondacholapuram. The Gangaikondacholapuram temple he constructed consists of 3 stories and was surrounded by a huge fort-like wall, the outer wall largely destroyed during the English rule (1896) to reuse the building material (granite rocks) for constructing the Lower Anicut, the dam built across river Kollidam. He built around 10 temples at various places.
He assumed the title of Gangaikonda Cholan and named his new capital as Gangaikondacholapuram and he also constructed a huge Lake known as Chola Gangam that spreads 22 km mainly used for drinking and irrigation. A statue of Rajendra-I is found in Kolaram temple at Kolar of Karnataka state in India.
C. 1022 C.E. Rajendra undertook an expedition to the Ganges along the east coast of peninsular India. The emperor himself lead the army up to the banks of the Godavari river. The Chola armies conquered all the countries north of Vengi, which included Kalinga, Odda, Southern Kosala, the lower and upper Lada and finally the Vangaladesa (Bengal). The triumphant Chola armies brought back waters from the river Ganges in golden vessels. Around the same time, the Cholas under the illustrious Rajendra Chola I also vanquished the Chalukyas of Manyakheta when the Chola protectorate of Vengi was threatened by Chalukyas Jayasimha II. Rajendra Chola I defeated Jayasimha-II Chalukya at Maski (Muyangi in Chola annals) between Eluru and Visayavadai (modern Vijayawada) and subsequently engaged the Chalukya in Kannada country itself i.e. in the Chalukyas capital of Mannaikadakkam (Manyakheta) "the war in which the Chalukya Jayasimha-II, full of fear, hid like a mouse and fled the battlefield". The Chola armies seized the Chalukya flag, decapitated or slew various generals of the Chalukyas, with the Chalukyan king fleeing the battlefield. The Chalukya King surrendered his wife to the victorious Chola monarch. With the Chola coffers filling up with riches from the Chalukya country, they were able to establish their hold of the region between the Vaigai/Kaveri delta in Tamil country up to the Tungabhadra-Krishna basins in the Maharashtra-Andhra region. To commemorate this celebrated victory, Rajendra assumed the title of Gangaikonda Cholan, "Irattapadi-konda Cholan", "Mannai-kondan" (the king who possessed Irattapadi (erstwhile land of the Rashtrakutas usurped by the Salukkis (Chalukyas) and the king who possessed (the Chalukyan capital) Manyakheta (Mannaikadakkam in Chola annals) and had the Siva Temple Gangakkondacholeswaram built (***). Soon the capital was moved from Thanjavur to Gangaikondacholapuram. The city of Gangaikondacholapuram was probably founded by Rajendra before his 17th year. Most of the Chola kings who succeeded Rajendra were crowned here. They retained it as their capital, reoriented and trained the efficient Chola army.
CHOLA CULTURE
Chola rulers were active patrons of the arts. They flourished in architectures, education, science, arts, ship construction, poetry, drama, music, business trading, dance. The beautiful Nataraja figure was first conceived during the Chola empire.
They constructed enormous stone temple complexes decorated inside and out with painted sculptures. While the stone sculptures and the inner sanctum image empowering the temple remained immovable, changing religious concepts during the 10th century demanded that the deities take part in a variety of public roles similar to those of a human monarch. As a result, large bronze images were created to be carried outside the temple to participate in daily rituals, processions, and temple festivals. The round lugs and holes found on the bases of many of these sculptures are for the poles that were used to carry the heavy images. They were admired for the sensuous depiction of the figure and the detailed treatment of their clothing and jewelry in Chola-period bronzes.
FORTIFICATIONS
Nudging from the available literature and the remains we may conclude that it was an extensive city, carefully planned and laid in accordance with the architectural treatises to suit the needs of a capital.
The city seems to have had two fortifications, one inner and the other outer. The outer was probably wider. The remains of the outer fortification can be seen as a mound running all around the palace.
The outer fortification built of burnt bricks, was about six to eight feet wide. It consisted of two walls, the intervening space (the core) being filled with sand. The bricks are fairly large in size and are made of well-burnt clay. Systematic brick robbing by the local inhabitants has reduced this structure to its current state.
The outer fortification was known as Rajendra Chola Madil and is mentioned in inscriptions. The inner fortification was around the royal palace, probably identical with the Utpadi vittu madil of the inscriptions.
Probably in the reign of Kulothunga Chola I, the fortifications were renewed and the city underwent some alteration and additions. An epigraph refers to the fort wall of Kulothunga Chola (Kulottunga Cholan Thirumadil). The strengthening of the fortification and additions to the city in the reign of Kulothunga I were probably necessitated by the uprising which led to the murder of Chola king Athithakarikal Cholain the sambuvaraya's palace of Melakadambur, Kulothunga's predecessor. By the 13th century, the Chola kingdom had exhausted its resources and was on the decline. It succumbed to an attack by the Hoysalas from the west and the Pandyas from the south. The last king of the Medieval Cholas was Rajendra Chola-III.
THE CHOLA ADMINISTRATION
The Chola administration served as a model for all the other kingdoms of the South. The king had a council of ministers. The kingdom was divided into a number of provinces known as mandalams, The mandalams in turn were divided into valanadu and nadus. The next administrative sub divisions were kurrams and kottams. The special feature of the Chola administration was the Local Self Government or the autonomous administration. The villagers themselves carried out village administration. It was more or less like the modern Panchayat Raj. Each village had a village assembly known as the ur or the sabha. The members of the sabha were elected by lot, known as kudavolai system. There was a committee to look after the specified departments, such as justice, law and order, irrigation etc., which were called as variyams.
ARCHITECTURE
The temple of Gangaikondacholisvara is approached through the eastern entrance from the road. The entrance is called the "Mahaduvar" leads to the inner court. As one steps in, the great Vimana arrests the visitor's sight. The Vimana with its recessed corners and upward movement presents a striking contrast to the straight-sided pyramidal tower of Thanjavur but with octagon shape of Dravidian architecture. As it rises to a height of 55 m and is shorter than the Thanjavur tower with larger plinth, it is often described as the feminine counterpart of the Thanjavur temple. The Vimana is flanked on either side by small temples; the one in the north now housing the Goddess is fairly well preserved. The small shrine of Chandikesvara is near the steps in the north. In the north-east are a shire housing Durga, a well called lion-well (simhakeni) with a lion figure guarding its steps and a late mandapa housing the office. Nandi is in the east facing the main shrine. In the same direction is the ruined gopura, the entrance tower. The main tower surrounded by little shrines truly presents the appearance of a great Chakravarti (emperor) surrounded by chieftains and vassals. The Gangaikondacholapuram Vimana is undoubtedly a devalaya chakravarti, an emperor among temples of South India.
ROYAL PALACE
The royal palace also was built of burnt brick. The ceilings were covered with flat tiles of small size, laid in a number of courses, in fine lime mortar. The pillars were probably made of polished wood, supported on granite bases; a few pillar bases have survived to this day. Iron nails and clamps have been recovered from this palace site. There is an underground tunnel that links the palace and the temple inner 1st pragara (north).
In the reign of Virarajendra Chola, Rajendra's third son, the palace at Gangaikondacholapuram is referred to as Chola-Keralan Thirumaligai (Chola Keralan palace) evidently after one of the titles of Rajendra I. The same inscription mentions a few parts of the palace as adibhumi (the ground floor), Kilaisopana (the eastern portico), and a seat named Mavali vanadhirajan. Evidently the palace was multistoried. In an inscription dated in the 49th year of Kulothunga I (1119 C.E.) reference is made to Gangaikondacholamaligai at this place. It is likely that there were more than one royals building each having their own name.
CATASTROPHE ON GANGAIKONDACHOLAPURAM
As per the available evidences, the last Chola King Rajendra Chozha III’s rule did not end due to any defeat in the war field. But devastations are available underneath, which proves that some major catastrophe happened around Gangaikondacholapuram which brought the Chola’s Rule to an end. After about six/eight decades, the Chola region was taken over by Pallava from whom it was Hoysala and then to Vijaya Nagar Rule. During Vijaya Nagar Rule, lots of settlements by Telugu, Telugu Brahmins, Kannada etc.happened. It is also evident that while the farmers tried to dig wells for farming around Gangaikondacholapuram, it was revealed to the world that the Palace buildings and other constructions are underneath about 50 – 80 feet depth.
