LAFD fought an intense fire on two fronts. A brush fire along the SB 2 Fy extended into a large church adjacent to the trees. Roof collapse forced a defensive operation and firefighters worked to save important documents and religious items. Two firefighters received minor injuries.

© Photo by Landon Jensen.

 

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79-0433 c/n 48200 - the prototype McDonnell Douglas KC-10A Extender which first flew in July 1980. Delivered to the USAF 32nd ARS in October 1981. As of 2001, flying with the 305th AMW and still in service as of 2015 after an impressive 35 years service.

 

Taken using a Soviet made Zenith TTL camera and standard lens.

 

You can see a random selection of my aviation memories here: www.flickriver.com/photos/heathrowjunkie/random/

+++ DISCLAIMER +++Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

  

Some background:

Aeroflot is one of the oldest airlines in the world, tracing its history back to 1923. During the Soviet era, Aeroflot was the Soviet national airline and the largest airline in the world. Following the dissolution of the USSR, the carrier has been transformed from a state-run enterprise into a semi-privatized company which ranked 19th most profitable airline in the world in 2007. Aeroflot is still considered to be the de facto national airline of Russia, being 51%-owned by the Russian Government.

 

After WWII, Aeroflot's route network had extended to 295,400 kilometers (183,600 mi), and by 1950 it carried 1,603,700 passengers, 151,070 tonnes (333,050,000 lb) of freight and 30,580 tonnes (67,420,000 lb) of mail during the same year. The 20th Communist Party Congress, held in 1956, saw plans for Aeroflot services to be dramatically increased. The airline would see its overall activities increased from its then current levels by 3.8 times, and it was set the target of the carriage of 16,000,000 passengers by 1960. In order to meet these goals, Aeroflot introduced higher capacity turbojet and turbine-prop aircraft on key domestic routes, and on services to Aeroflot destinations abroad.

 

A major step for Aeroflot occurred on 15 September 1956 when the Tupolev Tu-104 jet airliner entered service on the Moscow-Omsk-Irkutsk route, marking the world's first sustained jet airline service. The airline began international flights with the type on 12 October 1956 with flights from Moscow to Prague. The aircraft placed Aeroflot in an envious position, as airlines in the West had operated throughout the 1950s with large piston-engine aircraft. By 1958 the route network covered 349,200 kilometers (217,000 mi), and the airline carried 8,231,500 passengers, and 445,600 tons of mail and freight, with fifteen percent of all-Union services being operated by jet aircraft.

 

Aeroflot introduced the Antonov An-10 and Ilyushin Il-18 in 1959, and together with its existing jet aircraft, the airline was able to extend services on modern aircraft to some twenty cities during 1960. The Tupolev Tu-114, then the world's largest airliner, entered service with the Soviet carrier on 24 April 1961 on the Moscow-Khabarovsk route; covering a distance of 6,980 kilometers (4,340 mi) in 8 hours 20 minutes. The expansion of the Aeroflot fleet saw services with modern aircraft being extended to more than forty cities in 1961, with fifty percent of all-Union services being operated by these aircraft. This fleet expansion also saw the number of passengers carried in 1961 skyrocketing to 21,800,000.

 

Further expansion came in 1962 when various medium and short-haul routes were started and respective aircraft types such as the Tupolev Tu-124, Ilyushin Il-60 and Antonov An-24 entered regular service with Aeroflot. The Tu-124 was a jet airliner, technically an 75% version of the Tu-104, while the An-24 was a lighter twin turboprop aircraft in the class of the Fokker F.27. The Il-60 was the latest addition to the domestic services, falling in between both other types.

 

Development of the Ilyushin Il-60 dated back to 12 October 1951, when the Soviet Council of Ministers published a specification for a medium-range aircraft carrying 50 to 70 passengers and 1,000 kg (2,200 lb) of cargo on routes up to 2,000 km (1,100 nmi; 1,200 mi) with a cruising speed of about 600 km/h (320 kn; 370 mph). The type was to replace the piston engine Ilyushin Il-14 on domestic routes. The number and type of engines were not specified, but jet or turboprop engines were expected and emphasis was put on ruggedness and ease of operations for operations on rural airstrips with a minimum of infrastructure.

 

Ilyushin’s OKB-240 responded at first with a scaled-down Il-18 turboprop airliner, somewhat inspired by an idea of Czech manufacturer Avia for a smaller, short-range airliner for the CSA’s Central European routes. This machine had only two engines and overall reduced dimensions, but used many components of the original airliner. But it soon became clear that the Tu-104 with its jet engines had already set higher standards, so that a completely new and more innovative design was started.

 

Internally known as “Aircraft 60”, the machine introduced some innovations while still being a conservative design. The aircraft was a two turboprop-engine low-wing monoplane with slightly swept (20° at quarter chord) wings, a circular pressurized fuselage and a conventional, yet markedly swept tail (both fin and stabilizer at 45°). The aircraft had two entry doors on the port-side before and after the wing, two overwing emergency exits on each side, and featured a retractable stairway under the rear fuselage so that passengers could directly enter the aircraft from the airfield. An APU was integrated in the rear fuselage, under the fin, for independent operation of the air condition system and starting the engines without external support.

The tricycle landing gear had four wheels fitted on the main leg bogies, which retracted inwards to lie under the fuselage instead of into the engine nacelles. The front wheel also had twin wheels, retracting forward in a well under the cockpit floor, and the aircraft’s low-pressure tires allowed operations even from grass airfields or snowy ground. Another novel feature at the time was the fitting of a weather radar in the nose, a civilian RPSN-2 "Emblema" system, doing away with the typical glazed navigator position of other former Soviet airliner designs. In order to support all-weather operations and ease the pilots’ work, “Aircraft 60” was also outfitted with an automatic approach system, supported by the radar which allowed blind navigation.

 

Despite vibration and noise problems, experienced with the earlier Il-18 airliner, Ilyushin insisted on turboprop propulsion because it was the more fuel-efficient option. He furthermore expected that no another jet-driven airliner would be politically “allowed” along the Tu-124 short haul airliner, at that time under parallel development.

 

“Aircraft 60” was powered by a pair of Kuznetsow NK-6K turboprops. This engine was one of several developments after World War II by a team of Russian scientists and deported German engineers under Ferdinand Brandner, which had worked for Junkers previously, evolving from late war German turboprop studies. This the post-war development was based on the wartime Jumo 022 turboprop design that developed 6000 eshp in a 3000 kg engine. The efforts continued with a 5000 ehp engine that weighed in at 1700 kg, completed by 1947, and with further weight savings and more modern materials, the NK-6, one of several development directions, became a large single-spool engine that was optimized for use on board of commercial aircraft like “Aircraft 60”.

 

For security reasons, the engines were mounted in front and above of the wings’ leading edge. In order to keep the wing structure as clean and simple and possible and not risk collateral damage to the landing gear in case of an engine fire, the landing gear was retracted into wells under the wing roots. This measure also kept the engine nacelle’s dimensions in very compact limits.

In order to minimize noise and vibrations, 2x4-bladed contraprops with an automatic feathering system were mounted, resulting in a characteristic humming noise when the engines were running. Due to the lower speed of these propellers, compared to a standard four- or five-blade propeller, the internal and external noise level could be significantly reduced (compared to the Il-18, which could drone at 110db in the cabin above the wings!), even though the lower frequency caused other problems, mainly vibrations at certain speeds that shook the whole airframe.

 

The standard seating of the initial version, the Il-60A, was 52 seats at a 90cm distance between the five-seat rows (two seats on port side and three on starboard). Alternatively, a maximum of 72 could be mounted in a cramped “tourist class” configuration with only 78cm distance between the seat rows, which became the late production standard configuration as Il-60B.

 

The first of two prototypes made its first flight from Zhukovsky airfield on 24 March 1960. The second prototype followed in June 1960. Two other airframes served as a static test cells. Testing was successful, and the aircraft entered production at Machinery Plant No. 30 located at Khodynka, near Moscow, replacing the Il-18 in production. Deliveries to Aeroflot began in August 1962, with the type operating its first scheduled passenger service, between Moscow and Tallinn in Estonia, on 2 October 1962.

 

The Il-60’s production remained only on a small scale, though: being a pure jet, the Tu-124 was preferred by the Aeroflot for short haul duties, as well as by the Powers That Be. Despite the type’s merits esp. in harsh climate conditions (most Il-60 were allocated to Aeroflot’s feederline services in the Soviet Union’s northern regions), the type was not popular among its crews. While the two turboprops gave sufficient power, had good handling across the whole speed envelope and the aircraft had no trouble remaining airborne with one engine shut down, the asymmetrical drag/thrust in this emergency condition was considerable and navigating the Il-60, and even more landing the aircraft, with only one engine was a challenging task.

 

Furthermore, the stalky landing gear, which prompted the crews' inofficial nickname "косино́жки" (kosinozhki = daddy longlegs), could start to vibrate under certain conditions and wobble, making a start or landing run a shaky if not dangerous affair, esp. on snow-packed and non-permanent runways. Furthermore, two Il-60 crashed on runways or airfields after hitting obstacles ubnder snow - the long front landing gear collapsed. Nobody on board was seriosuly hurt in both cases, but these accidents did not improve the type's reputation among both pilots and passengers alike.

 

Only a total of 44 machines were built: 18 Il-60As for selected connections abroad (e. g. to Scandinavia and Poland), plus 26 Il-60Bs with higher seat capacity for purely domestic service. Both machines were identical from the outside, though, and all production aircraft featured a characteristic spinal fin root extension that covered several radio and navigation antennae.

 

Ilyushin had plans for a stretched version (with two plugs inserted into the fuselage in front of and behind the wings) with a 2.2m longer fuselage and a maximum capacity of 85 passengers, and also worked on a jet-powered update with engine nacelles on pylons under and in front of the wings. But none of these improvements was turned into hardware, since not only the Tu-124 had become the preferred short/medium haul airliner for Aeroflot, the following Tu-134 had also become the political favorite, and OKB-240 focused on its long-range airliner Il-62.

 

Il-60 production already ended after only two years in 1964, and Aeroflot decommissioned its last twelve Il-60s on 21 January 1980, after more and more structural problems (wing spar cracks, caused by the NK-6’s vibrations) had become apparent and several aircraft had to be grounded.

  

General characteristics:

Crew: 3 (captain, first officer and a flight engineer),

plus another seat for an optional navigator or a radio officer,

plus a three- or four-person cabin crew

Capacity: 52 – 72

Payload: 8.4 t (9.3 short tons)

Length: 32,54 m (106 ft 7 in)

Wingspan: 34.3 m (112 ft 6 in)

Height: 11,74 m (38 ft 5 1/2 in)

Wing area: 146.7 m² (1,579 sq ft)

Empty weight: 22.2 t (24.5 sT)

Max. takeoff weight: 46 t (50.7 sT)

 

Powerplant:

2× Kusnetzow NK-6K turboprop engines, rated at 3,318 kW (4,612 ehp) each

 

Performance

Maximum speed: 805 km/h (500 mph/435 knots)

Cruise speed: 665 km/h (424 mph/370 knots)

Range (Typical payload, 2 hr reserve): 2,400 km (1,300 nmi/1,490 mi)

Rate of climb: 2,750 ft/min (14.0 m/s)

Service ceiling: 11,000 m (36,000 ft)

  

The kit and its assembly:

“In Soviet Union, Aeroflot flies you!” And in order to prove this theory, this whiffy airliner is contribution #3 to the “Soviet Group Build” at whatifmodelers.com in early 2017.

 

It’s been a very long time that I had built a small-scale airliner, but then I found a (crappy!) 1:144 Mistercraft Caravelle III in my stash (actually, a re-boxed kit from a company called “Ruch” from the Sixties!), that I had originally bought just for the wings as a pure donor kit. This appears to be a blunt copy of the also rather vintage Airfix kit, but the latter has much more crisp details. O.K., the Mistercraft kit was cheap – but you have to pay otherwise…

 

Anyway, anything Soviet without an elegant Aeroflot airliner would not be complete, so I tackled this idea on short notice. The project had also been fueled by another project idea: a modern short-haul airliner like the Tu-204, but outfitted with turboprops instead of turbofan engines. For this idea (and other uses), I also had a conversion set from a Russian company called “Kompakt Mir” stashed away, with four resin 1:144 NK-14 engines. It’s actually as an aftermarket upgrade set for the Trumpeter Tu-95 model kit, but came in handy – and it is excellent stuff, by the way, with crisp detail, almost no flash or sinkholes.

 

With these ingredients, work went on quickly and straightforward, and wings and fuselage were started separately. The wings (a combined piece with a mutual underside) received fairings for engine nacelles, made basically from drop tank halves glued to the upper wing surface. Then the resin engines were mounted to the fairings’ front ends the gaps and the nacelles’ underside sculpted with 2C putty, plus some later fine-tuning with NC putty. The Caravelle’s inward-retracting landing gear was retained, keeping the engine fairings rather short and compact.

 

On the fuselage, the Caravelle's original engines and their attachment points disappeared. The triangular windows were drilled open into circular shape, later, as a final finishing step, filled with Humbrol ClearFix for shiny window panes - this improves the overall look a lot.

 

Lead was added in the nose, the retractable stairway under the rear fuselage kept (a very Soviet design detail!) and the Caravelle’s characteristic round fin tip was cut away, to be replaced with a square scratch transplant. The stabilizers were moved down and their round tips clipped, too.

 

On the nose, a scratched thimble radome was added and blended into the fuselage, for an Il-18-ish look. While these were rather simple, cosmetic measures on the fuselage, the look of the whole aircraft was changed into a much more modern design!? This was even more emphasized when the wings and stabilizers were added – the Il-60 looks very contemporary, nothing of the Caravelle’s Fifties flavor remains.

 

The landing gear is new, bashed from the bogies of the recently slashed Dragon 1:144 B-1B bomber I abused for my Fastback build, and leftover struts from an Acedemy 1:144 Tu-22M. The latter also donated a pair of main wheels for the front leg, which is, again, from the B-1B.

The new arrangement is considerably taller than the Caravelle’s, but with the large propellers this is a convenient and plausible arrangement, despite a rather stalky appearance due to the relatively short wheelbase. The eight main wheels were taken from the RUCH kit, even though the attachment point would not fit the B-1 struts at all...

  

Painting and markings:

One can argue about Soviet aircraft design or reliability – but I must admit that I liked the Aeroflot aircraft liveries since I can remember them as a child, sometimes even witnessing Tupolev or Yak jets at the local airport. The white-and-blue outfit with almost baroque trim and details was and is IMHO a very elegant design, worthy of a state airline (which had a menacing, if not mysterious Big Brother image during the Cold War times in which I grew up).

 

Another interesting fact is that, despite the basic colors were set, each Aeroflot type bore a typical and different paint scheme, plus some exotic designs like the polar service machines with lots of red added.

 

Consequently, I had a lot of freedom, and work was made even more easy through the Mistercraft Caravelle kit: it actually contains markings for a Caravelle in Aeroflot markings! “Nonsense!”, you might say – but this aircraft actually existed: it was a movie prop (actually Air France’s F-BJTR) for filming “Enigma” at Le Bourget Airport in 1981 (check this for reference: www.airliners.net/photo/Aeroflot-%28Air-France%29/Sud-SE-...). As a side note, there was another Caravelle in fictional Interflug or ČSA colors, too, as well as a camouflaged SMB2 Super Mystère and a NMF Mystère IV with red stars on white discs, both playing the role of Soviet MiG-19s!

 

Anyway, the OOB decal sheet offered enough material for my plans, even though the blue trim was created from generic decal sheet. But door decals and most Aeroflot markings came from the movie aircraft.

 

Painting was also a pretty straightforward affair: the fuselage was painted white with acrylic paint from the rattle can, the lower fuselage by brush with Polished Aluminum Metallizer from Humbrol (which creates a very bright and clean finish) on top of a Revell Acrylics Aluminum primer coat.

For some contrast to the white and blue I painted the fixed wing parts with light grey, the rudders in Aluminum and Steel, and orange wing and stabilizer tips were added as small, additional contrasts, later even highlighted with dayglow orange.

 

In order to add some weirdness to the look, the propeller blades were painted bright blue with yellow tips. Unusual, but a common Soviet/Russian/Chinese practice.

  

A rather simple conversion, but highly effective. The Caravelle’s traces are almost not to be identified anymore, even though fuselage and wings consist of OOB material with only superficial modifications or re-locations. The engines on the wings change the look, too, and despite being massive NK-12’s they are a good match for the compact airliner – I am very happy with the outcome, even though the overall lines look much more modern than late Fifties design – even though no more modern parts were actually integrated? Weird, but entertaining. J

The Western Wall known in the West as the Wailing Wall, and in Islam as the Buraq Wall is a portion of ancient limestone wall in the Old City of Jerusalem that forms part of the larger retaining wall of the hill known to Jews and Christians as the Temple Mount. Just over half the wall's total height, including its 17 courses located below street level, dates from the end of the Second Temple period, and is believed to have been begun by Herod the Great. The very large stone blocks of the lower courses are Herodian, the courses of medium-sized stones above them were added during the Umayyad period, while the small stones of the uppermost courses are of more recent date, especially from the Ottoman period.

 

The Western Wall plays an important role in Judaism due to its proximity to the Temple Mount. Because of the Temple Mount entry restrictions, the Wall is the holiest place where Jews are permitted to pray outside the previous Temple Mount platform, as the presumed site of the Holy of Holies, the most sacred site in the Jewish faith, lies just behind it. The original, natural, and irregular-shaped Temple Mount was gradually extended to allow for an ever-larger Temple compound to be built at its top. The earliest source mentioning this specific site as a place of Jewish worship is from the 17th century. The term Western Wall and its variations are mostly used in a narrow sense for the section of the wall used for Jewish prayer and called the "Wailing Wall", referring to the practice of Jews weeping at the site. During the period of Christian Roman rule over Jerusalem (ca. 324–638), Jews were completely barred from Jerusalem except on Tisha B'Av, the day of national mourning for the Temples. The term "Wailing Wall" has historically been used mainly by Christians, with use by Jews becoming marginal. In a broader sense, "Western Wall" can refer to the entire 488-metre-long (1,601 ft) retaining wall on the western side of the Temple Mount. The classic portion now faces a large plaza in the Jewish Quarter, near the southwestern corner of the Temple Mount, while the rest of the wall is concealed behind structures in the Muslim Quarter, with the small exception of an 8-metre (26 ft) section, the so-called "Little Western Wall" or "Small Wailing Wall". This segment of the western retaining wall derives particular importance from having never been fully obscured by medieval buildings, and displaying much of the original Herodian stonework. In religious terms, the "Little Western Wall" is presumed to be even closer to the Holy of Holies and thus to the "presence of God" (Shechina), and the underground Warren's Gate, which has been out of reach for Jews from the 12th century till its partial excavation in the 20th century.

 

The Western Wall constitutes the western border of al-Haram al-Sharif ("the Noble Sanctuary"), or the Al-Aqsa compound. It is believed to be the site where the Islamic Prophet Muhammad tied his winged steed, the Burāq, on his Night Journey to Jerusalem before ascending to paradise. While the wall was considered an integral part of the Haram esh-Sharif and waqf property of the Moroccan Quarter under Muslim rule, a right of Jewish prayer and pilgrimage has long existed as part of the Status Quo.This position was confirmed in a 1930 international commission during the British Mandate period.

 

With the rise of the Zionist movement in the early 20th century, the wall became a source of friction between the Jewish and Muslim communities, the latter being worried that the wall could be used to further Jewish claims to the Temple Mount and thus Jerusalem. During this period outbreaks of violence at the foot of the wall became commonplace, with a particularly deadly riot in 1929 in which 133 Jews and 116 Arabs were killed, with many more people injured. After the 1948 Arab–Israeli War the eastern portion of Jerusalem was occupied by Jordan. Under Jordanian control Jews were completely expelled from the Old City including the Jewish Quarter, and Jews were barred from entering the Old City for 19 years, effectively banning Jewish prayer at the site of the Western Wall. This period ended on June 10, 1967, when Israel gained control of the site following the Six-Day War. Three days after establishing control over the Western Wall site, the Moroccan Quarter was bulldozed by Israeli authorities to create space for what is now the Western Wall plaza.

 

Early Jewish texts referred to a "western wall of the Temple", but there is doubt whether the texts were referring to the outer, retaining wall called today "the Western Wall", or to the western wall of the actual Temple. The earliest Jewish use of the Hebrew term "ha-kotel ha-ma'aravi", "the Western Wall", as referring to the wall visible today, was by the 11th-century poet Ahimaaz ben Paltiel.

 

The name "Wailing Wall", and descriptions such as "wailing place", appeared regularly in English literature during the 19th century. The name Mur des Lamentations was used in French and Klagemauer in German. This term itself was a translation of the Arabic el-Mabka, or "Place of Weeping", the traditional Arabic term for the wall. This description stemmed from the Jewish practice of coming to the site to mourn and bemoan the destruction of the Temple and the loss of national freedom it symbolized.

 

Muslims have associated the name Al-Buraq with the wall at least since the 1860s.

 

Hillel Halkin claims that the "traditional Arabic term" El-Mabka, "the Place of Weeping", which he says gave rise to the English name "Wailing Wall", was cast aside by the Palestinians in the 1920s, as a result of rising tensions with the Jews over rights at the site, and was replaced by "El-Burak".

 

The term Western Wall commonly refers to a 187-foot (57 m) exposed section of a much longer retaining wall, built by Herod on the western flank of the Temple Mount. Only when used in this sense is it synonymous with the term Wailing Wall. This section faces a large plaza and is set aside for prayer.

 

In its entirety, the western retaining wall of the Herodian Temple Mount complex stretches for 1,600 feet (488 m), most of which is hidden behind medieval residential structures built along its length.

 

There are only two other revealed sections: the southern part of the Wall (see Robinson's Arch area), which measures approximately 80 metres (262 ft), and is separated from the prayer area by just a narrow stretch of archaeological remains; and another, much shorter section, known as the Little Western Wall, which is located close to the Iron Gate.

 

The entire western wall functions as a retaining wall, supporting and enclosing the ample substructures built by Herod the Great around 19 BCE. Herod's project was to create an artificial extension to the small quasi-natural plateau on which the First Temple stood, already widened in Hasmonean times during the Second Temple period, by finally transforming it into the almost rectangular, wide expanse of the Temple Mount platform visible today.

 

At the Western Wall Plaza, the total height of the Wall from its foundation is estimated at 105 feet (32 m), with the above-ground section standing approximately 62 feet (19 m) high. The Wall consists of 45 stone courses, 28 of them above ground and 17 underground. The first seven above-ground layers are from the Herodian period. This section of wall is built from enormous meleke limestone blocks, possibly quarried at either Zedekiah's Cave situated under the Muslim Quarter of the Old City, or at Ramat Shlomo 4 kilometres (2.5 mi) northwest of the Old City. Most of them weigh between 2 and 8 short tons (1.8 and 7.3 tonnes) each, but others weigh even more, with one extraordinary stone located slightly north of Wilson's Arch measuring 13.55 metres (44.5 ft) long, 3.3 metres (11 ft) high, approximately 1.8 to 2.5 metres (5.9 to 8.2 ft) deep, and weighing between 250 and 300 tonnes (280 and 330 short tons). Each of these ashlars is framed by fine-chiseled borders. The margins themselves measure between 5 and 20 centimetres (2 and 8 in) wide, with their depth measuring 1.5 centimetres (0.59 in). In the Herodian period, the upper 10 metres (33 ft) of wall were 1 metre (39 in) thick and served as the outer wall of the double colonnade of the Temple platform. This upper section was decorated with pilasters, the remainder of which were destroyed when the Byzantines reconquered Jerusalem from the Persians in 628.

 

The next four courses, consisting of smaller plainly dressed stones, are Umayyad work (8th century, Early Muslim period) Above that are 16 to 17 courses of small stones from the Mamluk period (13th–16th centuries) and later.

 

According to the Hebrew Bible, Solomon's Temple was built atop what is known as the Temple Mount in the 10th century BCE and destroyed by the Babylonians in 586 BCE, and the Second Temple completed and dedicated in 516 BCE. Around 19 BCE Herod the Great began a massive expansion project on the Temple Mount. In addition to fully rebuilding and enlarging the Temple, he artificially expanded the platform on which it stood, doubling it in size. Today's Western Wall formed part of the retaining perimeter wall of this platform. In 2011, Israeli archaeologists announced the surprising discovery of Roman coins minted well after Herod's death, found under the foundation stones of the wall. The excavators came upon the coins inside a ritual bath that predates Herod's building project, which was filled in to create an even base for the wall and was located under its southern section. This seems to indicate that Herod did not finish building the entire wall by the time of his death in 4 BCE. The find confirms the description by historian Josephus Flavius, which states that construction was finished only during the reign of King Agrippa II, Herod's great-grandson. Given Josephus' information, the surprise mainly regarded the fact that an unfinished retaining wall in this area could also mean that at least parts of the splendid Royal Stoa and the monumental staircase leading up to it could not have been completed during Herod's lifetime. Also surprising was the fact that the usually very thorough Herodian builders had cut corners by filling in the ritual bath, rather than placing the foundation course directly onto the much firmer bedrock. Some scholars are doubtful of the interpretation and have offered alternative explanations, such as, for example, later repair work.

 

Herod's Temple was destroyed by the Romans, along with the rest of Jerusalem, in 70 CE, during the First Jewish–Roman War.

 

During much of the 2nd–5th centuries of the Common Era, after the Roman defeat of the Bar Kokhba revolt in 135 CE, Jews were banned from Jerusalem. There is some evidence that Roman emperors in the 2nd and 3rd centuries did permit them to visit the city to worship on the Mount of Olives and sometimes on the Temple Mount itself.[30] When the empire started becoming Christian under Constantine I, they were given permission to enter the city once a year, on the Tisha B'Av, to lament the loss of the Temple at the wall. The Bordeaux Pilgrim, who wrote in 333 CE, suggests that it was probably to the perforated stone or the Rock of Moriah, "to which the Jews come every year and anoint it, bewail themselves with groans, rend their garments, and so depart".This was because an imperial decree from Rome barred Jews from living in Jerusalem. Just once per year they were permitted to return and bitterly grieve about the fate of their people. Comparable accounts survive, including those by the Church Father, Gregory of Nazianzus (c. 329–390) and by Jerome in his commentary to Zephaniah written in 392 CE. In the 4th century, Christian sources reveal that the Jews encountered great difficulty in buying the right to pray near the Western Wall, at least on the 9th of Av.[30] In 425 CE, the Jews of the Galilee wrote to Byzantine empress Aelia Eudocia seeking permission to pray by the ruins of the Temple. Permission was granted and they were officially permitted to resettle in Jerusalem.

 

Discovery of underground rooms that could have been used as food storage carved out of the bedrock under the 1,400-year-old mosaic floor of Byzantine structure was announced by Israel Antiquities Authority in May in 2020.

 

"At first we were very disappointed because we found we hit the bedrock, meaning that the material culture, the human activity here in Jerusalem ended. What we found here was a rock-cut system—three rooms, all hewn in the bedrock of ancient Jerusalem" said co-director of the excavation Barak Monnickendam-Givon.

 

Several Jewish authors of the 10th and 11th centuries write about the Jews resorting to the Western Wall for devotional purposes. Ahimaaz relates that Rabbi Samuel ben Paltiel (980–1010) gave money for oil at "the sanctuary at the Western Wall." Benjamin of Tudela (1170) wrote "In front of this place is the Western Wall, which is one of the walls of the Holy of Holies. This is called the Gate of Mercy, and hither come all the Jews to pray before the Wall in the open court." The account gave rise to confusion about the actual location of Jewish worship, and some suggest that Benjamin in fact referred to the Eastern Wall along with its Gate of Mercy. While Nahmanides (d. 1270) did not mention a synagogue near the Western Wall in his detailed account of the temple site, shortly before the Crusader period a synagogue existed at the site. Obadiah of Bertinoro (1488) states "the Western Wall, part of which is still standing, is made of great, thick stones, larger than any I have seen in buildings of antiquity in Rome or in other lands."

 

Shortly after Saladin's 1187 siege of the city, in 1193, the sultan's son and successor al-Afdal established the land adjacent to the wall as a charitable trust (waqf). The largest part of it was named after an important mystic, Abu Madyan Shu'aib. The Abu Madyan waqf was dedicated to Maghrebian pilgrims and scholars who had taken up residence there, and houses were built only metres away from the wall, from which they were thus separated by just a narrow passageway, some 4 metres (13 ft) wide.

 

The first mention of the Islamic tradition that Buraq was tethered at the site is from the 14th century. A manuscript by Ibrahim b. Ishaq al-Ansari (known as Ibn Furkah, d. 1328)[dubious – discuss] refers to Bab al-Nabi (lit. "Gate of the Prophet"), an old name for Barclay's Gate below the Maghrebi Gate. Charles D. Matthews however, who did his doctorate on al-Firkah's little religious guide-book alluded to here, "Arousing Souls to Pilgrimage to Jerusalem's Holy Walls", presents a different opinion, showing that the ambiguous prose of the Damascene author ("a gate through which the sun and the moon incline"), taken together with other statements he made, can be seen to point towards either Barclay's Gate on the western wall, or indeed the Double Gate on the southern wall.

 

In 1517, the Turkish Ottomans under Selim I conquered Jerusalem from the Mamluks who had held it since 1250. Selim's son, Sultan Suleiman the Magnificent, ordered the construction of an imposing wall to be built around the entire city, which still stands today. Various folktales relate Suleiman's quest to locate the Temple site and his order to have the area "swept and sprinkled, and the Western Wall washed with rosewater" upon its discovery. At the time, Jews received official permission to worship at the site and Ottoman architect Mimar Sinan built an oratory for them there. In 1625 organised prayers at the Wall are mentioned for the first time.

 

Over the centuries, land close to the Wall became built up. Public access to the Wall was through the Moroccan Quarter, a labyrinth of narrow alleyways. In May 1840 a firman issued by Ibrahim Pasha forbade the Jews to pave the passageway in front of the Wall. It also cautioned them against "raising their voices and displaying their books there." They were, however, allowed "to pay visits to it as of old."

 

Rabbi Joseph Schwarz writing in the mid-19th century records:

 

This wall is visited by all our brothers on every feast and festival; and the large space at its foot is often so densely filled up, that all cannot perform their devotions here at the same time. It is also visited, though by less numbers, on every Friday afternoon, and by some nearly every day. No one is molested in these visits by the Mahomedans, as we have a very old firman from the Sultan of Constantinople that the approach shall not be denied to us, though the Porte obtains for this privilege a special tax, which is, however, quite insignificant.

 

Over time the increased numbers of people gathering at the site resulted in tensions between the Jewish visitors who wanted easier access and more space, and the residents, who complained of the noise. This gave rise to Jewish attempts at gaining ownership of the land adjacent to the Wall.

 

In the late 1830s a wealthy Jew named Shemarya Luria attempted to purchase houses near the Wall, but was unsuccessful, as was Jewish sage Abdullah of Bombay who tried to purchase the Western Wall in the 1850s. In 1869 Rabbi Hillel Moshe Gelbstein settled in Jerusalem. He arranged that benches and tables be brought to the Wall on a daily basis for the study groups he organised and the minyan which he led there for years. He also formulated a plan whereby some of the courtyards facing the Wall would be acquired, with the intention of establishing three synagogues—one each for the Sephardim, the Hasidim and the Perushim. He also endeavoured to re-establish an ancient practice of "guards of honour", which according to the mishnah in Middot, were positioned around the Temple Mount. He rented a house near the Wall and paid men to stand guard there and at various other gateways around the mount. However, this set-up lasted only for a short time due to lack of funds or because of Arab resentment. In 1874, Mordechai Rosanes paid for the repaving of the alleyway adjacent to the wall.