EXPEDITION TO THE GANGES
With both the Western and Eastern Chalukya fronts subdued, Rajendra’s armies undertook an extraordinary expedition. 1019 CE Rajendra’s forces continued to march through Kalinga.
Kalinga was a kingdom in central-eastern India, which comprised most of the modern state of Orissa, as well as some northern areas of the bordering state of Andhra Pradesh to the river Ganges. The Emperor himself led the advance up to the river Godavari.
The Chola army eventually reach the Pala kingdom of Bengal where they met Mahipala I,considered the second founder of the Pala Empire . Gopala I established the dynastic rule of the Palas in the middle of the 8th century C.E and defeated him.
According to the Tiruvalangadu Plates, the campaign lasted less than two years in which many kingdoms of the north felt the might of the Chola army. The inscriptions further claim that Rajendra defeated the armies of Ranasura and entered the land of Dharmapala and subdued him and thereby he reached the Ganges and caused the river water to be brought back to the Chola country. The new conquests opened up new routes for the Cholas to head for distant lands like Burma by land (through what are now modern Orissa, West Bengal, Assam and Bangladesh).
It is true that Rajendra's army defeated the kings of Sakkarakottam and Dhandabhukti and Mahipala. These territories were initially added to the kingdom, while later they had the status of tribute paying subordinates and trade partners with the Chola Kingdom, an arrangement that lasted till the times of Kulothunga-III and to a limited extent, of Raja Raja-III too. It was undoubtedly an exhibition of the power and might of the Chola empire to the northern kingdoms. But the benevolent leadership of the Cholas treated them in a benevolent manner and did not permanently annexe them to the Chola dominions.
ROADS AND CITY GATES
Besides the names of the palace and fort walls, the names of a few roads and streets are preserved in the epigraphs. The entryways named Thiruvasal, the eastern gate and the Vembugudi gate, evidently the south gate leading to the village Vembugudi situated in that direction are mentioned. Reference is also found to highways named after Rajaraja and Rajendra as Rajarajan Peruvali and Rajendran Peruvali. Other streets mentioned in epigraphs are the ten streets (Pattu teru), the gateway lane (Thiruvasal Narasam) and the Suddhamali lane. The inscription also refers to the highways, Kulottungacholan Thirumadil peruvali, Vilangudaiyan Peruvali and Kulaiyanai pona Peruvali (the highway through which a short elephant passed by).
CITY LAYOUT
The epigraphs also refer to the Madhurantaka Vadavaru, now called the Vadavaru, running about six kilometers east of the ruined capital. Madhurantaka Vedavaru, named after one of the titles of Rajendra I, was a source of irrigation to a vast stretch of land bordering the capital. An irrigation channel called Anaivettuvan is also mentioned.
"Anaivettuvan" - Anai means irrigation (step irrigation) vettuvan means labour or engineer. Hence the above seque is not matching, more over Hindu dharam never allows to kill elephant.Another possible meaning of "AnaiVettuvan" - Anai means Dam, vettuvan means constructor (labour or engineer).
There were both wet and dry lands inside the Fort, used for cultivation and other purposes. The present positions of the existing temples throw some light on the lay out of the city. With the palace as the centre to the city, the great temple, and the other temples in the city seem to have been erected. Towards the northeast (Isanya) of the palace is the great temple of Siva. The Siva temple according to Vastu and traditional texts should be in the northeast of the city or village and should face east. The temple of Vishnu should be in the west.
A number of small tanks and ponds mentioned in inscriptions and a number of wells, supplied drinking water to the residents.
WIKIPEDIA
Guild Chapel and Guild Hall
The fraternity of the Guild of the Holy Cross was already in existence in 1269 when Godfrey Giffard, Bishop of Worcester granted a licence to the brethren and sisters to build a chapel and to found a hospital for the poor priests of the diocese. The hospital is believed to have been on the site of the nave, the chapel being the size of the chancel.
Between 1424-27 the chancel was repaired and decorated with red lead, vermillion, white lead and yellow oil, paid for by Thomas Payntour.
The chancel and north wall were rebuilt & refurbished 1449-52 , larger windows were inserted and the roof made shallower. The hospital was used for Guild meetings.
It was enlarged with nave, porch & tower c1495 & decorated with wall paintings, all paid for by Hugh Clopton, a local man who became a rich mercer & Mayor of London
By the end of the 15c the powerful Guild had become the town's semi official governing body, focused on the welfare of its members. It built the Guild Hall in 1418-1420 , schoolhouse in 1427 where Shakespeare was educated, and alms houses that dominate Church Street with a schoolmaster to teach the members' children. The chapel became so important to the townspeople that the clergy of the parish church complained that people often attended the chapel rather than the church.
The school was open to any local boy who could read and write and was generously supported by the town, the headmaster having an annual salary of £20, twice as much as the headmaster of Eton at that time. Boys normally attended for 7 - 8 years beginning at the age of seven for 6 days a week. The day was long , the pupils sitting on hard wooden benches from six in the morning to five or six at night , with only 2 short breaks for meals. Discipline was strict , with the emphasis on reading, writing and reciting latin grammar
After the suppression of the Guild in 1547 by Edward Vl, their property confiscated to the Crown, the king issued a Royal Charter of Incorporation granting ownership of the chapel (and the civic duties of the Guild) to the Mayor & Alderman & Burgesses of the town
Queen Elizabeth l passed a Royal Injunction in 1559 demanding "removal of all signs of superstition and idolatry from places of worship". Surviving records say that John Shakespeare father of the playwright, who was chamberlain of the Corporation in 1563 authorised payment of 2s for "defasyng ymages in ye chappell" The paintings were thankfully only whitewashed thus preserving rather than defacing,
In early 17c the nave was repainted in monochrome to imitate columns etc , with possibly the addition of panelling . The chapel and nave were divided by a wall and the chancel sub divided and rented out. The vicar was trouble with the Corporation for allowing "his children to play at ball and other sports therein, his servants to hang clothes to dry, his pigs and poultry and dog to lie and feed in it, the pictures defaced and the windows broken"
In 1641 the chancel screen was removed and the interior limewashed again. A new decorative scheme of red panels divided by pilasters was painted over the earlier wall paintings. The Doom was overpainted and covered with prayer boards.
In early 18c the interior was repainted with imitation red and pink marble pilasters with Corinthian capitals The font was installed .
Chapel of the Guild of the Holy Cross next to the Guildhall.
In 1804 major refurbishment was undertaken. The fine 15c ceiling and roof was taken down having become unsafe and replaced with the current lower plastered ceiling which cut through the top of the hidden Doom painting . The wall paintings were discovered and recorded in drawings by T Fisher. Sadly the chancel paintings were destroyed by the "improvements" The nave was painted white.
In 1835 a wooden gallery was inserted against the nave west wall possibly re-using carvings from earlier timber screens or rood loft. Box pews and panelling were also installed.
In 1929 the Doom, Dance of Death & Life of Adam paintings were uncovered once more and conserved by Tristram using a wax application.
Now in severe disrepair , the Friends of the Guild Chapel was formed 1955-62 and sought to restore & embellish the fabric. The gallery, box pews, double decker pulpit and chancel floor were removed and new pews and panelling was installed by Dykes-Bower.
In 2001 all was taken over by the Stratford Town Trust and in 2014 a new organ and organ loft was installed.
In 2016 the Doom underwent further conservation, supported by the Heritage Lottery Fund. Sadly the beautifully preserved head of Christ and the 4 angels are in the loft space , obscured from view but still beautifully preserved
The Guildhall was built in 1417-20 as the headquarters of the Guild of the Holy Cross. In 1553 following the suppression of the Guild, th building was granted to the newly formed Stratford Corporation by Edward Vl. It served a the council's meeting place for the next 300 hears, including the year 158-9 hen William Shakespeare's father John served as bailiff. The Guild's scull refounded as the Kyng's Newe Scole " in 1553 occupied part of the upper floor from the 1560s and it ws here that William Shakespeare was educated.