 

In 1887 Baron Rothschild conceived a plan to purchase and demolish the Moroccan Quarter as "a merit and honor to the Jewish People." The proposed purchase was considered and approved by the Ottoman Governor of Jerusalem, Rauf Pasha, and by the Mufti of Jerusalem, Mohammed Tahir Husseini. Even after permission was obtained from the highest secular and Muslim religious authority to proceed, the transaction was shelved after the authorities insisted that after demolishing the quarter no construction of any type could take place there, only trees could be planted to beautify the area. Additionally the Jews would not have full control over the area. This meant that they would have no power to stop people from using the plaza for various activities, including the driving of mules, which would cause a disturbance to worshippers. Other reports place the scheme's failure on Jewish infighting as to whether the plan would foster a detrimental Arab reaction.

 

In 1895 Hebrew linguist and publisher Rabbi Chaim Hirschensohn became entangled in a failed effort to purchase the Western Wall and lost all his assets. The attempts of the Palestine Land Development Company to purchase the environs of the Western Wall for the Jews just before the outbreak of World War I also never came to fruition. In the first two months following the Ottoman Empire's entry into the First World War, the Turkish governor of Jerusalem, Zakey Bey, offered to sell the Moroccan Quarter, which consisted of about 25 houses, to the Jews in order to enlarge the area available to them for prayer. He requested a sum of £20,000 which would be used to both rehouse the Muslim families and to create a public garden in front of the Wall. However, the Jews of the city lacked the necessary funds. A few months later, under Muslim Arab pressure on the Turkish authorities in Jerusalem, Jews became forbidden by official decree to place benches and light candles at the Wall. This sour turn in relations was taken up by the Chacham Bashi who managed to get the ban overturned. In 1915 it was reported that Djemal Pasha, closed off the wall to visitation as a sanitary measure. Probably meant was the "Great", rather than the "Small" Djemal Pasha.

 

In December 1917, Allied forces under Edmund Allenby captured Jerusalem from the Turks. Allenby pledged "that every sacred building, monument, holy spot, shrine, traditional site, endowment, pious bequest, or customary place of prayer of whatsoever form of the three religions will be maintained and protected according to the existing customs and beliefs of those to whose faith they are sacred".

 

In 1919 Zionist leader Chaim Weizmann approached the British Military Governor of Jerusalem, Colonel Sir Ronald Storrs, and offered between £75,000 and £100,000 (approx. £5m in modern terms) to purchase the area at the foot of the Wall and rehouse the occupants. Storrs was enthusiastic about the idea because he hoped some of the money would be used to improve Muslim education. Although they appeared promising at first, negotiations broke down after strong Muslim opposition. Storrs wrote two decades later:

 

The acceptance of the proposals, had it been practicable, would have obviated years of wretched humiliations, including the befouling of the Wall and pavement and the unmannerly braying of the tragi-comic Arab band during Jewish prayer, and culminating in the horrible outrages of 1929.

 

In early 1920, the first Jewish-Arab dispute over the Wall occurred when the Muslim authorities were carrying out minor repair works to the Wall's upper courses. The Jews, while agreeing that the works were necessary, appealed to the British that they be made under supervision of the newly formed Department of Antiquities, because the Wall was an ancient relic.

 

According to Hillel Halkin, in the 1920s, among rising tensions with the Jews regarding the wall, the Arabs ceased using the more traditional name El-Mabka, "the Place of Weeping", which related to Jewish practices, and replaced it with El-Burak, a name with Muslim connotations.

 

In 1926 an effort was made to lease the Maghrebi waqf, which included the wall, with the plan of eventually buying it. Negotiations were begun in secret by the Jewish judge Gad Frumkin, with financial backing from American millionaire Nathan Straus. The chairman of the Palestine Zionist Executive, Colonel F. H. Kisch, explained that the aim was "quietly to evacuate the Moroccan occupants of those houses which it would later be necessary to demolish" to create an open space with seats for aged worshippers to sit on.[68] However, Straus withdrew when the price became excessive and the plan came to nothing. The Va'ad Leumi, against the advice of the Palestine Zionist Executive, demanded that the British expropriate the wall and give it to the Jews, but the British refused.

 

In 1928 the World Zionist Organization reported that John Chancellor, High Commissioner of Palestine, believed that the Western Wall should come under Jewish control and wondered "why no great Jewish philanthropist had not bought it yet".

 

In 1922, a Status Quo agreement issued by the mandatory authority forbade the placing of benches or chairs near the Wall. The last occurrence of such a ban was in 1915, but the Ottoman decree was soon retracted after intervention of the Chacham Bashi. In 1928 the District Commissioner of Jerusalem, Edward Keith-Roach, acceded to an Arab request to implement the ban. This led to a British officer being stationed at the Wall making sure that Jews were prevented from sitting. Nor were Jews permitted to separate the sexes with a screen. In practice, a flexible modus vivendi had emerged and such screens had been put up from time to time when large numbers of people gathered to pray.

 

On September 24, 1928, the Day of Atonement, British police resorted to removing by force a screen used to separate men and women at prayer. Women who tried to prevent the screen being dismantled were beaten by the police, who used pieces of the broken wooden frame as clubs. Chairs were then pulled out from under elderly worshipers. The episode made international news and Jews the world over objected to the British action. Yosef Chaim Sonnenfeld, the Chief Rabbi of the ultraorthodox Jews in Jerusalem, issued a protest letter on behalf of his community, the Edah HaChareidis, and Agudas Yisroel strongly condemning the desecration of the holy site. Various communal leaders called for a general strike. A large rally was held in the Etz Chaim Yeshiva, following which an angry crowd attacked the local police station in which they believed Douglas Valder Duff, the British officer involved, was sheltering.

 

Commissioner Edward Keith-Roach described the screen as violating the Ottoman status quo that forbade Jews from making any construction in the Western Wall area. He informed the Jewish community that the removal had been carried out under his orders after receiving a complaint from the Supreme Muslim Council. The Arabs were concerned that the Jews were trying to extend their rights at the wall and with this move, ultimately intended to take possession of the Masjid Al-Aqsa. The British government issued an announcement explaining the incident and blaming the Jewish beadle at the Wall. It stressed that the removal of the screen was necessary, but expressed regret over the ensuing events.

 

A widespread Arab campaign to protest against presumed Jewish intentions and designs to take possession of the Al Aqsa Mosque swept the country and a "Society for the Protection of the Muslim Holy Places" was established. The Jewish National Council (Vaad Leumi) responding to these Arab fears declared in a statement that "We herewith declare emphatically and sincerely that no Jew has ever thought of encroaching upon the rights of Moslems over their own Holy places, but our Arab brethren should also recognise the rights of Jews in regard to the places in Palestine which are holy to them." The committee also demanded that the British administration expropriate the wall for the Jews.

 

From October 1928 onward, Mufti Amin al-Husayni organised a series of measures to demonstrate the Arabs' exclusive claims to the Temple Mount and its environs. He ordered new construction next to and above the Western Wall. The British granted the Arabs permission to convert a building adjoining the Wall into a mosque and to add a minaret. A muezzin was appointed to perform the Islamic call to prayer and Sufi rites directly next to the Wall. These were seen as a provocation by the Jews who prayed at the Wall. The Jews protested and tensions increased.

 

A British inquiry into the disturbances and investigation regarding the principal issue in the Western Wall dispute, namely the rights of the Jewish worshipers to bring appurtenances to the wall, was convened. The Supreme Muslim Council provided documents dating from the Turkish regime supporting their claims. However, repeated reminders to the Chief Rabbinate to verify which apparatus had been permitted failed to elicit any response. They refused to do so, arguing that Jews had the right to pray at the Wall without restrictions. Subsequently, in November 1928, the Government issued a White Paper entitled "The Western or Wailing Wall in Jerusalem: Memorandum by the Secretary of State for the Colonies", which emphasised the maintenance of the status quo and instructed that Jews could only bring "those accessories which had been permitted in Turkish times."

 

A few months later, Haj Amin complained to Chancellor that "Jews were bringing benches and tables in increased numbers to the wall and driving nails into the wall and hanging lamps on them."

 

In the summer of 1929, the Mufti Haj Amin Al Husseinni ordered an opening be made at the southern end of the alleyway which straddled the Wall. The former cul-de-sac became a thoroughfare which led from the Temple Mount into the prayer area at the Wall. Mules were herded through the narrow alley, often dropping excrement. This, together with other construction projects in the vicinity, and restricted access to the Wall, resulted in Jewish protests to the British, who remained indifferent.

 

On August 14, 1929, after attacks on individual Jews praying at the Wall, 6,000 Jews demonstrated in Tel Aviv, shouting "The Wall is ours." The next day, the Jewish fast of Tisha B'Av, 300 youths raised the Zionist flag and sang Hatikva at the Wall. The day after, on August 16, an organized mob of 2,000 Muslim Arabs descended on the Western Wall, injuring the beadle and burning prayer books, liturgical fixtures and notes of supplication. The rioting spread to the Jewish commercial area of town, and was followed a few days later by the Hebron massacre. One hundred and thirty-three Jews were killed and 339 injured in the Arab riots, and in the subsequent process of quelling the riots 110 Arabs were killed by British police. This was by far the deadliest attack on Jews during the period of British Rule over Palestine.

 

In 1930, in response to the 1929 riots, the British Government appointed a commission "to determine the rights and claims of Muslims and Jews in connection with the Western or Wailing Wall", and to determine the causes of the violence and prevent it in the future. The League of Nations approved the commission on condition that the members were not British.

 

The Commission noted that "the Jews do not claim any proprietorship to the Wall or to the Pavement in front of it (concluding speech of Jewish Counsel, Minutes, page 908)."

 

The Commission concluded that the wall, and the adjacent pavement and Moroccan Quarter, were solely owned by the Muslim waqf. However, Jews had the right to "free access to the Western Wall for the purpose of devotions at all times", subject to some stipulations that limited which objects could be brought to the Wall and forbade the blowing of the shofar, which was made illegal. Muslims were forbidden to disrupt Jewish devotions by driving animals or other means.

 

The recommendations of the Commission were brought into law by the Palestine (Western or Wailing Wall) Order in Council, 1931, which came into effect on June 8, 1931. Persons violating the law were liable to a fine of 50 pounds or imprisonment up to 6 months, or both.

 

During the 1930s, at the conclusion of Yom Kippur, young Jews persistently flouted the shofar ban each year and blew the shofar resulting in their arrest and prosecution. They were usually fined or sentenced to imprisonment for three to six months. The Shaw commission determined that the violence occurred due to "racial animosity on the part of the Arabs, consequent upon the disappointment of their political and national aspirations and fear for their economic future."

 

During the 1948 Arab–Israeli War the Old City together with the Wall was controlled by Jordan. Article VIII of the 1949 Armistice Agreement called for a Special Committee to make arrangements for (amongst other things) "free access to the Holy Places and cultural institutions and use of the cemetery on the Mount of Olives". The committee sat multiple times during 1949, but both sides made additional demands and at the same time the Palestine Conciliation Commission was pressing for the internationalization of Jerusalem against the wishes of both parties. No agreement was ever reached, leading to recriminations in both directions. Neither Israeli Arabs nor Israeli Jews could visit their holy places in the Jordanian territories. An exception was made for Christians to participate in Christmas ceremonies in Bethlehem. Some sources claim Jews could only visit the wall if they traveled through Jordan (which was not an option for Israelis) and did not have an Israeli visa stamped in their passports. Only Jordanian soldiers and tourists were to be found there. A vantage point on Mount Zion, from which the Wall could be viewed, became the place where Jews gathered to pray. For thousands of pilgrims, the mount, being the closest location to the Wall under Israeli control, became a substitute site for the traditional priestly blessing ceremony which takes place on the Three Pilgrimage Festivals.

 

During the Jordanian rule of the Old City, a ceramic street sign in Arabic and English was affixed to the stones of the ancient wall. Attached 2.1 metres (6.9 ft) up, it was made up of eight separate ceramic tiles and said Al Buraq Road in Arabic at the top with the English "Al-Buraq (Wailing Wall) Rd" below. When Israeli soldiers arrived at the wall in June 1967, one attempted to scrawl Hebrew lettering on it. The Jerusalem Post reported that on June 8, Ben-Gurion went to the wall and "looked with distaste" at the road sign; "this is not right, it should come down" and he proceeded to dismantle it. This act signaled the climax of the capture of the Old City and the ability of Jews to once again access their holiest sites. Emotional recollections of this event are related by David Ben-Gurion and Shimon Peres.

 

Following Israel's victory during the 1967 Six-Day War, the Western Wall came under Israeli control. Brigadier Rabbi Shlomo Goren proclaimed after its capture that "Israel would never again relinquish the Wall", a stance supported by Israeli Minister for Defence Moshe Dayan and Chief of Staff General Yitzhak Rabin. Rabin described the moment Israeli soldiers reached the Wall:

 

"There was one moment in the Six-Day War which symbolized the great victory: that was the moment in which the first paratroopers—under Gur's command—reached the stones of the Western Wall, feeling the emotion of the place; there never was, and never will be, another moment like it. Nobody staged that moment. Nobody planned it in advance. Nobody prepared it and nobody was prepared for it; it was as if Providence had directed the whole thing: the paratroopers weeping—loudly and in pain—over their comrades who had fallen along the way, the words of the Kaddish prayer heard by Western Wall's stones after 19 years of silence, tears of mourning, shouts of joy, and the singing of "Hatikvah"".

 

Forty-eight hours after capturing the wall, the military, without explicit government order, hastily proceeded to demolish the entire Moroccan Quarter, which stood 4 metres (13 ft) from the Wall. The Sheikh Eid Mosque, which was built over one of Jerusalem's oldest Islamic schools, the Afdiliyeh, named after one of Saladin's sons, was pulled down to make way for the plaza. It was one of three or four that survived from Saladin's time. 106 Arab families consisting of 650 people were ordered to leave their homes at night. When they refused, bulldozers began to demolish the buildings with people still inside, killing one person and injuring a number of others.

 

According to Eyal Weizman, Chaim Herzog, who later became Israel's sixth president, took much of the credit for the destruction of the neighbourhood:

 

When we visited the Wailing Wall we found a toilet attached to it ... we decided to remove it and from this we came to the conclusion that we could evacuate the entire area in front of the Wailing Wall ... a historical opportunity that will never return ... We knew that the following Saturday [sic Wednesday], June 14, would be the Jewish festival of Shavuot and that many will want to come to pray ... it all had to be completed by then.

 

Historian Matthew Teller, who investigated the story of the toilet, judged it as improbable.

 

The narrow pavement, which could accommodate a maximum of 12,000 per day, was transformed into an enormous plaza that could hold in excess of 400,000. Several months later, the pavement close to the wall was excavated to a depth of two and half metres, exposing an additional two courses of large stones.

 

A complex of buildings against the wall at the southern end of the plaza, that included Madrasa Fakhriya and the house that the Abu al-Sa'ud family had occupied since the 16th century, were spared in the 1967 destruction, but demolished in 1969. The section of the wall dedicated to prayers was thus extended southwards to double its original length, from 28 to 60 metres (92 to 197 ft), while the 4 metres (13 ft) space facing the wall grew to 40 metres (130 ft).

 

The narrow, approximately 120 square metres (1,300 sq ft) pre-1948 alley along the wall, used for Jewish prayer, was enlarged to 2,400 square metres (26,000 sq ft), with the entire Western Wall Plaza covering 20,000 square metres (4.9 acres), stretching from the wall to the Jewish Quarter.

 

The new plaza created in 1967 is used for worship and public gatherings, including Bar mitzvah celebrations and the swearing-in ceremonies of newly full-fledged soldiers in the Israel Defense Forces. Tens of thousands of Jews flock to the wall on the Jewish holidays, and particularly on the fast of Tisha B'Av, which marks the destruction of the Temple and on Jerusalem Day, which commemorates the reunification of Jerusalem in 1967 and the delivery of the Wall into Jewish hands.

 

In November 2010, the government approved a NIS 85m ($23m) scheme to improve access from the Jewish Quarter and upgrade infrastructure at the Wall.

 

Conflicts over prayer at the national monument began a little more than a year after Israel's victory in the Six-Day War, which again made the site accessible to Jews. In July 1968 the World Union for Progressive Judaism, which had planned the group's international convention in Jerusalem, appealed to the Knesset after the Ministry of Religious Affairs prohibited the organization from hosting mixed-gender services at the Wall. The Knesset committee on internal affairs backed the Ministry of Religious Affairs in disallowing the Jewish convention attendees, who had come from over 24 countries, from worshiping in their fashion. The Orthodox held that services at the Wall should follow traditional Jewish law for segregated seating followed in synagogues, while the non-Orthodox perspective was that "the Wall is a shrine of all Jews, not one particular branch of Judaism."

 

In September 1983, U.S. Sixth Fleet Chaplain, Rabbi Arnold Resnicoff was allowed to hold an unusual interfaith service—the first interfaith service ever conducted at the Wall during the time it was under Israeli control—that included men and women sitting together. The ten-minute service included the Priestly Blessing, recited by Resnicoff, who is a Kohen. A Ministry of Religions representative was present, responding to press queries that the service was authorized as part of a special welcome for the U.S. Sixth Fleet.

 

In 2005, the Western Wall Heritage Foundation initiated a major renovation effort under Rabbi-of-the-Wall Shmuel Rabinovitch. Its goal was to renovate and restructure the area within Wilson's Arch, the covered area to the left of worshipers facing the Wall in the open prayer plaza, in order to increase access for visitors and for prayer.

 

The restoration of the men's section included a Torah ark that can house over 100 Torah scrolls, in addition to new bookshelves, a library, heating for the winter, and air conditioning for the summer. A new room was also built for the scribes who maintain and preserve the Torah scrolls used at the Wall. New construction also included a women's section, overlooking the men's prayer area, so that women could use this separate area to "take part in the services held inside under the Arch" for the first time.

 

On July 25, 2010, a ner tamid, an oil-burning "eternal light," was installed within the prayer hall within Wilson's Arch, the first eternal light installed in the area of the Western Wall. According to the Western Wall Heritage Foundation, requests had been made for many years that "an olive oil lamp be placed in the prayer hall of the Western Wall Plaza, as is the custom in Jewish synagogues, to represent the menorah of the Temple in Jerusalem as well as the continuously burning fire on the altar of burnt offerings in front of the Temple," especially in the closest place to those ancient flames.

 

At the southern end of the Western Wall, Robinson's Arch along with a row of vaults once supported stairs ascending from the street to the Temple Mount.

 

The so-called Isaiah Stone, located under Robinson's Arch, has a carved inscription in Hebrew with a partial and slightly faulty quote from (or paraphrase of) Isaiah 66:14: "And you will see and your heart will rejoice and their bones like an herb [will flourish]" (the correct line from Isaiah would read "...your bones".) This gave room to various interpretations, some speculating about it being written during a period of hope for Jews. Alternatively, it might be connected to nearby graves. The inscription has tentatively been dated to the 4th-8th century, some extending the possible timespan all the way to the 11th century

 

Because it does not come under the direct control of the Rabbi of the Wall or the Ministry of Religious Affairs, the site has been opened to religious groups that hold worship services that would not be approved by the Rabbi of the Western Wall or the Ministry of Religious Affairs in the major men's and women's prayer areas against the Wall. The worship site was inaugurated in 2004 and has since hosted services by Reform and Conservative groups, as well as services by the Women of the Wall. A platform has been added in 2013 in order to expand the prayer area.

 

The Scroll of Ahimaaz, a historical document written in 1050 CE, distinctly describes the Western Wall as a place of prayer for the Jews. In around 1167 CE during the late Crusader Period, Benjamin of Tudela wrote that "In front of this place is the western wall, which is one of the walls of the Holy of Holies. This is called the Gate of Mercy, and hither come all the Jews to pray before the Wall in the open court".

 

In 1625 "arranged prayers" at the Wall are mentioned for the first time by a scholar whose name has not been preserved.

 

In 1994, Shlomo Goren wrote that the tradition of the wall as a Jewish prayer site was only 300 years old, the Jews being compelled to pray there after being forbidden to assemble on the mount itself.

 

Scrolls of the Law were brought to the Wall on occasions of public distress and calamity, as testified to in a narrative written by Rabbi Gedaliah of Semitizi who went to Jerusalem in 1699.

 

"On Friday afternoon, March 13, 1863, the writer visited this sacred spot. Here he found between one and two hundred Jews of both sexes and of all ages, standing or sitting, and bowing as they read, chanted and recited, moving themselves backward and forward, the tears rolling down many a face; they kissed the walls and wrote sentences in Hebrew upon them... The lamentation which is most commonly used is from Psalm 79:1 "O God, the heathen are come into Thy inheritance; Thy holy temple have they defiled."

(Rev. James W. Lee, 1863)

 

The writings of various travellers in the Holy Land, especially in the 18th and 19th centuries, tell of how the Wall and its environs continued to be a place of devotion for the Jews. Isaac Yahuda, a prominent member of the Sephardic community in Jerusalem recalled how men and women used to gather in a circle at the Wall to hear sermons delivered in Ladino. His great-grandmother, who arrived in Palestine in 1841, "used to go to the Western Wall every Friday afternoon, winter and summer, and stay there until candle-lighting time, reading the entire Book of Psalms and the Song of Songs...she would sit there by herself for hours."

 

In the past women could be found sitting at the entrance to the Wall every Sabbath holding fragrant herbs and spices in order to enable worshipers to make additional blessings. In the hot weather they would provide cool water. The women also used to cast lots for the privilege of sweeping and washing the alleyway at the foot of the Wall.

 

Throughout several centuries, the Wall is where Jews have gathered to express gratitude to God or to pray for divine mercy. On news of the Normandy landings on June 6, 1944 thousands of Jews went to the Wall to offer prayers for the "success of His Majesty's and Allied Forces in the liberation of all enemy-occupied territory." On October 13, 1994, 50,000 gathered to pray for the safe return of kidnapped soldier Nachshon Wachsman. August 10, 2005 saw a massive prayer rally at the Wall. Estimates of people protesting Israel's unilateral disengagement plan ranged from 50,000 to 250,000 people. Every year on Tisha B'Av large crowds congregate at the Wall to commemorate the destruction of the Temple. In 2007 over 100,000 gathered. During the month of Tishrei 2009, a record 1.5 million people visited the site.

 

In Judaism, the Western Wall is venerated as the sole remnant of the Holy Temple. It has become a place of pilgrimage for Jews, as it is the closest permitted accessible site to the holiest spot in Judaism, namely the Even ha-shetiya or Foundation Stone, which lies on the Temple Mount. According to one rabbinic opinion, Jews may not set foot upon the Temple Mount and doing so is a sin punishable by Kareth. While almost all historians and archaeologists and some rabbinical authorities believe that the rocky outcrop in the Dome of the Rock is the Foundation Stone, some rabbis say it is located directly opposite the exposed section of the Western Wall, near the El-kas fountain. This spot was the site of the Holy of Holies when the Temple stood.

 

Rabbinic tradition teaches that the western wall was built upon foundations laid by the biblical King Solomon from the time of the First Temple.

 

Some medieval rabbis claimed that today's Western Wall is a surviving wall of the Temple itself and cautioned Jews from approaching it, lest they enter the Temple precincts in a state of impurity. Many contemporary rabbis believe that the rabbinic traditions were made in reference to the Temple Mount's Western Wall, which accordingly endows the Wall with inherent holiness.

 

A 7th-century Midrash refers to a western wall of the Temple which "would never be destroyed", and a 6th-century Midrash mentions how Rome was unable to topple the western wall due to the Divine oath promising its eternal survival.

 

An 11th-century Midrash quotes a 4th-century scholar: "Rav Acha said that the Divine Presence has never departed from the Western Wall", and the Zohar (13th century) similarly writes that "the Divine Presence rests upon the Western Wall".

 

Eighteenth-century scholar Jonathan Eybeschutz writes that "after the destruction of the Temple, God removed His Presence from His sanctuary and placed it upon the Western Wall where it remains in its holiness and honour". It is told that great Jewish sages, including Isaac Luria and the Radvaz, experienced a revelation of the Divine Presence at the wall.

 

Rabbi Zvi Hirsch Kaindenover discusses the mystical aspect of the Hebrew word kotel when discussing the significance of praying against a wall. He cites the Zohar which writes that the word kotel, meaning wall, is made up of two parts: "Ko", which has the numerical value of God's name, and "Tel", meaning mount, which refers to the Temple and its Western Wall.

 

Many contemporary Orthodox scholars rule that the area in front of the Wall has the status of a synagogue and must be treated with due respect. This is the view upheld by the authority in charge of the wall. As such, men and married women are expected to cover their heads upon approaching the Wall, and to dress appropriately. When departing, the custom is to walk backwards away from the Wall to show its sanctity. On Saturdays, it is forbidden to enter the area with electronic devices, including cameras, which infringe on the sanctity of the Sabbath.

 

Some Orthodox Jewish codifiers warn against inserting fingers into the cracks of the Wall as they believe that the breadth of the Wall constitutes part of the Temple Mount itself and retains holiness, while others who permit doing so claim that the Wall is located outside the Temple area.

 

In the past, some visitors would write their names on the Wall, or based upon various scriptural verses, would drive nails into the crevices. These practices stopped after rabbis determined that such actions compromised the sanctity of the Wall. Another practice also existed whereby pilgrims or those intending to travel abroad would hack off a chip from the Wall or take some of the sand from between its cracks as a good luck charm or memento. In the late 19th century the question was raised as to whether this was permitted and a long responsa appeared in the Jerusalem newspaper Havatzelet in 1898. It concluded that even if according to Jewish Law it was permitted, the practices should be stopped as it constituted a desecration. More recently the Yalkut Yosef rules that it is forbidden to remove small chips of stone or dust from the Wall, although it is permissible to take twigs from the vegetation which grows in the Wall for an amulet, as they contain no holiness. Cleaning the stones is also problematic from a halachic point of view. Blasphemous graffiti once sprayed by a tourist was left visible for months until it began to peel away.

 

There was once an old custom of removing one's shoes upon approaching the Wall. A 17th-century collection of special prayers to be said at holy places mentions that "upon coming to the Western Wall one should remove his shoes, bow and recite...". Rabbi Moses Reicher wrote that "it is a good and praiseworthy custom to approach the Western Wall in white garments after ablution, kneel and prostrate oneself in submission and recite "This is nothing other than the House of God and here is the gate of Heaven." When within four cubits of the Wall, one should remove their footwear." Over the years the custom of standing barefoot at the Wall has ceased, as there is no need to remove one's shoes when standing by the Wall, because the plaza area is outside the sanctified precinct of the Temple Mount.

 

According to Jewish Law, one is obliged to grieve and rend one's garment upon visiting the Western Wall and seeing the desolate site of the Temple. Bach (17th century) instructs that "when one sees the Gates of Mercy which are situated in the Western Wall, which is the wall King David built, he should recite: Her gates are sunk into the ground; he hath destroyed and broken her bars: her king and her princes are among the nations: the law is no more; her prophets also find no vision from the Lord". Some scholars write that rending one's garments is not applicable nowadays as Jerusalem is under Jewish control. Others disagree, pointing to the fact that the Temple Mount is controlled by the Muslim waqf and that the mosques which sit upon the Temple site should increase feelings of distress. If one hasn't seen the Wall for over 30 days, the prevailing custom is to rend one's garments, but this can be avoided if one visits on the Sabbath or on festivals. According to Donneal Epstein, a person who has not seen the Wall within the last 30 days should recite: "Our Holy Temple, which was our glory, in which our forefathers praised You, was burned and all of our delights were destroyed".

 

The Sages of the Talmud stated that anyone who prays at the Temple in Jerusalem, "it is as if he has prayed before the throne of glory because the gate of heaven is situated there and it is open to hear prayer." Jewish Law stipulates that the Silent Prayer should be recited facing towards Jerusalem, the Temple and ultimately the Holy of Holies, as God's bounty and blessing emanates from that spot. It is generally believed that prayer by the Western Wall is particularly beneficial since it was that wall which was situated closest to the Holy of Holies. Rabbi Jacob Ettlinger (1798–1871) writes, making reference to a medieval rabbi, "since the Theology and ritual Israel's prayers ascend on high there... as one of the great ancient kabbalists Rabbi Joseph Gikatilla said, when the Jews send their prayers from the Diaspora in the direction of Jerusalem, from there they ascend by way of the Western Wall." A well-known segula (efficacious remedy) for finding one's soulmate is to pray for 40 consecutive days at the Western Wall, a practice apparently conceived by Rabbi Yisroel Yaakov Fisher (1928–2003).

 

While during the late 19th century, no formal segregation of men and women was to be found at the Wall, conflict erupted in July 1968 when members of the World Union for Progressive Judaism were denied the right to host a mixed-gender service at the site after the Ministry of Religious Affairs insisted on maintaining the gender segregation customary at Orthodox places of worship. The progressives responded by claiming that "the Wall is a shrine of all Jews, not one particular branch of Judaism."

 

In 1988, the small but vocal group called Women of the Wall launched a campaign for recognition of non-Orthodox prayer at the Wall. Their form and manner of prayer elicited a violent response from some Orthodox worshippers and they were subsequently banned from holding services at the site. After repeated attacks by haredim, in 1989 the Women of the Wall petitioned to secure the right of women to pray at the wall without restrictions.

 

A decade on, some commentators called for the closure of the Wall unless an acceptable solution to the controversy was found.

 

In 2003 Israel's Supreme Court upheld the ban on non-Orthodox worship at the Wall, disallowing any women from reading publicly from the Torah or wearing traditional prayer shawls at the plaza itself, but instructed the Israeli government to prepare the site of Robinson's Arch to host such events, given that this area does not come under the direct control of the Rabbi of the Wall or the Ministry of Religious Affairs. The government responded by allocating Robinson's Arch for such purposes.

 

The Robinson's Arch worship site was inaugurated in August 2004 and has since hosted services by Reform and Conservative groups, as well as services by the Women of the Wall.

 

In 2012, critics still complained about the restrictions at the Western Wall, saying Israel had "turned a national monument into an ultra-Orthodox synagogue,"

 

In April 2013 things came to a head. In response to the repeated arrest of women, including Anat Hoffman, found flouting the law, the Jewish Agency observed 'the urgent need to reach a permanent solution and make the Western Wall once again a symbol of unity among the Jewish people, and not one of discord and strife." Jewish Agency leader Natan Sharansky spearheaded a concept that would expand and renovate the Robinson's Arch area into an area where people may "perform worship rituals not based on the Orthodox interpretation of Jewish tradition." The Jerusalem District Court ruled that as long as there was no other appropriate area for pluralistic prayer, prayer according to non-Orthodox custom should be allowed at the Wall, and a judge ruled that the 2003 Israeli Supreme Court ruling prohibiting women from carrying a Torah or wearing prayer shawls had been misinterpreted and that Women of the Wall prayer gatherings at the Wall should not be deemed as disturbing the public order.[

 

On August 25, 2013, a new 4,480 square foot prayer platform named "Azarat Yisrael Plaza" was completed as part of this plan of facilitating non-Orthodox worship, with access to the platform at all hours, even when the rest of the area's archaeological park is closed to visitors. After some controversy regarding the question of authority over this prayer area, the announcement was made that it would come under the authority of a future government-appointed "pluralist council" that would include non-Orthodox representatives.