In the late 1500s travelling players performed regularly in the Guildhall providing Shakespeare with his first experience of professional theatre. The Guildhall continues to be used or teaching by King Edward Vl School.
Further down is Nash's House in Chapel Street next door to the ruins and gardens of William Shakespeare's final residence, New Place (Thomas Nash was the 1st husband of Shakespeare's granddaughter Elizabeth, and a wealthy local property owner - he is buried in the parish church www.flickr.com/gp/52219527@N00/vm6M80 ) - Stratford Upon Avon, Warwickshire
National Naval Aviation Museum
Rolling off the Douglas Aircraft Company assembly line in El Segundo, California, in December 1940, SBD-2 Dauntless (Bureau Number 2106) was delivered to Bombing Squadron (VB) 2 at Naval Air Station (NAS) San Diego, California, on the last day of 1940. For the better part of the following year the aircraft flew with that squadron, logging hours flying from the deck of the aircraft carrier Lexington (CV 2) and participating in large-scale military maneuvers in Louisiana.
During the first week of December 1941, with Lexington earmarked to deliver aircraft of a Marine scout bombing squadron to Midway Atoll, the aircraft was off loaded from the carrier to make room for the additional aircraft and left at Pearl Harbor when "Lady Lex" put to sea. Thus, on the morning of 7 December 1941, it was on Ford Island in the middle of Pearl Harbor when the Japanese attacked. Put back aboard Lexington when she returned to Pearl, the aircraft embarked in the carrier to the South Pacific. On 10 March 1942, flown by Lieutenant (junior grade) Mark T. Whittier with Aviation Radioman Second Class Forest G. Stanley as his gunner, the aircraft joined 103 other planes from Lexington and Yorktown (CV 5) in a raid against Japanese shipping at Lae and Salamaua in New Guinea. Credited with pressing home his attack against a Japanese ship, Whittier received the Navy Cross.
When Lexington returned to Pearl Harbor following the raid, the museum's SBD-2 was again put ashore and earmarked for transfer to Marine Scout Bombing Squadron (VMSB) 241 on Midway Atoll, arriving there with eighteen other SBD-2s on 26 May 1942, on board the aircraft transport Kitty Hawk (APV 1).
On the morning of 4 June 1942, with 1st Lieutenant Daniel Iverson as pilot and Private First Class Wallace Reid manning the .30-caliber machine gun in the aft cockpit. the museum's aircraft was one of sixteen SBD-2s of VMSB-241 launched to attack Japanese aircraft carriers to the west of Midway. Approaching the enemy carrier Hiryu, the Marine planes came under fire from antiaircraft gunners and fighters of the enemy combat air patrol. Iverson, with two Japanese Zero fighters following him down in his dive, released his bomb at an altitude of 800 feet. During his egress from the target area, the pair of Zeroes on Iverson's tail were joined by two others, which pursued the Dauntless for miles. Enemy fire holed Iverson's plane 219 times, knocking out his hydraulic system and wounding Reid. One bullet came so close that it clipped Iverson's throat microphone chord. Nevertheless, the pilot managed to return to Midway, making a one-wheel landing on the atoll. His was one of only eight SBD-2s of VMSB-241 to return from the attack against the Japanese fleet. For their actions, Iverson received the Navy Cross and Reid was awarded the Distinguished Flying Cross.
Returned to the United States, the museum's SBD-2 was repaired and eventually assigned to the Carrier Qualification Training Unit (CQTU) at NAS Glenview, Illinois. On the morning of 11 June 1943, with Marine 2nd Lieutenant Donald A. Douglas, Jr., at the controls, the aircraft ditched in the waters of Lake Michigan during an errant approach to the training carrier Sable (IX 81). Douglas was retrieved from the water by a Coast Guard rescue boat, but his aircraft sank to the bottom of the lake.
Recovered in 1994, the aircraft underwent extensive restoration at the museum before being placed on public display in 2001. Elements of its original paint scheme when delivered to the fleet are still visible on its wings and tail surfaces. A survivor of the Pearl Harbor attack and two combat actions, including the famous Battle of Midway, it is one of the most historic aircraft in existence anywhere in the world.
The Holiday House Geographic, is among the most desirable vintage travel trailers in the world. One of only two currently known to be in existence, the body of this trailer was designed by world renowned industrial engineer, Chuck Pelly, designer of the Scarab race car and founder of Designworks USA, which is BMW's California Studio.
David Holmes, President of "Harry & David" fruit company, began producing the Holiday House travel trailers in November of 1959, in Medford, Oregon. These were aluminum and wood constructed trailers as many of their counterparts of this era, however, the Holiday House trailers stood out as distinctive due to their highly progressive and futuristic design.
In 1958 David Holmes enlisted Chuck Pelly to design the Geographic model, also known as Model X, as a super limited production model, which he dubbed the "Trailer For The Rich". The styling was unlike any trailer of it's time. There are thought to have only been parts of 7 of these strikingly futuristic fiberglass trailers ever made with a price tag of almost $8,500. The Holiday House factory burned down in 1962, and the molds that survived were discarded years later.
This 1961 Holiday House Geographic has been completely restored from the frame up with no expense spared, by Flyte Camp, in Bend, OR.
This trailer would make a wonderful addition to any collection, and is fully equipped as a modern luxury travel trailer.
The Holiday House Geographic Serial Number 007:
The exterior was tastefully re-finished with Axalta finishing systems and coatings, in a two-toned champagne and moss green with bronze colored pin-stripping. The entire running system was upgraded with new axels, brakes, wheels, and 10-ply Diamond Back white wall trailer tires. The exterior is completed with a vintage style fabric awning.
The interior features Black Walnut wall skin, cabinetry and black walnut hard wood flooring with custom aluminum detailing. The bathroom/dressing room features Marmoleum flooring, Walnut & Marmoleum countertops and a Stainless Steel shower with a Teak hardwood shower floor insert. Through out the coach original vintage light sconces are combined with LED lighting. Warm LED strip lighting accents the cabinetry, with lighting in cabinet, under cabinet and along the floor in the living area. The kitchen is outfitted with a stainless two burner cook top, a two drawer stainless 3-way fridge, and a stainless sink with a built-in drain board. Stainless kitchen countertops, and luxury upholstery fabric, in moss, accented with high end custom pleated and lined drapery complete the interior finishes. Behind the scenes an LP on-demand hot water heater provides a steady flow of limitless hot water. Off grid the water holding system is made up of a 35 gallon fresh water tank, a 35 gallon black water tank and 40 gallon grey water holding. The 2000 watt Go Power! inverter system is powered by 4 Trojan 6-volt AGM batteries, and is solar capable. There are both 110 outlets, and 12 volt ports throughout the trailer. The A/V system includes a 32” TV, surround sound and a DVD/Bluetooth stereo system. The Air-conditioning system has a heat pump and is tastefully concealed under the front couch. The front L shaped sofa, is 30” deep with pillows removed and can comfortably sleep two. The gaucho couch also extends to sleep two. There is ample storage, with full extension drawers. Aluminum trim and detailing has been added to the bottom of the cabinetry. No detail has been overlooked including the stainless steel front door threshold which has been laser etched with "Geographic".
The icing on the cake was having Chuck Pelly attended the Palm Springs Modernism event in February of this year to see the completed Geographic, and he added his personal signature to the trailer both inside and out!
This may be the only opportunity to own this priceless piece of history. Please contact Flyte Camp with any questions, and for additional detail photos if desired. We accept payment by Cashiers Check if the check is drawn off of an Institution with a Branch in Bend, Oregon. Otherwise, we accept wire transfer. Please let us know if you have any questions regarding payment, or to schedule pickup. Buyer is responsible for all shipping arrangements. Trailer should be picked up within 30 days of auction end. Contact us if you are an international buyer.
Media:
This trailer will be featured on the official 2018 Hot August Nights poster. Hot August Nights is the largest collectable car show in the US, being held August 7-12th, 2018 in Reno, NV.