 

In January 2016, the Israeli Cabinet approved a plan to designate a new space at the Kotel that would be available for egalitarian prayer and that would not be controlled by the Rabbinate. Women of the Wall welcomed the decision, although Sephardic Chief Rabbi Shlomo Amar of Jerusalem said creating a mixed-gender prayer section was paramount to destroying the Wall. The Chief Rabbinate said it would create an alternate plan. In June 2017, it was announced that the plan approved in January 2016 had been suspended.

 

There is a much publicised practice of placing slips of paper containing written prayers into the crevices of the Wall. The earliest account of this practice is attributed to Rabbi Chaim ibn Attar, (d. 1743). More than a million notes are placed each year and the opportunity to e-mail notes is offered by a number of organisations. It has become customary for visiting dignitaries to place notes too.

 

Shortly after the Western Wall came under Israeli control in 1967, a stand of the Chabad movement offering phylacteries (tefillin) was erected with permission from Rabbi Yehuda Meir Getz, the first rabbi of the Kotel. The stand offers male visitors the chance to put on tefillin, a daily Jewish prayer ritual. In the months following the Six-Day War an estimated 400,000 Jews observed this ritual at the stand. The stand is staffed by multilingual Chabad volunteers and an estimated 100,000 male visitors put on tefillin there annually.

 

Muslim reverence for the site is derived from the belief that the Islamic prophet Muhammad tied his winged mount Buraq nearby during his night journey to Jerusalem. Various places have been suggested for the exact spot where Buraq was tethered, but for several centuries the preferred location has been the al-Buraq Mosque, which is just inside the wall at the south end of the present Western Wall plaza. The mosque is located above an ancient passageway, which once came out through the long-sealed Barclay's Gate whose huge lintel is still visible directly below the Maghrebi Gate.

 

There are four different locations, along the southern, eastern, and western wall, with gates known successively or simultaneously as the Gate of the Prophet and al-Buraq and associated by the Moslem authorities with Muhammad's night journey, which shows how extremely insecure they felt about the attribution of the al-Buraq tradition and name to a specific site.

 

US scholar Charles D. Matthews wrote in 1932 that, based on the work of Muslim authors of the 10th to 11th centuries (the later part of the Early Muslim period), the place where Prophet Muhammad had tethered Buraq and entered the haram was considered at the time to be the Double Gate of the Temple Mount's southern wall. To reach this conclusion, which he shares with Charles Wilson and Guy Le Strange, he analysed the relevant texts by Ibn al-Faqih (903), Ibn Abd Rabbih (913), and mainly by Muqaddasi (985) and Nasir-i-Khusrau (1047). One of the earliest authors who are more ambiguous, opening the possibility of identifying the Gate of the Prophet and al-Buraq with either the Double or Barclay's Gate, is Burhan ad-Din ibn al-Firkah of Damascus (d. 1329). Another Mamluk-period writer, Mujir ad-Din (1496), is the first one to unambiguously identify Barclay's Gate as the Gate of al-Buraq or of the Prophet. However, Mujir ad-Din's work is effectively a rework of earlier texts, with as-Suyuti (1471) being the main source—and he fails to mention that as—Suyuti stated that the Gate of the Inspector, located close to the northern end of the western wall, was also known as the Gate of al-Buraq or of the Prophet.

 

To the previously mentioned variations in identification adds yet another gate, the now walled-up Funeral Gate (bab al-jana'iz), just south of the Golden Gate, also known as 'Gate of al-Buraq' and marked as such on a 1864 Temple Mount map by Melchior de Vogüé, based on the 1833 survey by Frederick Catherwood.

 

When a British Jew asked the Egyptian authorities in 1840 for permission to re-pave the ground in front of the Western Wall, the governor of Syria wrote:

 

It is evident from the copy of the record of the deliberations of the Consultative Council in Jerusalem that the place the Jews asked for permission to pave adjoins the wall of the Haram al-Sharif and also the spot where al-Buraq was tethered, and is included in the endowment charter of Abu Madyan, may God bless his memory; that the Jews never carried out any repairs in that place in the past. ... Therefore the Jews must not be enabled to pave the place.

Carl Sandreczki, who was charged with compiling a list of place names for Charles Wilson's Ordnance Survey of Jerusalem in 1865, reported that the street leading to the Western Wall, including the part alongside the wall, belonged to the Hosh (court/enclosure) of al Burâk, "not Obrâk, nor Obrat". In 1866, the Prussian Consul and Orientalist Georg Rosen wrote that "The Arabs call Obrâk the entire length of the wall at the wailing place of the Jews, southwards down to the house of Abu Su'ud and northwards up to the substructure of the Mechkemeh [Shariah court]. Obrâk is not, as was formerly claimed, a corruption of the word Ibri (Hebrews), but simply the neo-Arabic pronunciation of Bōrâk, ... which, whilst (Muhammad) was at prayer at the holy rock, is said to have been tethered by him inside the wall location mentioned above."

 

The name Hosh al Buraq appeared on the maps of Wilson's 1865 survey, its revised editions of 1876 and 1900, and other maps in the early 20th century.

 

In 1922, Hosh al Buraq was the street name specified by the official Pro-Jerusalem Council.

 

Some scholars believe that when Jerusalem came under Christian rule in the 4th century, there was a purposeful "transference" of respect for the Temple Mount and the Western Wall in terms of sanctity to the Church of the Holy Sepulchre, while the sites around the Temple Mount became a refuse dump for Christians. However, the actions of many modern Christian leaders, including Pope John Paul II and Pope Benedict XVI, who visited the Wall and left prayer messages in its crevices, have symbolized for many Christians a restoration of respect and even veneration for this ancient religious site.

 

Most Jews, religious and secular, consider the wall to be important to the Jewish people since it was originally built to hold the Second Temple. They consider the capture of the wall by Israel in 1967 as a historic event since it restored Jewish access to the site after a 19-year gap.

 

Israeli philosopher Yeshayahu Leibowitz referred to the attitude towards the Western Wall as "idolatry" and publicly decried the Israelis' triumphalism following the 1967 victory.

 

A poll carried out in 2007 by the Jerusalem Institute for Israel Studies indicated that 96% of Israeli Jews were against Israel relinquishing the Western Wall.

 

Yitzhak Reiter writes that "the Islamization and de-Judaization of the Western Wall are a recurrent motif in publications and public statements by the heads of the Islamic Movement in Israel."

 

In December 1973, King Faisal of Saudi Arabia stated that "Only Muslims and Christians have holy places and rights in Jerusalem". The Jews, he maintained, had no rights there at all. As for the Western Wall, he said, "Another wall can be built for them. They can pray against that".

 

The Palestinian National Authority's State Information Service (SIS) stated as fact that the Jews did not consider the Wall as a place for worship until after the Balfour Declaration was issued in 1917.

 

In 2006, Dr. Hassan Khader, founder of the Al Quds Encyclopedia, told PA television

-the view of extended Indian Arm as seen from Burnaby Mountain, undoubtedly one of the best views of "City of Burnaby". This narrow inlet or Fjord is a geological wonder created by glacial erosion during the last ice age.

 

Extended description in first comment

 

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Shaftesbury & District's ex-British European Airways (BEA & London Transport Routemaster RMA29 this was extended with an extra bay, which came from RM 675. Eventually the bus re-emerged as RME 1. seen here at Wisley Airfield in 2004.

Seem to have spent most of the day installing and configuring these little rascals, or should I say WiFi extenders. It should have been straightforward but, of course, I made a small mistake which messed things up somewhat. After much reading, scratching my head and 'blueing' the air, I finally got things to work.Little rascals!

Our accommodation for the first two nights of the 10D9N trip - Blue Waters. We all agreed that the place is quite run down and nowhere near what we saw on their website. Extended Family Trip to Western Australia from 7 to 16 Jun 2016. (photo by Ben Cho)

Winter Blues - 14 (of 29) - Canon PowerShot G12 with Extender & Polarizer - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.

The extended and roofed central platform. The slightly curved platform seems infinitely long. The new underpass can be seen, but from here to the postbuses it's still 150 m and that's via two long flights of stairs. Switzerland, January 16, 2023. (17/18)

From the card front. Behind the bubble.

It is cool Mattel finally is making Origins with re-closable bubble on the cards. Slip on bubble. Not glued on.

ST23 Melbourne XPT awaiting departure from Sydney Terminal, running as a 7 car consist, due to there being an AFL event in Melbourne the following day, 22/9/2017.

Lawrence, Kansas, September 2015—Alfalfa has been around for so long that it’s “root” name comes from Arabic, which means “father of all foods.” Speaking of roots, the roots of ‪#‎alfalfa‬ can grow up to 39 feet, extending deep into the earth to reveal a host of nutrients—all of them good for us.

 

PINES Alfalfa is a high potency source of the ‪#‎antioxidant‬ Vitamin A as beta carotene. It’s also an excellent source of Vitamin K, and contains ‪‎Folic Acid‬, as well as Vitamin C, calcium and iron. Alfalfa should be green like PINES, but most are not very green at all, which means more fillers and less quality alfalfa.

 

Although PINES Alfalfa is a convenient and economical way to consume more green vegetables, it is unique as a ‪#‎vegetable‬ because it is also a legume. Legumes contain up to 8% ‪saponins‬, which are also contained in lima beans, soy beans, navy beans, broad beans, kidney beans, chickpeas and green peas, as well as garlic.

 

And in addition to helping you, alfalfa helps the soil by converting atmospheric nitrogen into forms on which other plants can thrive. Alfalfa also facilitates soil conservation by reducing erosion, creates a wildlife habitat for animals, including some endangered species, and its flowers help bees produce the top honey crop in the U.S.

 

Compare Alfalfa supplements. Note that PINES Alfalfa is the only certified ‪#‎organic‬, ‪‎non-GMO‬ Project Verified alfalfa leaf. Founded in 1976, PINES (www.wheatgrass.com) is a successful natural food company, still owned by its original founders and families. PINES products are found in over 7,000 health food stores nationwide, and exported to more than 20 foreign countries. PINES' focus is on harvesting, tableting and packaging for maximum nutritional value.

 

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Austin (at left) is a talented Stanford engineer, singer and lots more, and the rest of the gang make up my sister's wonderful family. Kurt (at the right) is a water polo star and smart and musical and all that and is talking to folks from Stanford. Jaye runs cross-country and is hiding between Kurt and her dad, Gregg, the cool chair guy. My sis Laurie switched from business to family and still runs a tight ship, but is as goofy as the rest of us.

 

(Also try it on black.)

@ seoul, south korea

Shot with a Minolta XD 11 on Maco UP 100+ (Efke 100) film. Printed on Ilford RC paper

The Palace of Versailles is a former royal residence commissioned by King Louis XIV located in Versailles, about 19 kilometers (12 mi) west of Paris, France.

 

The palace is owned by the French Republic and since 1995 has been managed, under the direction of the French Ministry of Culture, by the Public Establishment of the Palace, Museum and National Estate of Versailles. About 15,000,000 people visit the palace, park, or gardens of Versailles every year, making it one of the most popular tourist attractions in the world.

 

Louis XIII built a simple hunting lodge on the site of the Palace of Versailles in 1623. With his death came Louis XIV who expanded the château into the beginnings of a palace that went through several changes and phases from 1661 to 1715. It was a favorite residence for both kings, and in 1682, Louis XIV moved the seat of his court and government to Versailles, making the palace the de facto capital of France. This state of affairs was continued by Kings Louis XV and Louis XVI, who primarily made interior alterations to the palace, but in 1789 the royal family and capital of France returned to Paris. For the rest of the French Revolution, the Palace of Versailles was largely abandoned and emptied of its contents, and the population of the surrounding city plummeted.

 

Napoleon, following his coronation as Emperor, used Versailles as a summer residence from 1810 to 1814, but did not restore it. Following the Bourbon Restoration, when the king was returned to the throne, he resided in Paris and it was not until the 1830s that meaningful repairs were made to the palace. A museum of French history was installed within it, replacing the apartments of the southern wing.

 

The palace and park were designated a World Heritage Site by UNESCO in 1979 for its importance as the center of power, art, and science in France during the 17th and 18th centuries. The French Ministry of Culture has placed the palace, its gardens, and some of its subsidiary structures on its list of culturally significant monuments.

 

History

Main article: History of the Palace of Versailles

An engraving of Louis XIII's château as it appeared in 1652

Versailles around 1652, engraving by Jacques Gomboust [fr]

In 1623, Louis XIII, King of France, built a hunting lodge on a hill in a favorite hunting ground, 19 kilometers (12 mi) west of Paris and 16 kilometers (10 mi) from his primary residence, the Château de Saint-Germain-en-Laye The site, near a village named Versailles, was a wooded wetland that Louis XIII's court scorned as being generally unworthy of a king; one of his courtiers, François de Bassompierre, wrote that the lodge "would not inspire vanity in even the simplest gentleman". From 1631 to 1634, architect Philibert Le Roy replaced the lodge with a château for Louis XIII, who forbade his queen, Anne of Austria, from staying there overnight, even when an outbreak of smallpox at Saint-Germain-en-Laye in 1641 forced Louis XIII to relocate to Versailles with his three-year-old heir, the future Louis XIV.

 

When Louis XIII died in 1643, Anne became Louis XIV's regent, and Louis XIII's château was abandoned for the next decade. She moved the court back to Paris, where Anne and her chief minister, Cardinal Mazarin, continued Louis XIII's unpopular monetary practices. This led to the Fronde, a series of revolts against royal authority from 1648 to 1653 that masked a struggle between Mazarin and the princes of the blood, Louis XIV's extended family, for influence over him. In the aftermath of the Fronde, Louis XIV became determined to rule alone. Following Mazarin's death in 1661, Louis XIV reformed his government to exclude his mother and the princes of the blood, moved the court back to Saint-Germain-en-Laye, and ordered the expansion of his father's château at Versailles into a palace.

 

Louis XIV had hunted at Versailles in the 1650s, but did not take any special interest in Versailles until 1661. On 17 August 1661, Louis XIV was a guest at a sumptuous festival hosted by Nicolas Fouquet, the Superintendent of Finances, at his palatial residence, the Château de Vaux-le-Vicomte. Louis XIV was impressed by the château and its gardens, which were the work of Louis Le Vau, the court architect since 1654, André Le Nôtre, the royal gardener since 1657, and Charles Le Brun, a painter in royal service since 1647. Vaux-le-Vicomte's scale and opulence inspired Louis XIV's aesthetic sense, but also led him to imprison Fouquet that September, as he had also built an island fortress and a private army. Louis XIV was also inspired by Vaux-le-Vicomte, and he recruited its authors for his own projects. Louis XIV replaced Fouquet with Jean-Baptiste Colbert, a protégé of Mazarin and enemy of Fouquet, and charged him with managing the corps of artisans in royal employment. Colbert acted as the intermediary between them and Louis XIV, who personally directed and inspected the planning and construction of Versailles.

 

Construction

Work at Versailles was at first concentrated on gardens, and through the 1660s, Le Vau only added two detached service wings and a forecourt to the château. But in 1668–69, as a response to the growth of the gardens, and victory over Spain in the War of Devolution, Louis XIV decided to turn Versailles into a full-scale royal residence. He vacillated between replacing or incorporating his father's château, but settled on the latter by the end of the decade, and from 1668 to 1671, Louis XIII's château was encased on three sides in a feature dubbed the enveloppe. This gave the château a new, Italianate façade overlooking the gardens, but preserved the courtyard façade, resulting in a mix of styles and materials that dismayed Louis XIV and that Colbert described as a "patchwork". Attempts to homogenize the two façades failed, and in 1670 Le Vau died, leaving the post of First Architect to the King vacant for the next seven years.