The Geo was featured on the cover of the June 2018 edition of Vintage Camper Trailers Magazine. The Geographic took the trophy for Best of Modernism at the 2018 Palm Springs Modernism Vintage Travel Trailer Show, and Best Mobile Mansion at the Pismo Coast Rally in May of 2018. The trailer has also been filmed for an upcoming episode of Extreme RVs on the Travel Channel. Please check out footage of the build on the Flyte Camp YouTube Channel.
Photos curtesy of Hal Thomas Photography, Tim Cash of Far From Earth Films, and Anna Scribner of Flyte Camp, LLC.
Credit: Flyte Camp
Source: eBay
1. The fact or state of existing; being.
2. The fact or state of continued being; life: our brief existence on Earth.
3.
a. All that exists: sang the beauty of all existence.
b. A thing that exists; an entity.
4. A mode or manner of existing: scratched out a meager existence.
5. Specific presence; occurrence: The Geiger counter indicated the existence of radioactivity.
Synonyms: existence, actuality, being
These nouns denote the fact or state of existing: laws in existence for centuries; an idea progressing from possibility to actuality; a point of view gradually coming into being.
Antonym: nonexistence
In common usage, existence is the world of which we are aware through our senses, but in philosophy the word has a more specialized meaning, and is often contrasted with essence. Philosophers investigate questions such as "What exists?" "How do we know?" "To what extent are the senses a reliable guide to existence?" "What is the meaning, if any, of assertions of the existence of categories, ideas, and abstractions."
The word "existence" comes from the Latin word 'existere', meaning to appear or emerge or stand out.
The word 'exist' is certainly a grammatical predicate, but philosophers have long disputed whether it is also a logical predicate. Some philosophers claim that it predicates something, and has the same meaning as 'is real', 'has being', 'is found in reality', 'is in the real world' and so on. Other philosophers deny that existence is logically a predicate, and claim that it is merely what is asserted by the etymologically distinct verb 'is', and that all statements containing the predicate 'exists' can be reduced to statements that do not use this predicate. For example, 'A Four-leaved clover exists.' can be rephrased as 'There is a clover with four leaves.'
An open source photo gallery which aims to offer you some of our best takes – Use this photos for personal or commercial purposes, attribution is appreciated but not required – Here you go – Njoy!
Lucy: Humans consider themselves unique, so they rooted their whole theory of existence on their uniqueness.
in Luc Besson movie: Lucy
The global ostrich feather boom started in the late 19th century and continued through until the start of World War 1, around 1914. Local ostrich farmers made absolute fortunes from feather sales.
Richard Logie was a feather agent and whilst he didn't make as much money as the farmers did, he became quite wealthy. In 1897 he built this house in the small town of Aberdeen in the Eastern Cape. As feather palaces go, it is a very modest example but it still owes its existence to ostrich feather wealth.
The house, known as Pagel House, is in pristine condition and its historical integrity perfectly intact.
Sometimes all it takes is being alone in a field of grass with nature all around to make you feel at peace. We often find our lives consumed with the hustle of daily life and it takes a trip to our happy place to find our center. I don't have to pack too long or travel too far to find my reason for being. My backyard is a wonderland of mystery just waiting to be explored. I may never be anything more than someone you once knew. My only hope is that a piece of me remains to be explored long after I am gone.
I often wonder why I have been placed on this earth. Is it to carry a gun so that you can feel safe and free? I have done that. Is it to change an infinite number of watch batteries so that you can make it to work on time? I have done that too. Or is it to simply capture a moment so that you can experience something you may never see from a side of the planet I have never been? In time the gun will be replaced with something more advanced and the watch battery will be long since expired. My ticket will have been punched, but I hope the life I lived will remain for others to experience for eternity. That is the power of a camera!!!
What were they thinking?
The Space Needle is hardly anything new to me. Almost anyone with a passing familiarity with the United States and the existence of a city called Seattle knows this structure, as it has become a byword for the metropolis, much as the Statue of Liberty and the Empire State Building are for New York City, or the Gateway Arch for St. Louis. But on a recent trip to the Emerald City, I rode the Alweg Monorail for the first time, and stood at the feet of the Space Needle for the first time as well. And so my first reaction was exactly the first line here: what were they thinking?
Consider: in 1962, when the Seattle World's Fair opened, Joh F. Kennedy was president, the Cuban Missile Crisis was about to occurr, and the nation had not yet gone to war in Vietnam. Men still wore hats, even if the brims were shallower, and the Pacific Northwest was still an odd, forgotten corner of the country. The '62 "Century 21 Expo" was the city of Seattle's attempt to change that, to put this place on the map as a forward-looking metropolis. North of downtown they created a new, idealized civic center known as Seattle Center, and at the heart of it, raised up the more than 600 foot tall Space Needle.
Seattle Center never really became the heart of the city. It still sits north of town, connected by the West German originated Alweg Monorail. It is telling that the monorail has a $9 round trip fare (for two), and does not accept the regional ORCA transit card: this is not transportation, this is an amusement park ride.
Staring up at the needle, the structure is undeniably impressive. The sweeping curves of the main legs recall the soaring arches of the Fremont Bridge in Portland, or possibly structural parts of an ocean going vessel. The saucer has a bizarre, Bond-villain style to it. The central spine, which supports the elevators, is oddly anachronistic, with a bridge-like girder structure that recalls the Eiffel Tower. Indeed, the entire edifice looks as if the Eiffel Tower had been redesigned by, say, Raymond Loewy.
It shares some other critical aspects with the Eiffel Tower. Like its Paris kin, it serves no function. It is an observation tower, no more. It is not an office building, a residence, a theater or gathering hall, a piece of transportation infrastructure. It could be repurposed to almost nothing except, perhaps, a broadcast antenna. But more importantly, it is also an antiquated idea of the future. This impractical, highly stylized structure projected design ideas thought radical in its time, all style without purpose.
Walking around the structure a bit, it's simultaneously breathtaking and pointless. I kept thinking, why didn't they build something this style but useful? Imagine a bridge, or a concert hall! Yet it is nearly impossible to resist admiring the audacity of the thing. Today, we would argue endlessly about how it is a boondoggle, how it is an un-needed expense in a tight budget world. How it is the most unsustainable structure imaginable. How building it means cuts to my bus service or my social security or defense spending or sewer improvements in my street, or so on and so forth until the end of time.
Leaving on the Alweg, I sat in the northern end of the monorail car, near where the operator had sat on our journey to Seattle Center. Now, the operator was in the other end, and the northern windshield became, instead, a kind of hyper-modernist observation car window. The monorail began to move away, made a few turns, and then emerged above 5th Avenue. Suddenly, there it was, framed in the curving glass of the Alweg's last car, the Space Needle. It receded quickly behind us, smaller and smaller, yesterday's imagined tomorrow, the past's imagined future.
IMG_8100_correx
The day starts slowly for these railway boys. They sleep under photos of goddesses.
They are close friends with the main gang leader in this railway station. Gang leaders are boys in their late teens or early 20s who often beat and manipulate younger boys. They introduce sniffing glue to new boys, creating the dependency they need to stay in control.
Photo © 2012 IMB / Graham HIll
Frank Searle ( 18th March 1921 – 26th March 2005 ) was a photographer who studied the disputed existence of the Loch Ness Monster. He took up residence at Loch Ness in 1969 living a frugal existence in a tent looking for definitive proof of the monster's existence. Eventually photographs began to appear from 1972 onwards and earned Frank a degree of fame as a monster hunter.
However, as the detail of the pictures increasingly improved with time, people began to suspect they were fakes. The matter was finally exposed in 1976 when the Scottish Sunday Mail carried a centre page article proving that one of his photographs was taken from a postcard showing a brontosaurus. Another picture was also proven to be a wooden post at a pier which was covered with cloth to make it monster-like.
As his reputation declined, he was involved in some skirmishes with other monster researchers which eventually led to a failed molotov cocktail attack on one of their boats. Searle denied any involvement in the matter and was never charged over it. Eventually he left the loch for good in the early 1980s to allegedly embark on a treasure hunting expedition.
Some years later he was eventually tracked down by Andrew Tullis for his documentary "The Man who Captured Nessie". He had been living in a bedsit in Fleetwood, Lancashire , but had died only a few weeks before.