 

Le Vau was succeeded at Versailles by his assistant, architect François d'Orbay. Work at the palace during the 1670s focused on its interiors, as the palace was then nearing completion, though d'Orbay expanded Le Vau's service wings and connected them to the château, and built a pair of pavilions for government employees in the forecourt. In 1670, d'Orbay was tasked by Louis XIV with designing a city, also called Versailles, to house and service Louis XIV's growing government and court. The granting of land to courtiers for the construction of townhouses that resembled the palace began in 1671. The next year, the Franco-Dutch War began and funding for Versailles was cut until 1674, when Louis XIV had work begun on the Ambassadors' Staircase , a grand staircase for the reception of guests, and demolished the last of the village of Versailles.

 

Following the end of the Franco-Dutch War with French victory in 1678, Louis XIV appointed as First Architect Jules Hardouin-Mansart, an experienced architect in Louis XIV's confidence, who would benefit from a restored budget and large workforce of former soldiers. Mansart began his tenure with the addition from 1678 to 1681 of the Hall of Mirrors, a renovation of the courtyard façade of Louis XIII's château, and the expansion of d'Orbay's pavilions to create the Ministers' Wings in 1678–79. Adjacent to the palace, Mansart built a pair of stables called the Grande and Petite Écuries from 1679 to 1682 and the Grand Commun, which housed the palace's servants and general kitchens, from 1682 to 1684. Mansart also added two entirely new wings in Le Vau's Italianate style to house the court, first at the south end of the palace from 1679 to 1681 and then at its north end from 1685 to 1689.

 

War and the resulting diminished funding slowed construction at Versailles for the rest of the 17th century. The Nine Years' War, which began in 1688, stopped work altogether until 1698. Three years later, however, the even more expensive War of the Spanish Succession began and, combined with poor harvests in 1693–94 and 1709–10, plunged France into crisis. Louis XIV thus slashed funding and canceled some of the work Mansart had planned in the 1680s, such as the remodeling of the courtyard façade in the Italianate style. Louis XIV and Mansart focused on a permanent palace chapel, the construction of which lasted from 1699 to 1710.

 

Louis XIV's successors, Louis XV and Louis XVI, largely left Versailles as they inherited it and focused on the palace's interiors. Louis XV's modifications began in the 1730s, with the completion of the Salon d'Hercule, a ballroom in the north wing, and the expansion of the king's private apartment, which required the demolition of the Ambassadors' Staircase In 1748, Louis XV began construction of a palace theater, the Royal Opera of Versailles at the northernmost end of the palace, but completion was delayed until 1770; construction was interrupted in the 1740s by the War of the Austrian Succession and then again in 1756 with the start of the Seven Years' War. These wars emptied the royal treasury and thereafter construction was mostly funded by Madame du Barry, Louis XV's favorite mistress. In 1771, Louis XV had the northern Ministers' Wing rebuilt in Neoclassical style by Ange-Jacques Gabriel, his court architect, as it was in the process of falling down. That work was also stopped by financial constraints, and it remained incomplete when Louis XV died in 1774. In 1784, Louis XVI briefly moved the royal family to the Château de Saint-Cloud ahead of more renovations to the Palace of Versailles, but construction could not begin because of financial difficulty and political crisis. In 1789, the French Revolution swept the royal family and government out of Versailles forever.

 

Role in politics and culture

The Palace of Versailles was key to Louis XIV's politics, as an expression and concentration of French art and culture, and for the centralization of royal power. Louis XIV first used Versailles to promote himself with a series of nighttime festivals in its gardens in 1664, 1668, and 1674, the events of which were disseminated throughout Europe by print and engravings. As early as 1669, but especially from 1678, Louis XIV sought to make Versailles his seat of government, and he expanded the palace so as to fit the court within it. The moving of the court to Versailles did not come until 1682, however, and not officially, as opinion on Versailles was mixed among the nobility of France.

 

By 1687, however, it was evident to all that Versailles was the de facto capital of France, and Louis XIV succeeded in attracting the nobility to Versailles to pursue prestige and royal patronage within a strict court etiquette, thus eroding their traditional provincial power bases. It was at the Palace of Versailles that Louis XIV received the Doge of Genoa, Francesco Maria Imperiale Lercari in 1685, an embassy from the Ayutthaya Kingdom in 1686, and an embassy from Safavid Iran in 1715.[

 

Louis XIV died at Versailles on 1 September 1715 and was succeeded by his five-year-old great-grandson, Louis XV, then the duke of Anjou, who was moved to Vincennes and then to Paris by Louis XV's regent, Philippe II, Duke of Orléans. Versailles was neglected until 1722, when Philippe II removed the court to Versailles to escape the unpopularity of his regency, and when Louis XV began his majority. The 1722 move, however, broke the cultural power of Versailles, and during the reign of Louis XVI, courtiers spent their leisure in Paris, not Versailles.

 

During Christmas 1763, Mozart and his family visited Versailles and dined with the kings. The 7-year-old Mozart played several works during his stay and later dedicated his first two harpsichord sonatas, published in 1764 in Paris, to Madame Victoria, daughter of Louis XV.

 

In 1783, the palace was the site of the signing of the last two of the three treaties of the Peace of Paris (1783), which ended the American Revolutionary War. On September 3, British and American delegates, led by Benjamin Franklin, signed the Treaty of Paris at the Hôtel d'York (now 56 Rue Jacob) in Paris, granting the United States independence. On September 4, Spain and France signed separate treaties with England at the Palace of Versailles, formally ending the war.

 

The King and Queen learned of the Storming of the Bastille in Paris on 14 July 1789, while they were at the palace, and remained isolated there as the Revolution in Paris spread. The growing anger in Paris led to the Women's March on Versailles on 5 October 1789. A crowd of several thousand men and women, protesting the high price and scarcity of bread, marched from the markets of Paris to Versailles. They took weapons from the city armory, besieged the palace, and compelled the King and royal family and the members of the National Assembly to return with them to Paris the following day.

 

As soon as the royal family departed, the palace was closed. In 1792, the National Convention, the new revolutionary government, ordered the transfer of all the paintings and sculptures from the palace to the Louvre. In 1793, the Convention declared the abolition of the monarchy and ordered all of the royal property in the palace to be sold at auction. The auction took place between 25 August 1793 and 11 August 1794. The furnishings and art of the palace, including the furniture, mirrors, baths, and kitchen equipment, were sold in seventeen thousand lots. All fleurs-de-lys and royal emblems on the buildings were chambered or chiseled off. The empty buildings were turned into a storehouse for furnishings, art and libraries confiscated from the nobility. The empty grand apartments were opened for tours beginning in 1793, and a small museum of French paintings and art school was opened in some of the empty rooms.

 

By virtue of an order issued by the Versailles district directorate in August 1794, the Royal Gate was destroyed, the Cour Royale was cleared and the Cour de Marbre lost its precious floor.

 

19th century – history museum and government venue

When Napoleon became Emperor of the French in 1804, he considered making Versailles his residence but abandoned the idea because of the cost of the renovation. Prior to his marriage with Marie-Louise in 1810, he had the Grand Trianon restored and refurnished as a springtime residence for himself and his family, in the style of furnishing that it is seen today.

 

In 1815, with the final downfall of Napoleon, Louis XVIII, the younger brother of Louis XVI, became King, and considered returning the royal residence to Versailles, where he had been born. He ordered the restoration of the royal apartments, but the task and cost was too great. Louis XVIII had the far end of the south wing of the Cour Royale demolished and rebuilt (1814–1824) to match the Gabriel wing of 1780 opposite, which gave greater uniformity of appearance to the front entrance. Neither he nor his successor Charles X lived at Versailles.

 

The French Revolution of 1830 brought a new monarch, Louis-Philippe to power, and a new ambition for Versailles. He did not reside at Versailles but began the creation of the Museum of the History of France, dedicated to "all the glories of France", which had been used to house some members of the royal family. The museum was begun in 1833 and inaugurated on 30 June 1837. Its most famous room is the Galerie des Batailles (Hall of Battles), which lies on most of the length of the second floor of the south wing. The museum project largely came to a halt when Louis Philippe was overthrown in 1848, though the paintings of French heroes and great battles still remain in the south wing.

 

Emperor Napoleon III used the palace on occasion as a stage for grand ceremonies. One of the most lavish was the banquet that he hosted for Queen Victoria in the Royal Opera of Versailles on 25 August 1855.

 

During the Franco-Prussian War of 1870–1871, the palace was occupied by the general staff of the victorious German Army. Parts of the château, including the Gallery of Mirrors, were turned into a military hospital. The creation of the German Empire, combining Prussia and the surrounding German states under William I, was formally proclaimed in the Hall of Mirrors on 18 January 1871. The Germans remained in the palace until the signing of the armistice in March 1871. In that month, the government of the new Third French Republic, which had departed Paris during the War for Tours and then Bordeaux, moved into the palace. The National Assembly held its meetings in the Opera House.

 

The uprising of the Paris Commune in March 1871, prevented the French government, under Adolphe Thiers, from returning immediately to Paris. The military operation which suppressed the Commune at the end of May was directed from Versailles, and the prisoners of the Commune were marched there and put on trial in military courts. In 1875 a second parliamentary body, the French Senate, was created and held its meetings for the election of a President of the Republic in a new hall created in 1876 in the south wing of the palace. The French Senate continues to meet in the palace on special occasions, such as the amendment of the French Constitution.

 

20th century

The end of the 19th and the early 20th century saw the beginning of restoration efforts at the palace, first led by Pierre de Nolhac, poet and scholar and the first conservator, who began his work in 1892. The conservation and restoration were interrupted by two world wars but have continued until the present day.

 

The palace returned to the world stage in June 1919, when, after six months of negotiations, the Treaty of Versailles, formally ending the First World War, was signed in the Hall of Mirrors. Between 1925 and 1928, the American philanthropist and multi-millionaire John D. Rockefeller, Jr. gave $2,166,000, the equivalent of about thirty million dollars today, to restore and refurbish the palace.

 

More work took place after World War II, with the restoration of the Royal Opera of Versailles. The theater was reopened in 1957, in the presence of Queen Elizabeth II of the United Kingdom.

 

In 1978, parts of the palace were heavily damaged in a bombing committed by Breton terrorists.

 

Starting in the 1950s, when the museum of Versailles was under the directorship of Gérald van der Kemp, the objective was to restore the palace to its state – or as close to it as possible – in 1789 when the royal family left the palace. Among the early projects was the repair of the roof over the Hall of Mirrors; the publicity campaign brought international attention to the plight of post-war Versailles and garnered much foreign money including a grant from the Rockefeller Foundation.

 

One of the more costly endeavors for the museum and France's Fifth Republic has been to repurchase as much of the original furnishings as possible. Consequently, because furniture with a royal provenance – and especially furniture that was made for Versailles – is a highly sought-after commodity on the international market, the museum has spent considerable funds on retrieving much of the palace's original furnishings.

 

21st century

In 2003, a new restoration initiative – the "Grand Versailles" project – was started, which began with the replanting of the gardens, which had lost over 10,000 trees during Cyclone Lothar on 26 December 1999. One part of the initiative, the restoration of the Hall of Mirrors, was completed in 2006. Another major project was the further restoration of the backstage areas of the Royal Opera of Versailles in 2007 to 2009.

 

The Palace of Versailles is currently owned by the French state. Its formal title is the Public Establishment of the Palace, Museum and National Estate of Versailles. Since 1995, it has been run as a Public Establishment, with an independent administration and management supervised by the French Ministry of Culture.

 

The grounds of the palace will host the equestrian competition during the 2024 Summer Olympics.

 

Architecture and plan

The Palace of Versailles is a visual history of French architecture from the 1630s to the 1780s. Its earliest portion, the corps de logis, was built for Louis XIII in the style of his reign with brick, marble, and slate, which Le Vau surrounded in the 1660s with Enveloppe, an edifice that was inspired by Renaissance-era Italian villas. When Mansart made further expansions to the palace in the 1680s, he used the Enveloppe as the model for his work. Neoclassical additions were made to the palace with the remodeling of the Ministers' Wings in the 1770s, by Ange-Jacques Gabriel, and after the Bourbon Restoration.

 

The palace was largely completed by the death of Louis XIV in 1715. The eastern facing palace has a U-shaped layout, with the corps de logis and symmetrical advancing secondary wings terminating with the Dufour Pavilion on the south and the Gabriel Pavilion to the north, creating an expansive cour d'honneur known as the Royal Court (Cour Royale). Flanking the Royal Court are two enormous asymmetrical wings that result in a façade of 402 metres (1,319 ft) in length. Covered by around a million square feet (10 hectares) of roof, the palace has 2,143 windows, 1,252 chimneys, and 67 staircases.[

 

The palace and its grounds have had a great influence on architecture and horticulture from the mid-17th century to the end of the 18th century. Examples of works influenced by Versailles include Christopher Wren's work at Hampton Court Palace, Berlin Palace, the Palace of La Granja, Stockholm Palace, Ludwigsburg Palace, Karlsruhe Palace, Rastatt Palace, Nymphenburg Palace, Schleissheim Palace, and Esterházy Palace.

 

Royal Apartments

The construction in 1668–1671 of Le Vau's enveloppe around the outside of Louis XIII's red brick and white stone château added state apartments for the king and the queen. The addition was known at the time as the château neuf (new château). The grands appartements (Grand Apartments, also referred to as the State Apartments[141][142]) include the grand appartement du roi and the grand appartement de la reine. They occupied the main or principal floor of the château neuf, with three rooms in each apartment facing the garden to the west and four facing the garden parterres to the north and south, respectively. The private apartments of the king (the appartement du roi and the petit appartement du roi) and those of the queen (the petit appartement de la reine) remained in the château vieux (old château). Le Vau's design for the state apartments closely followed Italian models of the day, including the placement of the apartments on the main floor (the piano nobile, the next floor up from the ground level), a convention the architect borrowed from Italian palace design.

 

The king's State Apartment consisted of an enfilade of seven rooms, each dedicated to one of the known planets and their associated titular Roman deity. The queen's apartment formed a parallel enfilade with that of the grand appartement du roi. After the addition of the Hall of Mirrors (1678–1684) the king's apartment was reduced to five rooms (until the reign of Louis XV, when two more rooms were added) and the queen's to four.

 

The queen's apartments served as the residence of three queens of France – Marie-Thérèse d'Autriche, wife of Louis XIV, Marie Leczinska, wife of Louis XV, and Marie-Antoinette, wife of Louis XVI. Additionally, Louis XIV's granddaughter-in-law, Princess Marie-Adélaïde of Savoy, duchesse de Bourgogne, wife of the Petit Dauphin, occupied these rooms from 1697 (the year of her marriage) to her death in 1712.

 

Ambassador's Staircase

The Ambassadors' Staircase (Escalier des Ambassadeurs) was an imperial staircase built from 1674 to 1680 by d'Orbay. Until Louis XV had it demolished in 1752 to create a courtyard for his private apartments, the staircase was the primary entrance into the Palace of Versailles and the royal apartments especially. It was entered from the courtyard via a vestibule that, cramped and dark, contrasted greatly with the tall, open space of the staircase – famously lit naturally with a skylight – so as to overawe visitors.

 

The staircase and walls of the room that contained it were clad in polychrome marble and gilded bronze, with decor in the Ionic order. Le Brun and painted the walls and ceiling of the room according to a festive theme to celebrate Louis XIV's victory in the Franco-Dutch War. On the wall immediately above the staircase were trompe-l'œil paintings of people from the Four Parts of the World looking into the staircase over a balustrade, a motif repeated on the ceiling fresco. There they were joined by allegorical figures for the twelve months of the year and various Classical Greek figures such as the Muses. A marble bust of Louis XIV, sculpted by Jean Warin in 1665–66, was placed in a niche above the first landing of the staircase.

 

The State Apartments of the King

The construction of the Hall of Mirrors between 1678 and 1686 coincided with a major alteration to the State Apartments. They were originally intended as his residence, but the King transformed them into galleries for his finest paintings, and venues for his many receptions for courtiers. During the season from All-Saints Day in November until Easter, these were usually held three times a week, from six to ten in the evening, with various entertainments.