We met Frank Searle in 1976 and it was obvious then that the photographs of "Nessie" that he had on display were fraudulent , but he was still receiving lots of visitors , particularly young foreign females who he was happy to entertain . I had a certain degree of sympathy for him because he was always under pressure to produce more photographs so it wasn't surprising that he resorted to trickery . I believe that one of his photographs stretched his credibility a bit too far when it was shown to feature "Nessie" and a UFO ! Whether that was true or not , there's little doubt that Frank Searle was quite a character .
“We are strange beings, we seem to go free, but we go in chains - chains of training, custom, convention, association, environment - in a word, Circumstance - and against these bonds the strongest of us struggle in vain” - Mark Twain
Halifax Transit 2014 New Flyer Xcelsior XD40 #1195 is seen during the day on route 55. Notice the block number is 4. This block did our dead 402 in the morning and afternoon and deadheaded to Sambro to do the 402s after that.
This bus 1195 was stuck in traffic during its Dilivery and was a late arrival.
History of Kraków
First indications of the existence of Krakow approximately stem from the 7th century. In the next following centuries the tribe of Vistulans (Wislanie) populated Krakow, after they centuries ago in the as "Lesser Poland" or Malopolska known region had settled down. From the year 965 stems the first document from Krakow, as Abraham ben Jacob of Cordova, a Jewish merchant, in his book referred to the trading center of Krakow.
In 1000, the Diocese of Krakow was founded and in 1038 declared capital of the Piast dynasty. The Wawel castle and several churches were built in the 11th century and thus the town rapidly grew. 1241 the Mongols invaded the city and burned down Krakow without exception. 1138 Krakow became the seat of the senior prince. 1257 Kraków was awarded its town charter and a city map was drawn up, which remained until today. This one included the arrangement of the checkerboard street configuration with a centrally located market. On the market following the seat of the city government was built. From the historical trading functions until today only the Cloth Halls remained. But on the market not only trade agreements were closed but also courtly and urban festivities celebrated. Furthermore, the urban center served for executions. The defensive walls were built, which surrounded the city and linked it to the Wawel. In the south of Wawel Castle in 1335 the city of Kazimierz was created. By Royal command it was surrounded by defense walls and the churches of St. Catherine, of Corpus Christi and the "Na Skalce" were built. End of the 15th century, Jews settled the later Cracow district. 1364 the Cracow Academy of King Kazimierz Wielki was founded, the famous Polish Jagellonen-University.
With the last king of Jagellonian dynasty, Krakow flourished. The Wawel castle was rebuilt in Renaissance style, the well known Zygmunt chapel was built and the Cloth Halls as well as the patrician houses have been restored. During the reign of King Sigismund III. Vasa the baroque style received introduction in Krakow. The Baroque University Church of St. Anne and the Church of Saints Peter and Paul were built in this period. In 1607 Warsaw was declared headquarters of the King, but Krakow retained its title of the Royal capital. Furthermore, it remained the place of coronations and funerals. Middle of the 17th century, the city was devastated by the Swedes, what at the beginning of the 18th century was produced again.
After the first partition of Poland, Krakow became a frontier town. Austria declared the settlement Podgorze separated city. After the second division in 1794, began the Polish national uprising. After its decline and the third partition of Poland the town fell to the Austrians, which on Wawel Hill caused numerous devastations and adapted buildings to the wishes and needs of the Army. 1809 Cracow was affiliated to the Grand Duchy of Warsaw. After the defeat of Napoleon, Krakow in the Vienna Convention of 1815 was declared Free City of Kraków. Then the remains of folk hero Tadeusz Kosciuszko and of Prince Jozef Poniatowski were brought back to the city. 1820-1823 on the rise of St. Bronislava a hill in honor of the leader of the popular uprising was built. Instead of the city walls, which were largely destroyed, they laid out supporting beams. 1846 Krakow lost its independence and the Austrians erected again on the Wawel barracks and they surrounded the Wawel with fortification complexes. However, Austria but has proved less tyrannical and so the city enjoyed a certain degree of growing cultural and political freedom. 1918 Krakow became the independence back.
Before the outbreak of the Second World War, in Krakow lived about 260,000 inhabitants, of which 65,000 belonged to the Jewish religion. During the war, also Krakow became witness of German war crimes. The for the greater part Jewish district of Kazimierz was eradicated. The Jews from now on lived in ghettos where they either were deported from there to Auschwitz or immediately shot. In spite of the plundering of the Nazis, Krakow became no scene for military combat operations and thus the only large Polish town escaping this fate. Therefore, its old architecture still almost completely is intact.
After the surrender of Germany and the Polish liberation, hastened the Communist government to inspire the traditional life and the city with a large steel plant in Nowa Huta. But the intensive rebuilding of the economy and industry rather promoted an ecological disaster. Buildings that had survived the war undamaged were now devoured and destroyed by acid rain and toxic gases. Carbon dioxide emissions grew so powerful that this has remained a serious and grave problem of the city. After the fall of the Communists and the fall of the Iron Curtain Krakow has benefited greatly from tourism and has adapted itself to a large extent to the Western culture.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Quorn.
The first European squatters and pastoralists arrived in the Quorn area in the 1850s but the town did not come into existence until 1875. It was named after Quorn in Leicestershire by Governor Jervois whose private secretary came from there. South Australian Railways chose the site for the town of Quorn and in 1878 the government sold the first blocks of land. In 1879 Quorn became the first terminus of the Great Northern Railway line from Port Augusta. The current station with its charming Dutch gables was built in 1916. However Quorn’s greatest period of importance as a railway centre was between 1917 and 1937 when it was the junction for both the western line to Perth and the northern line to Oodnadatta and Alice Springs. This importance continued during World War II when over 400 people in the town were employed by the railways as it was a major troop stop over point with the Country Women’s Association providing over 1 million meals to the servicemen. The establishment of a new standard gauge railway to Marree and the Leigh Creek coal fields west of the Flinders Ranges in 1956 saw the town decline. The various hotels in the main street located to service the needs of travelling rail passengers then became a movie set for several films including: The Sundowners, Sunday Too Far Away, Robbery under Arms, The Shiralee and more recently Gallipoli.
Quorn’s early development was similar to that of many SA towns. One of the first structures (1878) was a flour mill for the wheat farmers built by Mr Cowan. Mr Dunn the wealthy flour miller of Mt Barker built a second three storied flour mill in 1879. It was converted to a motel in the 1960s and is now a backpacker’s accommodation centre. Other early buildings were the Austral Hotel (1878), where many of us will stay, and the Criterion Hotel built in 1881 and the Transcontinental Hotel in 1878. The first National Bank opened in 1878, along with the Post Office, the Court House (1879) and Matthews Emporium (1886). The first church in town was a Methodist Church in 1880, followed by the Anglican (1880 replaced in 1897), Catholic (1883), the Salvation Army Hall in 1884(now a gallery) and the Lutheran Church in 1890. Three years after its founding, Quorn had a population of 540 and was the 19th largest town north of Adelaide! A reservoir was made for the railways and the town. Other important public town buildings were the Institute (1881) and the Town Hall (1907). A school started soon after the founding of the town and in 1909 it became a Higher Primary School and then in 1914 it became a High School. It was the first high school in the north of SA. Quorn continued to grow in importance once the railway was extended from Quorn through to Oodnadatta in 1891.
Colebrook Home in Quorn was established by the Australian Aborigines Mission. It began as a children’s home for Aboriginals in Oodnadatta in 1926 .In 1927 the home moved to Quorn with 12 children in residence. In 1933 the Mission got a new house, 2 miles outside Quorn and in 1935 the 30 resident children were sent to Magill for the summer holidays. This practice continued until 1940 when the children spent the summer holidays at Eden Hills. Following this, the Mission established Colebrook Children’s Home at Eden Hills. Among the children raised at Colebrook were several prominent Aboriginal leaders in SA including Lowitcha O’Donoghue, Faith Thomas and Ruby Ahchee( Hammond).
Bury St Edmunds Cathedral for most of its existence was simply the parish church of St James until the foundation of the new diocese of St Edmundsbury in 1914 when it was raised to cathedral status, one of the many new dioceses formed in the early 20th century that elevated existing parish churches to diocesan rank rather than purpose building a new cathedral. Many of these 'parish church cathedrals' sit slightly awkwardly with their new status, lacking in the scale and grandeur that befits such a title, but of all of them Bury St Edmunds has been adapted to its new role the most successfully, with in my opinion the most beautiful results.
The medieval church consisted of the present nave, built in 1503-51 under master mason John Wastell, with an earlier chancel that was entirely rebuilt in 1711 and again in 1870. Originally it would have seemed a fairly minor building at the entrance to the monastic precinct, overshadowed by the enormous abbey church that once stood immediately behind it. The absence of this magnificent church since the Dissolution and the scant remains of this vast edifice always sully my visits here with a sense of grievous loss, had history been kinder it would have served as the cathedral here instead and likely be celebrated as one of the grandest in the country.
The church never had a tower of its own since the adjacent Norman tower of the Abbey gateway served the role of a detached campanile perfectly. It is an impressive piece of Romanesque architecture and one of the best preserved 12th century towers in the country.
Upon being raised to cathedral status in 1914 the building underwent no immediate structural changes but plans were made to consider how best to transform a fairly ordinary church into a worthy cathedral. This task was appointed to architect Stephen Dykes Bower and work began in 1959 to extend the building dramatically. Between 1963-1970 the entire Victorian chancel was demolished and replaced with a much grander vision of a lofty new choir and shallow transepts, remarkably all executed in traditional Gothic style in order to harmonize with the medieval nave. It is incredible to think that this was done in the 1960s, a period in which church and cathedral buildings were otherwise constructed in the most self consciously modern forms ever seen, with delicate neo-medieval masonry in place of brick and concrete.
The new crossing of transepts and choir however remained crowned by the stump of a tower for the remainder of the century as funds were not available to finish Dykes Bower's complete vision of a lantern tower over the crossing: this was only realised at the beginning of the 21st century, aided by a legacy left in the architect's will and some subtle design changes under his successor as architect Hugh Matthews. The transformation from church to cathedral was finally completed in 2005 with most satisfactory results. A stunning fan-vault was installed within the new tower in 2010, an exquisite finishing touch.
Whilst it isn't a large building by cathedral standards its newer parts do much to give it the shape and dignity of one. This is especially apparent within, where the cruciform eastern limb draws the eye. The interior is enlivened by much colour, with the ceilings of Dykes Bower's choir and transepts adorned with rich displays of stencilling, whilst the nave ceiling (a Victorian replacement for the medieval one) was redecorated in similarly lively colours in the 1980s which helps to unify the old and new parts of the church.
Few fittings or features remain from the medieval period, most of the furnishings being Victorian or more recent, but one window in the south aisle retains a rich display of early 16th century stained glass, very much Renaissance in style. The remaining glass is nearly all Victorian, some of the windows in the new choir having been transferred from the previous chancel.
St Edmundsbury Cathedral is not filled with the monuments and fittings that make other great churches so rewarding to linger in but it is a real architectural delight and cannot fail to uplift the spirit.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.
Former St. Peter's German Evangelical Church, Winant Place, Kreischerville (Charleston), Staten Island
The St. Peter's German Evangelical Church at Kreischerville (now Free Magyar Reformed Church) is representative of the many small churches built for immigrant congregations on Staten Island during the second half of the nineteenth century. The church complex - church, parish house, and rectory - recalls the era when Charleston was known as Kreischerville, as well as the early-twentieth-century period when Hungarian immigrants maintained the separate identity of the small village. Erected in 1883 as the gift of local industrialist Balthasar Kreischer, the church reflects the paternalistic role that industrialists often played in the development of quasi-company towns such as Kreischerville. Though characteristic of the small, wood-framed structures built in the villages of Staten Island and elsewhere, the Carpenter Gothic church, probably designed and built by local craftsmen, is distinguished by its unusual porch that is domestic in scale and form, and by the emphasis on verticality provided by the tall spire and rows of small gabled dormers in the steeply-pitched gable roof.
Through its pastor, the Reverend Jacob Ganss, who led the German congregation throughout its existence, the Kreischerville Church was linked with nearby German Protestant congregations. As the Hungarian population in the village of Kreischerville grew, a Magyar Reformed church was established in 1915 and met in St. Peter's church, which the Hungarian congregation soon acquired The attached parish hall, an early addition to the church, and the rectory, designed by builder/architect Royal Daggett and built in 1926 by the Hungarian congregation, complete the complex, which is enclosed by a distinctive fence with posts of Kreischer brick. The history of the Hungarian congregation, which in 1933 affiliated with the small Hungarian Reformed Church in America denomination (established in 1920), documents the important role that churches played in the lives of immigrant groups.
The Development of Kreischerville
During the early and mid-nineteenth century, the town of Westfield on the southwestern side of Staten Island was a rural area with scattered small settlements; because of the extensive land holdings of the Androvette family, the hamlet near the juncture of Arthur Kill Road and Sharrotts Road was known as Androvetteville. Sharrotts Road connected the community with the village of Woodrow to the east, while the Arthur Kill Road led north to Rossville and the Blazing Star Ferry and also south to Tottenville and additional ferry service to New Jersey. Several small lanes led to the waterfront, much of which was salt marshy and homes not located near the main roads were near the shore. The residents of Androvetteville included farmers, oystermen, ship joiners, and watermen. By 1850, there were two stores in the hamlet and the West Baptist Church stood north of the intersection of Sharrott's Road and Arthur Kill Road.
The area around Androvetteville changed dramatically in the mid-1850s with the discovery of refractory fire clays in the vicinity, and the purchase of clay deposits and subsequent development of a fire bricks manufacturing works by Balthasar Kreischer." In 1845 Kreischer and a partner had established a business in Manhattan to produce fire brick - a fire-resistant brick used in many industrial applications. Kreischer soon was sole proprietor of the operation that was one of the first in the United States to provide fire brick. In 1853 Kreischer became aware of refractory clay deposits in Westfield.
He acquired several tracts with clay deposits and purchased the rights to mine clay on nearby land. Two years later Kreischer established a brick works at the edge of (he Arthur Kill (Staten Island Sound), and in 1858 he enlarged his works on Staten Island with the construction of an addition to the factory for the production of clay retorts (vessels made of fire clay in which coal was heated to produce gas). As Kreischer's brick works and clay mining began to dominate Androvetteville, the area became known as Kreischerville. In 1876 the Staten Island facility was enlarged and at that time the Manhattan plant was closed; the newly-expanded works were destroyed by fire in 1878 and were immediately rebuilt. The Kreischer Brick works was a major producer of building materials in the metropolitan area, and like many operations, maintained a headquarters in Manhattan.
Balthasar Kreischer, who retired from active management of the brick works in 1878, died in 1886; the Arm of B. Kreischer & Sons was continued by three of his children: George F., who had joined the company in 1870, Charles C., and Edward B.^ In 1887 George Kreischer entered into an agreement with the New York Anderson Pressed Brick Company and the Anderson works was built adjacent to the Kreischer facility. The brick works were again badly damaged by Arc and rebuilt in 1892. The Kreischer family's involvement with the firm terminated in 1899, its sale forced by financial problems.
The main impetus for the growth of the village of Kreischerville was the provision of housing within walking distance of the brick works. It appears that some of the properties Kreischer acquired for his company's clay deposits already had dwellings on them and that he erected several additional dwellings to house the work force; by the early 1890s the Kreischer family owned around twenty-five houses in Kreischerville. On the parcel immediately north of the works stood one of the existing houses, an old Androvette family dwelling (now No. 122 Androvette Street). By 1875 Kreischer had built two large tenements for workers: a frame building east of the older Androvette house that housed six families and a nearby larger brick structure for twelve households (neither of the tenement buildings is standing). By the mid-1880s, a number of double houses had been built on the Kreischer firm property as housing for workers. The Kreischer firm did not own all of the property in the village, however, and members of families that had long been located in the area, like Peter Androvette, owned their own homes in addition to houses they rented to workers and lots they sold for new construction. Double houses, or semi-detached cottages, would become the dominant housing type in the village, with nearly twenty such structures built, including the Kreischer Street Workers' Houses erected by Androvette c.1890 at Nos. 71-73, 75-77, 81-83, and 85-87 Kreischer Street.