 

The Salon of Hercules

This was originally a chapel. It was rebuilt beginning in 1712 under the supervision of the First Architect of the King, Robert de Cotte, to showcase two paintings by Paolo Veronese, Eleazar and Rebecca and Meal at the House of Simon the Pharisee, which was a gift to Louis XIV from the Republic of Venice in 1664. The painting on the ceiling, The Apotheosis of Hercules, by François Lemoyne, was completed in 1736, and gave the room its name.

 

The Salon of Abundance

The Salon of Abundance was the antechamber to the Cabinet of Curios (now the Games Room), which displayed Louis XIV's collection of precious jewels and rare objects. Some of the objects in the collection are depicted in René-Antoine Houasse's painting Abundance and Liberality (1683), located on the ceiling over the door opposite the windows.

 

The Salon of Venus

This salon was used for serving light meals during evening receptions. The principal feature in this room is Jean Warin's life-size statue of Louis XIV in the costume of a Roman emperor. On the ceiling in a gilded oval frame is another painting by Houasse, Venus subjugating the Gods and Powers (1672–1681). Trompe-l'œil paintings and sculpture around the ceiling illustrate mythological themes.

 

The Salon of Mercury

The Salon of Mercury was the original State Bedchamber when Louis XIV officially moved the court and government to the palace in 1682. The bed is a replica of the original commissioned by King Louis-Philippe in the 19th century when he turned the palace into a museum. The ceiling paintings by the Flemish artist Jean Baptiste de Champaigne depict the god Mercury in his chariot, drawn by a rooster, and Alexander the Great and Ptolemy surrounded by scholars and philosophers. The Automaton Clock was made for the King by the royal clockmaker Antoine Morand in 1706. When it chimes the hour, figures of Louis XIV and Fame descend from a cloud.

 

The Salon of Mars

The Salon of Mars was used by the royal guards until 1782, and was decorated on a military theme with helmets and trophies. It was turned into a concert room between 1684 and 1750, with galleries for musicians on either side. Portraits of Louis XV and his Queen, Marie Leszczinska, by the Flemish artist Carle Van Loo decorate the room today.

 

The Salon of Apollo

The Salon of Apollo was the royal throne room under Louis XIV, and was the setting for formal audiences. The eight-foot-high silver throne was melted down in 1689 to help pay the costs of an expensive war, and was replaced by a more modest throne of gilded wood. The central painting on the ceiling, by Charles de la Fosse, depicts the Sun Chariot of Apollo, the King's favorite emblem, pulled by four horses and surrounded by the four seasons.

 

The Salon of Diana

The Salon of Diana was used by Louis XIV as a billiards room, and had galleries from which courtiers could watch him play. The decoration of the walls and ceiling depicts scenes from the life of the goddess Diana. The celebrated bust of Louis XIV by Bernini made during the famous sculptor's visit to France in 1665 is on display here.

 

Private apartments of the King and Queen

The apartments of the King were the heart of the château; they were in the same location as the rooms of Louis XIII, the creator of the château, on the first floor (second floor US style). They were set aside for the personal use of Louis XIV in 1683. He and his successors Louis XV and Louis XVI used these rooms for official functions, such as the ceremonial lever ("waking up") and the coucher ("going to bed") of the monarch, which was attended by a crowd of courtiers.

 

The King's apartment was accessed from the Hall of Mirrors from the Oeil de Boeuf antechamber or from the Guardroom and the Grand Couvert, the ceremonial room where Louis XIV often took his evening meals, seated alone at a table in front of the fireplace. His spoon, fork, and knife were brought to him in a golden box. The courtiers could watch as he dined.

 

The King's bedchamber had originally been a Drawing Room before Louis XIV transformed it into his own bedroom in 1701. He died there on 1 September 1715. Both Louis XV and Louis XVI continued to use the bedroom for their official awakening and going to bed. On 6 October 1789, from the balcony of this room Louis XVI and Marie-Antoinette, joined by the Marquis de Lafayette, looked down on the hostile crowd in the courtyard, shortly before the King was forced to return to Paris.

 

The bed of the King is placed beneath a carved relief by Nicolas Coustou entitled France watching over the sleeping King. The decoration includes several paintings set into the paneling, including a self-portrait of Antony van Dyck.

 

Private apartments of The Queen

The petit appartement de la reine is a suite of rooms that were reserved for the personal use of the queen. Originally arranged for the use of the Marie-Thérèse, consort of Louis XIV, the rooms were later modified for use by Marie Leszczyńska and finally for Marie-Antoinette. The Queen's apartments and the King's Apartments were laid out on the same design, each suite having seven rooms. Both suites had ceilings painted with scenes from mythology; the King's ceilings featured male figures, the Queen's featured females.

 

Hall of Mirrors

The Hall of Mirrors is a long gallery at the westernmost part of the palace that looks out onto the gardens. The hall was built from 1678 to 1681 on the site of a terrace Le Vau built between the king and queen's suites. The hall is clad in marble and decorated in a modified version of the Corinthian order, with 578 mirrors facing 17 windows and reflecting the light provided by them. The ceiling fresco, painted by Le Brun over the next four years, embellishes the first 18 years of Louis XIV's reign in 30 scenes, 17 of which are military victories over the Dutch. The fresco depicts Louis XIV himself alongside Classical figures in the scenes celebrating moments in his reign such as the beginning of personal rule in 1661, breaking from earlier frescoes at Versailles that used allegories derived from Classical and mythological scenes.

 

The Salon of War and the Salon of Peace bookend the Hall of Mirrors on its northern and southern ends respectively. The Salon of War, constructed and decorated from 1678 to 1686, celebrates French victories in the Franco-Dutch War with marble panels, gilded bronze trophies of arms, and a stucco bas-relief of Louis XIV on horsebask riding over his enemies. The Salon of Peace is decorated in the same fashion but according to its eponymous theme.

 

Royal Chapel

The Royal Chapel of Versailles is located at the southern end of the north wing. The building stands 40-meter (130 ft) high, and measures 42 meters (138 ft) long and 24 meters (79 ft) wide. The chapel is rectangular with a semicircular apse, combining traditional, Gothic royal French church architecture with the French Baroque style of Versailles. The ceiling of the chapel is constituted by an unbroken vault, divided into three frescos by Antoine Coypel, Charles de La Fosse, and Jean Jouvenet. The palette of motifs beneath the frescoes glorify the deeds of Louis IX, and include images of David, Constantine, Charlemagne, and Louis IX, fleur de lis, and Louis XIV's monogram. The organ of the chapel was built by Robert Clicquot and Julien Tribuot in 1709–1710.

 

Louis XIV commissioned the chapel, its sixth, from Mansart and Le Brun in 1683–84. It was the last building constructed at Versailles during Louis XIV's reign. Construction was delayed until 1699, however, and it was not completed until 1710. The only major modification to the chapel since its completion was the removal of a lantern from its roof in 1765. A full restoration of the chapel began in late 2017 and lasted into early 2021.

 

Royal Opera

The Royal Opera of Versailles was originally commissioned by Louis XIV in 1682 and was to be built at the end of the North Wing with a design by Mansart and Vigarani. However, due to the expense of the King's continental wars, the project was put aside. The idea was revived by Louis XV with a new design by Ange-Jacques Gabriel in 1748, but this was also temporarily put aside. The project was revived and rushed ahead for the planned celebration of the marriage of the Dauphin, the future Louis XVI, and Marie-Antoinette. For economy and speed, the new opera was built almost entirely of wood, which also gave it very high quality acoustics. The wood was painted to resemble marble, and the ceiling was decorated with a painting of the Apollo, the god of the arts, preparing crowns for illustrious artists, by Louis Jean-Jacques Durameau. The sculptor Augustin Pajou added statuary and reliefs to complete the decoration. The new Opera was inaugurated on 16 May 1770, as part of the celebration of the royal wedding.

 

In October 1789, early in the French Revolution, the last banquet for the royal guardsmen was hosted by the King in the opera, before he departed for Paris. Following the Franco-German War in 1871 and then the Paris Commune until 1875, the French National Assembly met in the opera, until the proclamation of the Third French Republic and the return of the government to Paris.

 

Museum of the History of France

Shortly after becoming King in 1830, Louis Philippe I decided to transform the palace into a museum devoted to "All the Glories of France," with paintings and sculpture depicting famous French victories and heroes. Most of the apartments of the palace were entirely demolished (in the main building, practically all of the apartments were annihilated, with only the apartments of the king and queen remaining almost intact), and turned into a series of several large rooms and galleries: the Coronation Room (whose original volume was left untouched by Louis-Philippe), which displays the celebrated painting of the coronation of Napoleon I by Jacques-Louis David; the Hall of Battles; commemorating French victories with large-scale paintings; and the 1830 room, which celebrated Louis-Philippe's own coming to power in the French Revolution of 1830. Some paintings were brought from the Louvre, including works depicting events in French history by Philippe de Champaigne, Pierre Mignard, Laurent de La Hyre, Charles Le Brun, Adam Frans van der Meulen, Nicolas de Largillière, Hyacinthe Rigaud, Jean-Antoine Houdon, Jean-Marc Nattier, Élisabeth Vigée Le Brun, Hubert Robert, Thomas Lawrence, Jacques-Louis David, and Antoine-Jean Gros. Others were commissioned especially for the museum by prominent artists of the early 19th century, including Eugène Delacroix, who painted Saint Louis at the French victory over the British in the Battle of Taillebourg in 1242. Other painters featured include Horace Vernet and François Gérard. A monumental painting by Vernet features Louis Philippe himself, with his sons, posing in front of the gates of the palace.

 

The overthrow of Louis Philippe in 1848 put an end to his grand plans for the museum, but the Gallery of Battles is still as it was, and is passed through by many visitors to the royal apartments and grand salons. Another set of rooms on the first floor has been made into galleries on Louis XIV and his court, displaying furniture, paintings, and sculptures. In recent years, eleven rooms on the ground floor between the Chapel and the Opera have been turned into a history of the palace, with audiovisual displays and models.

 

Estate of Versailles

The estate of Versailles consists of the palace, the subsidiary buildings around it, and its park and gardens. As of June 2021, the estate altogether covers an area of 800 hectares (8.0 km2; 2,000 acres), with the park and gardens laid out to the south, west, and north of the palace. The palace is approached from the east by the Avenue de Paris, measuring 17 miles (27 km) from Paris to a gate between the Grande and Petite Écuries. Beyond these stables is the Place d'Armes, where the Avenue de Paris meets the Avenue de Sceaux and Avenue de Saint-Cloud (see map), the three roads that formed the main arteries of the city of Versailles. Exactly where the three roads meet is a gate leading into the cour d'honneur. hemmed in by the Ministers' Wings. Beyond is the Royal Gate and the main palace, which wraps around the Royal and finally Marble Courts

 

The estate was established by Louis XIII as a hunting retreat, with a park just to the west of his château. From 1661, Louis XIV expanded the estate until, at its greatest extent, the estate was made up by the Grand Parc , a hunting ground of 15,000 hectares (150 km2; 37,000 acres), and the gardens, called the Petit Parc, which covered 1,700 hectares (17 km2; 4,200 acres). A 25-mile (40 km) long, 10-foot (3.0 m) high wall with 24 gateways enclosed the estate.

 

The landscape of the estate had to be created from the bog that surrounded Louis XIII's château using landscape architecture usually employed in fortress building. The approach to the palace and the gardens were carefully laid out via the moving of earth and construction of terraces. The water from the marsh was marshalled into a series of lakes and ponds around Versailles, but these reservoirs were not sufficient for the palace, city, or gardens. Great lengths were taken to supply Versailles with water, such as the damming of the river Bièvre to create an inflow in the 1660s, the construction of an enormous pumping station at the river Seine near Marly-le-Roi in 1681, and an attempt to divert water from the river Eure with a canal in the later 1680s.

 

Gardens

The gardens of Versailles, as they have existed since the reign of Louis XIV, are the work of André Le Nôtre. Le Nôtre's gardens were preceded by a simple garden laid out in the 1630s by landscape architects Jacques Boyceau and Jacques de Nemours, which he rearranged along an east–west axis that, because of Louis XIV's land purchases and the clearing of woodland, were expanded literally as far as could be seen. The resulting gardens were a collaboration between Le Nôtre, Le Brun, Colbert, and Louis XIV, marked by rigid order, discipline, and open space, with axial paths, flowerbeds, hedges, and ponds and lakes as motifs. They became the epitome of the French formal garden style, and have been very influential and widely imitated or reproduced.

 

Subsidiary structures

The first of the subsidiary structures of the Palace of Versailles was the Versailles Menagerie [fr],[199][200] built by Le Vau between the years 1662 and 1664, at the southern end of the Grand Canal. The apartments, overlooking the pens, were renovated by Mansart from 1698 to 1700, but the Menagerie fell into disuse in 1712. After a long period of decay, it was demolished in 1801. The Versailles Orangery, just to the south of the palace, was first built by Le Vau in 1663, originally as part of the general moving of earth to create the Estate.[191] It was also modified by Mansart, who, from 1681 to 1685, totally rebuilt it and doubled its size.

 

In late 1679, Louis XIV commissioned Mansart to build the Château de Marly, a retreat at the edge of Versailles's estate, about 5 miles (8.0 km) from the palace. The château consisted of a primary residential building and twelve pavilions, in Palladian style placed in two rows on either side of the main building. Construction was completed in 1686, when Louis XIV spent his first night there. The château was nationalized and sold in 1799, and subsequently demolished and replaced with industrial buildings. These were themselves demolished in 1805, and then in 1811 the estate was purchased by Napoleon. On 1 June 2009, the grounds of the Château de Marly were ceded to the Public Establishment of the Palace, Museum and National Estate of Versailles.

 

La Lanterne, is a hunting lodge named after the lantern that topped the nearby Menagerie that was built in 1787 by Philippe Louis de Noailles, then the palace governor. It has since 1960 been a state residence.

 

Petit Trianon

The Petit Trianon, whose construction from 1762 to 1768 led to the advent of the names "Grand" and "Petit Trianon", was constructed for Louis XV and the Madame du Barry in the Neoclassical style by Gabriel. The building has a piano nobile, basement, and attic, with five windows on each floor. On becoming king, Louis XVI gave the Petit Trianon to Marie Antoinette, who remodeled it, relaid its gardens in the then-current English and Oriental styles, and formed her own court there.

 

In 1668, Louis XIV purchased and demolished the hamlet of Trianon, near the northern tip of the Grand Canal, and in its place, he commissioned Le Vau to construct a retreat from court, remembered as the Porcelain Trianon. Designed and built by Le Vau in 1670, it was the first example of Chinoiserie (faux Chinese) architecture in Europe, though it was largely designed in French style. The roof was clad not with porcelain but with delftware, and was thus prone to leaks, so in 1687 Louis XIV ordered it demolished. Nevertheless, the Porcelain Trianon was itself influential and copycats were built across Europe.

 

The Grand Trianon

The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.

The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.

 

To replace the Porcelain Trianon, Louis XIV tasked Mansart with the construction in 1687 of the Grand Trianon, built from marble in three months. The Grand Trianon has a single story, except for its attached service wing, which was modified by Mansart in 1705–06. The east façade has a courtyard while the west faces the gardens of the Grand Trianon, and between them a peristyle. The interiors are mostly original,[214] and housed Louis XIV, the Madame de Maintenon, Marie Leszczynska, and Napoleon, who ordered restorations to the building. Under de Gaulle, the north wing of the Grand Trianon became a residence of the President of France.