The relative geographic isolation of Kreischerville prompted the development of an entire village with numerous services as well as its own company town culture. Because Kreischerville, like many industrial communities was dominated by, but not entirely controlled by, the local industrialist - in this case Balthasar Kreischer - it can be considered a quasi-company town; the control of Kreischer over the village was tempered by preexisting development and local interests in the community. In 1863 a KreischerviHe post office was established. The Kreischerville school, District School No. 7, which during the mid-1880s served over two-hundred students, was located just north of the center of the village on Arthur Kill Road. Private enterprise appears to have thrived in Kreischerville.
During the early 1870s Kreischer helped to establish Nicholas Kilmeyer as proprietor of a genera! store in the building that stands at 4321 Arthur Kill Road (at the comer of Winant Place). Soon there were several provision stores in the village and two bakers. The Kilmeyer Union Hote! and Saloon (at the comer of Arthur Kill Road and Sharrotts Road), the Neilsen Hotel (at the comer of Androvette and Kreischer Streets), and a boarding house offered lodging. The Order of Germain a Lodge No. 26 met in Kilmeyer's Hall; that group, or the Society for the Support of the Poor of St. Peter's Church, was probably the benevolent society established by 1886 to provide aid to sick or injured workers.
During the last decades of the nineteenth century, houses lined Androvette Street. Winant Place, Kreischer Street, Manley Street, Arthur Kill Road, and Sharrotts Road. During the 1890s, the village residents were mainly German and Irish immigrants, most of whom were laborers at the brick works, the clay pits, the International Ultramarine Works (between Kreischerville and Rossville), and the S.S. White Dental Manufacturing Company at Prince's Bay. The village residents included blacksmiths, masons, carpenters, bricklayers, and a tinsmith and p!umber, oystermen, and several watermen and boat captains.
According to reminiscences of residents, Kreischer considered the town named after himself to be a family community, and in a paternalistic manner he advanced money to purchase homes and assisted employees through sickness and trouble. Having become an American citizen, he encouraged his employees - mostly German immigrants like himself - to attain citizenship. His force in the community is reflected in memories that there was a "good tight fence around the entire village," and that 'the gates were dosed early in the evening, which perhaps have exaggerated the role of the extensive picket fencing enclosing the yards of village houses that is documented in historic photographs.
As was common in industrial towns, the Kreischer family maintained conspicuous residences. Kreischer built a grand villa-type residence (probably in the 1860s, no longer standing) on the crest of the hills above the factory (on the east side of the Arthur Kill Road) that visually dominated the village. Around 1886 Charles and Edward Kreischer moved into a pair of similar Stick Style wood villas on the east side of Arthur Kill Road; the house built for Charles Kreischer still stands at 4500 Arthur Kill Road (attributed to Palliser & Palliser, it is a designated New York City Landmark).
Around the turn of the century, the population of Kreischerville began to change as did the employment situation. The federal census of 1900 routinely listed "day laborer" as the occupation of many residents, although there were still several small service businessmen in town. As the more limited operation of the brick works after 1899 diminished the immediately local employment possibilities, more workers traveled to the White dental works and the Atlantic Terra Cotta Works (established 1897) in Tottenville.^ A significant addition to the predominantly German population was the influx of many workers from Hungary and neighboring areas in Central Europe. In 1900 most of the recent Hungarian immigrants in Kreischerville were single men who boarded in the homes of Anton Killian and John Lasiacasca on Arthur Kill Road, George Lasco on Androvette Street, and others. Hungarian families soon occupied other types of housing in the village, including the many double houses; the Magyar populadon and its social institutions would remain a visible portion of the population of Kreischerville during the twentieth century.
The St Peter's German Evanselical Reformed Church of Kreischerville
Following an attempt to establish a German congregation in Kreischerville in 1879, the St. Peter's German Evangelical Reformed Church of Kreischerville^ was incorporated March 13, 1882, with Jasper D. Heitman and Christopher Bie! as trustees and William Beekman and Philip Eckert as deacons. The group was formally organized under the direction of the Reverend Leopold Mohn, who was the pastor of the German Evangelical Church in Hoboken as well as director of the "Martha Institute," a private German-American school associated with that church. The name chosen by the congregation, St. Peter's Evangelical Reformed Church, reflects the diverse Protestant denominations represented by die German
immigrants The use of the neutral name, "Evangelical," which in German usage was equivalent to "Protestant," suggests that the German-speaking congregation probably included Swiss and Alsatian members who had been Calvinists or Reformed, as well as Lutherans. The St. Peter's congregation soon supported a Women's Society, a Society for the Support of the Poor, and a Young People's Society.
In May 1883, the firm of B. Kreischer & Sons acquired from Lewis Androvette a four-acre lot on the north side of Winant Place which bordered the lot on which the Kilmeyer store stood. On July 1st of that same year, a church building was formally presented to the congregation by Mr. Kreischer. "St. Peterskirche," as it became known to Kreischerville residents, was reported to have cost $15,000 and was furnished with an unusually good organ, and carved pews and wainscoting. The Kreischer family conspicuously occupied a pew at the front of the church that faced the choir. When the prominent industrialist died in 1886, Kreischer's funeral was held in St. Peterskirche prior to burial in Greenwood Cemetery, Brooklyn. Balthasar Kreischer's will stipulated that his heirs hold the church property in trust for the congregation as long as the family business was carried on by his sons; since the Kreischer firm was sold to Peter Androvette in 1899, in compliance with that provision, the Kreischer heirs conveyed the church property to the congregation the following year.
The construction of a church building by Balthasar Kreischer in the village bearing his name was characteristic of the common practice of paternalistic-oriented industrialists to provide churches, libraries, and community hall buildings in company towns. However, the establishment of a German congregation and the role of benefactor played by Kreischer seem to have occurred at a rather late date in the development of the industrial community of Kreischerville - thirty years after the brick works were opened. The delay may have been related to the dominance of the German-American immigrant community by secular community groups rather than religious ones, and the lack of a truly dominant German Protestant denomination.
Or perhaps the Baptist and Methodist congregations in the village had, but no longer, served the community's religious needs Nevertheless, Kreischer's ability to reinforce the German heritage he shared with much of his workforce, by worshipping with them in their native tongue in a church building he provided, was a final step in the development of KreischerviHe as a quasi-company town. Kreischer's will also provided for the use of the church as a school, a provision that remains unexplained. A public school had been established in KreischerviHe by the mid-1870s; Kreischer may have been referring to instruction in the German language. St. Peter's German Evangelical Church at KreischerviHe was one of several churches established on Staten Island by the sizeable German population that began to settle there after 1850; the congregations included the German Evangelical Lutheran Church in Port Richmond (incorporated 1852 and name changed 1918); the German Evangelical Church at Stapleton (incorporated 1857); the German-English Evangelical Lutheran Church of St. Paul, West New Brighton (incorporated 1895); and the German Evangelical Lutheran St. John's Church in Linoleumville (now Travis, incorporated 1910).
The German congregation of St. Peter's Church was served throughout its history by one pastor - the Reverend Jacob Ganss. During December 1882, Ganss first preached in Kreischerville, and in 1883, the year he was ordained at New Dorp by the (Dutch) Reformed Church of America (under whose authority many Protestant German churches were organized), he was called as pastor of the church. During his early years on Staten Island, the Reverend Ganss also served nearby congregations; aRer presiding at a late morning service on Sundays in KreischerviHe, he preached in Bergen (now Jersey City), New Jersey during the late afternoon and at an evening service in Hoboken.
The Reverend Jacob James Ganss (1859-1930), a native of Germany, graduated from the University of Mainz, Germany, and did post-graduate work at the University of Basel, Switzerland, before immigrating in 1880, at the age of twenty-one, to the United States where he first settled in Brooklyn. Ganss soon became a tutor at the Dr. Mohn's Martha Institute in Hoboken, where he was also a student in languages. (He received a Doctor of Philosophy degree from Taylor University, Indiana, in 1898.) The Reverend Ganss also served a German congregation in Perth Amboy which was enroHed in 1908 as a congregation in the Reformed Church of America; by 1914 the Reverend Dr. Ganss was preaching at the growing St. Paul's Evangelical Reformed Church in Perth Amboy during the morning and to the smaller congregation on Staten Island in the afternoon. The Reverend continued to serve the Perth Amboy Church from his home (now 4313 Arthur Kill Road, purchased in 1902 Rom the St. Peter's congregation) on Staten Island until his death in 1930.
A Second Congregation — The Free Magyar Reformed Church
By 1915 a Hungarian congregation had been meeting regularly in the St. Peter's German church. With Reverend Louis Nanassy presiding, the congregation incorporated in June of that year as the Magyar Reformed Church of KreischerviHe New York and Vicinity and afHHated with the German Reformed Church.Through the assistance of the Reverend Jacob Ganss, the Hungarian congregation was able to purchase the church and dedicate it for their use on September 1, 1919. Around the same time, the congregation called as pastor the Reverend Joseph Nagy, who had immigrated in 1911 from Hungary; with his wife, Helen, and their two children, he resided at 19 Winant Place in what is now the kitchen and bathroom portion of the Parish Hall.
In 1922 the Reverend Kalman Toth was installed as pastor, and as the church flourished, plans were made to erect a rectory; the project was realized during the summer of 1926 when a dwelling was built by George Robinson to plans provided by builder/architect Royal Daggett." A division in the church occurred in 1933 when the Reverend Toth left to establish another church in Rossville. The congregation in Charleston then reincorporated as the Free Magyar Reformed Church of Staten Island, New York; since that time the church has been affiliated with the Hungarian Reformed Church in America.
The congregation in Charleston maintained an active religious and social program, furthering the goals of the Hungarian community. Services were conducted in the Hungarian language until October 1985, at which time the Hungarian and English services were combined. The church provided Hungarian language classes for children of the congregation Rom the early 1930s through the early 1950s. The church and the parish hall, with its stage, remain in regular use for worship and as the setting for church-related and social events; when there is no resident pastor, the rental of the rectory helps support the small, independent congregation.
The history of the Magyar church in Charleston illustrates the important role that churches played in the lives of immigrant groups. During the Rrst years of the twentieth century, a period of heavy immigration from Hungary, many Hungarian, or Magyar, churches were organized.' The Magyar churches represented several denominations: Roman Catholic, Baptist, Lutheran, Greek Catholic (Byzantine Rite), and those affiliated with the Reformed Church in America.
These Hungarian churches in America were noted as particularly careful to maintain the religious traditions of their native land, as well as the Hungarian language which was often taught in church-related schools. In some places, the Hungarian church was the only Magyar "territory" - as property owned (or at least controlled) by the immigrant group - and conceptually it was the one place where the immigrants could truly fee! at home. Many congregations celebrated Hungarian national holidays and consciously tried to serve as a bridge between the old traditions and the new way of life in America. The churches sponsored service clubs, which with the Magyar fraternal organizations, were important social links for the immigrant community.
In the aftermath of World War 1, the Hungarian churches in America, many of which were formally affiliated with and assisted in building programs by the Reformed Church of Hungary, were advised in 1920 to afEIiate with either the Reformed Church of the United States or the Presbyterian Church. In 1924, seven congregations which did not wish to so align themselves formed the Free Magyar (now Hungarian) Reformed Church in America as an independent denomination. The Free Magyar congregations were located in New York, New Jersey, Pennsylvania, Ohio, and Michigan. The denomination, with which the Charleston church affiliated in 1933, has remained one of the smaller ones in the United States, with thirty member churches today.
Description
The St. Peter's German Evangelical Church, Parish Hall, and Rectory are located on a slight rise on the north side of Winant Place in the village of Charleston. The church building and attached parish hall, at 19-23 Winant Place, and the rectory at 25 Winant Place form a complex united by a fence consisting of posts built of brick of various shades, some with Kreischer markings, that are spanned by lengths of chain-link fencing and gates along the front edge of the yards.
The church building is a one-and-one-half-Story structure with a gable end facing the street from which a spire rises above the ridge-line. To the east of the church extends an entry hall that joins the sanctuary with a small dwelling which is used as a kitchen and coat hall. To the rear of the sanctuary and the dwelling extends the parish hall. The sanctuary portion of the church and the south facades of the wing to the east are sheathed with white aluminum siding (installed 1976); the wood elements of the porch, the tongue-and-groove porch flooring and steps, and the foundation (faced with concrete), are painted.
The wood porch that extends across the facade of the church has a shed roof with a central bay which projects as an intersecting gable roof The porch is constructed with square posts and beams that are modeled extensively with chamfering. The posts that terminate with capital blocks are flanked by paired brackets at the roof eaves; the posts are connected at balustrade height by a single chamfered horizontal wood member. From the king-post-like bracing at the apex of the porch roof hangs a sign with the name of the church and date of 1916.
The exposed rafters (chamfered as well) of the porch roof have carved ends Wood steps, flanked by modem metal handrails, lead to the central entrance which has paneled double-leaf doors topped by an arched fanlight which is divided by muntins and has leaded glass with a diamond pattern. A rose window, the leaded glass of which incorporates two rondels, is centered in the gable face within an arched enframement. At the front edge of the gable ridge rises a spire which consists of a square tower supported by a flared base; the belfry area is now covered by horizontal louvers. The tall, pyramidal wood spire is sheathed on the top portion with copper and on the lower portion with asphalt material; the spire is terminated by a ball finial and lightning rod which terminates with a star.
The main body of the church is pierced by arched windows set high in the side facades, just below the projecting boxed eaves; these windows have sash divided into thirds on the exterior and are fitted on the interior with historic leaded colored glass windows. The upper portion of the roof, which is sheathed with dark-colored asphalt shingles, is pierced by several small gabled dormers, the faces of which are covered with aluminum siding. A tall chimney constructed of several shades of Kreischer brick (built during the 1930s) rises Rom the rear portion of the main block.
The three-bay enRance hall to the east of the sanctuary has a brick stoop (rebuilt during the late spring of 1994) leading to the entrance in the west bay. There is a bulkhead cellar entrance adjacent in the east bay of this portion of the complex. The dwelling portion of the structure has an irregular pyramidal roof Rom which a chimney extends. A small shed-roofed wood porch (on concrete piers) with an X-braced balustrade extends at one side of the Ront facade of the structure.
Windows in the south and east facades of the entrance hall and kitchen portion of the complex have one-over-one aluminum sash. The exterior walls of the parish hall are sheathed with asphalt sheets. The exposed rafter ends at the eaves of the parish hall are carved on the east and west walls. The parish hall interior is lit by three sets of grouped tall windows -- in the east wall and at the east and west ends of the north facade — which have four-over-four double-hung wood sash (with exterior storm windows). There is an exterior door near the middle of the north wall of the hall and a door takes the place of one of the windows in the east wall.'
Concrete walks extend along the fence and lead to the main entrance of the church and the door in the entry hall. A flag pole stands to the east of the walk and the posts that supported an announcement board remain west of the walk.^ The portion of the yard in Ront of the entry is paved with granite blocks adjacent to the building. The remaining portion of the brick walk leading to the porch entrance in the east wing is edged with granite and brick curbing. Brick paving (of sidewalk width) edges much of the church complex; a brick-lined gutter along the west side of the church leads to the street A driveway separates the church Rom the rectory.
The rectory, a two-and-one-half-story house with a gable-roofed main block, is sited close to the church, leaving a large yard to the west. The rectory, sheathed in aluminum siding (installed 1977), is on a foundation that is a combination of smooth and rock-faced concrete block; lattice screens enclose the porch foundation between the concrete block piers. The porch has a closed balustrade and square posts supporting the hipped roof that nearly spans the facade. Steps constructed of various shades of Kreischer brick lead to the porch. The central entrance has a storm door and modem wood door. The three-bay facade has window openings with one-over-one aluminum sash; there is a smaller window with similar sash centered in the attic gable face. Wood steps lead to a rear entrance. To the rear of the house there is a fenced play yard and a garage and shed building which is clad in asphalt sheathing.
- From the 1994 NYCLPC Landmark Designation Report