 

The Queen's hamlet and Theater

Near the Trianons are the French pavilion, built by Gabriel in 1750 between the two residences, and the Queen's Theater and Queen's Hamlet, built by architect Richard Mique in 1780 and from 1783 to 1785 respectively. These were both built at the behest of Marie Antoinette; the theater, hidden in the gardens, indulged her appreciation of opera and is absolutely original, and the hamlet to extend her gardens with rustic amenities. The building scheme of the Queen's Hamlet includes a farmhouse (the farm was to produce milk and eggs for the queen), a dairy, a dovecote, a boudoir, a barn that burned down during the French Revolution, a mill and a tower in the form of a lighthouse.

 

Modern political and ceremonial functions

The palace still serves political functions. Heads of state are regaled in the Hall of Mirrors; the bicameral French Parliament—consisting of the Senate (Sénat) and the National Assembly (Assemblée nationale)—meet in joint session (a congress of the French Parliament) in Versailles to revise or otherwise amend the French Constitution, a tradition that came into effect with the promulgation of the 1875 Constitution. For example, the Parliament met in joint session at Versailles to pass constitutional amendments in June 1999 (for domestic applicability of International Criminal Court decisions and for gender equality in candidate lists), in January 2000 (ratifying the Treaty of Amsterdam), and in March 2003 (specifying the "decentralized organization" of the French Republic).

 

In 2009, President Nicolas Sarkozy addressed the global financial crisis before a congress in Versailles, the first time that this had been done since 1848, when Charles-Louis Napoleon Bonaparte gave an address before the French Second Republic. Following the November 2015 Paris attacks, President François Hollande gave a speech before a rare joint session of parliament at the Palace of Versailles. This was the third time since 1848 that a French president addressed a joint session of the French Parliament at Versailles. The president of the National Assembly has an official apartment at the Palace of Versailles. In 2023 a state visit by Charles III to France included a state banquet at the Palace.

Descripción: Conocida y extendida planta silvestre, erecta, tallos color verde claro con cerdas y hojas simples en la base, alargadas y lobuladas. Flor de hasta 50 mm de d, con cuatro pétalos de color anaranjado a rojo, base a menudo negra y muchos estambres. El fruto es una cápsula, llena de semillas. Los pétalos se caen con facilidad. Toda la planta exuda un látex de color blanco.

 

Componentes activos: Principalmente, contiene glucósidos (la antocianina) y alcaloides (rheadina). No obstante, su composición no la hace tóxica (al contrario que su prima, la adormidera).

 

Aplicaciones terapéuticas: La amapola común ejerce un suave efecto sedante sobre el sistema nervioso y sirve para hacer disminuir la tos y para expectorar (hacer salir mucosidades de los bronquios). Aunque, como todos los sedantes, se debe administrar sólo cuando es absolutamente necesario, no tiene efectos secundarios ni tóxicos importantes, tomada en infusión.

No obstante, los peligros de su uso se derivan de su posible confusión con otras especies, como la adormidera.

 

Aplicaciones culinarias: Sus semillas, tostadas, son muy apreciadas para condimentar panes de semillas. A veces se utilizan junto con semillas de sésamo, o de girasol, en los panes integrales.

 

Aplicaciones mágicas: Tradicionalmente, se ha utilizado en hechizos de fertilidad, amor, dinero y suerte. Seguramente por su poder sedante, se asocia a la adivinación en los sueños.

Una antigua "receta" dice que al echar semillas de amapola en la comida de la persona amada, ésta cae rendida de amor; claro, que no sabemos el tipo de amapola empleado, ni la cantidad de semillas utilizadas. Tal vez, la explicación está en que la persona objeto del "hechizo" está a continuación demasiado atontada, como para defenderse.

 

Información extraída de:

www.zonaverde.net/papaverrhoeas.htm

This will get cut down for ideal bar/stem height...

Schloss Schönbrunn, erbaut 1695 - 1700 nach Plänen von Johann Bernhard Fischer von Erlach. Umgestaltet 1743 - 1749 unter Maria Theresia nach Plänen von Nikolaus von Pacassi.

 

(for further pictures and informations please contact the link at the end of page!)

Schönbrunn Palace - History

Already in the 14th century was here a plot of land with buildings. The property was then called 'Katterburg', included a mill and a public house with wine and was in possession of the Klosterneuburg (small city in Lower Austria) Monastery. Over time the property was extended and by 1548 of Mayor Bayer to a manor expanded.

In 1569 the Habsburg Maximilian II purchased the property. His goal was primarily to build a zoo, which mainly consisted of indigenous poultry and wild game. After Maximilian's death in 1576 the Katterburg went into the possession of Rudolph II. In 1605, Hungarian troops destroyed the garden of Katterburg which was then only provisionally repaired. Namesake of Schönbrunn should have been Emperor Matthias, who while hunting on the premises discovered a source in 1612 which spawned crystal clear water.

The Katterburg about 1672

This fountain was so beautiful that he should give the property the future name. Emperor Ferdinand II, the successor Matthias', spent as a passionate hunter a lot of time in Schonbrunn. When he died spent his widow Eleonora Gonzaga, who was also very attached to the Jägertum (passion for hunting) a lot of time in Schönbrunn and indulged from then on a rich social life. This soon demanded a more representative environment as it was the old Katterburg, so she in 1642 had built a castle, whose name Schöbrunn in the same year for the first time was recorded in a document. At the same time she had also the garden broadened and expanded, often offering room for business meetings.

During the second Turkish siege in 1683 the grounds and Gebäulichkeiten (old buildings) were largely destroyed, whereupon the Emperor Leopold I., who acquired the plant in 1686, for his successor Joseph I wanted to have constructed a new building of the castle. For this project, the architect Johann Bernhard Fischer von Erlach was consulted, which submitted a draft in 1688 to prove his architectural skills. Then Fischer von Erlach was hired immediately and has since worked for the court and nobility. Finally, he was commissioned in 1693 by Leopold I to design a concrete blueprint for the castle. Three years later with the construction was begone, and in the spring of 1700 the central wing was completed and habitable. As a result of the Spanish war of succession arose financial gaps, which greatly slowed the progress of construction of the side wings. And when Joseph died suddenly, they were discontinued altogether. In the coming years the unfinished palace served the Wilhelmine Amalie as a widow seat.

Emperor Charles VI. bought the chateau in 1728 with the baroque garden. However, he remained there merely for pheasant hunting. Therefore, he gave the whole castle to his daughter Maria Theresa, who has since always had a heart for the Palace Schönbrunn. This meant the beginning of the first heyday of Schönbrunn Palace. End of 1742, construction work on the castle was resumed and led to the great complex as it is found today. Maria Theresa engaged the experienced architect Nikolaus Pacassi for the management of construction. 1745 the new palais chapel was opened which still completely was based on the plans of Fischer von Erlach. In the following year, already could be moved into the residential and audience spaces in the east wing. Thus, the completion went on until an extension of the castle was needed because the imperial family experienced brisk growth. Between the main floor and the upper floors a mezzanine was inserted with living spaces for the imperial children. The baroque garden was subjected to strict symmetrical order, which was particularly manifested in the application of the flower beds and paths. The beds were in large part made ​​of boxwood and were lined with colorful stones. The plant was like a carpet with rich ornaments.

It was Maria Theresa's desire to accommodate a castle theater in the building. It found its place in the northern courtyard wing and was opened in 1747. The Empress herself namely was a talented singer, and also her children were involved artistically at New Castle Theatre appearing themselves as singers and actors. Yet shortly after 1750, Maria Theresa had to expand the castle one more time, as the imperial family had grown again. In the west wing arose another mezzanine, now leading to the outer appearance of the castle, representing a symmetry and thus the facade could finally be completed. Here ended the first renovation phase.

The second renovation phase was less object of spatial extensions, because rather were made ​​changes to existing premises. The big and the small gallery received a vaulted ceiling with lavish stucco of Albert Bolla and huge frescoes by Gregorio Guglielmi. The result was a masterpiece of Rococo. The neighboring rooms were of a similar standard, and nowhere with rocaille, mirrors, tapestries, paintings, and other precious decorative elements was economized. From 1753 Franz Stephan in the Hietzinger area of the castle park had laid out the so-called Dutch garden, in which arose an extensive collection of exotic plants, which should serve scientific purposes.

Another phase of equipment activities began after the death of Emperor Franz I. Stephan in 1765, Maria Theresa profoundly affecting. In order to express her grief and to commemorate her late husband, she had in the eastern wing numerous rooms equipped to Memorial rooms. In doing so, to her nothing was too expensive, and so arose richly decorated rooms with precious lacquer panels, specially acquired wood panelings from distant lands, finest fabric upholstery and many other exclusivities.

One last important phase of expansion began in the 70s of the 18th century, as Empress Maria Theresa had the gardens by the court architect Johann Ferdinand Hetzendorf of Hohenberg expanded.

Under his leadership, the Gloriette, the monumental Fountain of Neptune, the Roman artificial ruin, the Obelisk, the avenues and all the places and ways with the countless statues and sculptures, mainly originating from Wilhelm Beyer emerged. The design of the whole complex was until shortly before Maria Theresa's death in 1780 under way. From 1779 on, the park was open to the public. After that, the castle stood empty except for the years 1805 and 1809, in which Napoleon Schönbrunn occupied. After the Congress of Vienna in the years 1814/15 came up renewals, which were urgently needed. The facade was given according to plans by Johann Adam a completely new face: He removed the exuberant Rococo paneling and gave the castle its present appearance.

Another golden age began for Schönbrunn when Emperor Franz Joseph I in 1848 took over the Austrian rule. Schönbrunn was in fact already in his childhood his favorite. He inhabited as Emperor the premises of the West Wing, where he remained throughout his life. Except for the audience rooms, the rooms were refurbished in Franz Joseph's living area.

With a comparatively sober and simple setup of bourgeois character they were provided, which enables to conclude on Franz Joseph's personality. Even with the marriage and the arrival of Elisabeth of Bavaria ("Sisi" or the "Sissi") and on the occasion of the later family growth extensive device-specific changes have been made, yet much remained from the time of Maria Theresa. On the occasion of the World Exhibition in Vienna in 1873 even a large part has been restored. Extensive renovations, extensions and additions to the Maria Theresa Rococo style were made mainly to the galleries and to the premises in the east wing. The Dutch garden was transformed into an English garden and in it in the years 1880-82 was built the famous Palm House, a huge building made ​​of glass and iron. Now, the final face of Schönbrunn was created, as it is known today throughout the world.

www.planet-vienna.com/spots/Schoenbrunn/geschichte.htm

“Magnetar” Self-Interwoven Dodecahedrally Extended Snub Rhombicosidodecahedron 270 units

In my hand.

When I refolded the “Neutron Star” a few months ago, I did so with the intention of transforming the extrinsic composition into a woven solid, by adding edges which conjoin the pentagons and triangles of the original compound. I estimated the decrease in the paper proportions that would be required to accommodate the change, but the 3-fold axial weaving that I found most attractive (the hex whorl pattern) misaligned the edges, so that they did not align. Rather than refold, I truncated the exterior points at the minimum non-trivial distance. The resulting model is quite visually attractive and very sturdy- a few of the angles are a bit tight, but those could be improved with minor adjustments.

Since it is a woven solid, I gave it a nickname (related to the original “neutron star”, naturally). The geometric name not particularly insightful, but the snub rhombicosidodecahedron is the closest resemblance I could find to the convex hull of this structure.

Designed by me.

Folded out of 120 gsm copy paper. (5 different paper proportions.)

 

a fictional or hypothetical person whose physical abilities are extended beyond normal human limitations by mechanical elements built into the body.

The extended cabover changes the duration of the overhead sleeping area, with this option you gain additional storage on either side of the bed with hamper doors for easy access along with increasing the size of the storage available under the bed as well.

 

This is a Standard feature on the Northstar Offroada 8, 850SC & TS1000 but can be added as an option to any of the other Northstar models at the time of production.

 

SEE OUR MOST CURRENT PRICE SHEETS FOR THE MOST UP TO DATE PRICES ON THIS OPTION

playing with surface design, focusing on specific areas of my design sheet

karenannruane.typepad.com/.../developing-design.html

Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.

 

HISTORY

- Dravidian architecture - Badami Chalukyas

- Hindu temple architecture - Badami Chalukya architecture

- Political history of medieval Karnataka - Badami Chalukyas

- Architecture of Karnataka - Badami Chalukya architecture

- Chalukyas of Badami

 

PRE-HISTORIC

Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.

 

BADAMI CHALUKYAS AND OTHER DYNASTIES

MYTHOLOGY

The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.

 

BADAMI CHALUKYAS

It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.

 

The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.

 

The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.

 

Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.

 

INSCRIPTIONS

Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.

 

VATAPI GANAPATI

In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.

 

In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.

 

TOURISM

Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.

 

- A Buddhist cave in a natural setting that can be entered only by crawling on knees.

- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.

- Badami Fort situated on top of the hill.

- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.

- The Dattatreya temple.

- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.

- a Dargah, a dome of an Islamic place of worship on the south fort side.

- Vista points on top of the North Fort for the view of the ancient town below.

- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.

- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.

 

BADAMI CAVE TEMPLES

The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.

 

The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.

 

GEOGRAPHY

The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.

 

HISTORY OF CAVE TEMPLES

The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.

 

TEMPLE CAVES

The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.

 

The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.

 

CAVE 1

The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.

 

The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.

 

The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.

 

Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.

 

CAVE 2

Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.

 

The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.

 

The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.

 

The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.

 

CAVE 3

The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.

 

Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.

 

The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.

 

CAVE 4

The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.

 

CAVE 5

It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.

 

The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.

 

The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.

 

The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.

 

OTHER CAVES

In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.

 

OTHER TEMPLES AT BADAMI

On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.

 

Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.

 

The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.

 

BADAMI FORT

Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.

 

ETYMOLOGY

The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.

 

It is also believed that name Badami has come from colour of its stone (badam - Almond).

 

CULTURE

The main language is Kannada. The local population wears traditional Indian cotton wear.

 

GEOGRAPHY

Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.

 

It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.

 

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The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)

 

Season of mists and mellow fruitfulness

Close bosom-friend of the maturing sun

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Deatil of the place settings in the dining room at the Springwood estate of Franklin D. Roosevelt. All furnishings are original, and the house remains unchanged since the day Eleanor Roosevelt vacated it in 1946. To the rear is the breakfast nook added by James Roosevelt, Sr. (FDR's father).

 

The table and chairs are walnut. The table is set for two, but can seat up to 12. Most of the dinnerware and serving dishes in the home are from China. The glassware and silverware are American.

 

This is at the Franklin D. Roosevelt National Historic Site in Hyde Park, New York. The claim of Native Americans to the area was ignored by King William III and given to nine New York City businessmen in 1697, and called the "Great Nine Partners Patent". A two-story wood frame house facing east was built on the property sometime between 1790 and 1805. It was 46 feet by 39 feet with a heavy timber frame. Crude bricks were mortared in place between the framing timbers. The house was covered in wide clapboards, with minimal decoration in the Federal style. The windows were two rows, each three panes wide. There were two sashes (one window above, one below), and both could be moved. (In jargon, this a "six-over-six double-hung sash".) These were symmetrically placed in the façade. (The house still features some of these in the central part of the building.) It also had a full basement.

 

Josiah Wheeler purchase a one-square-mile portion of the property in 1845. Wheeler added a three-story tower to the south end and a two-story servants' wing to the north. The Wheelers also added a garden to the north and east of the house and planted a hemlock hedge around it. (This hedge survives to this day.) Wheeler also added acreage to the estate, enlarging it to 110 acres. He also added a large stable (1850), laundry house (1850), small ice house (1847-1865), and gardener's cottage (1845-1865).

 

Franklin Roosevelt's father, James Roosevelt, bought Springwood in 1866 for $40,000 (at a time when a factory worker's earnings were $325 a year ). Roosevelt added two elements to the dining room: One was a deep bay (now the breakfast nook) to enlarge the dining space. The other was a two-story, modified hexagonal tower to the north of this nook. On the first floor, this tower was accessed via a door in the breakfast nook, and contained a smoking room. On the second floor, there was a small bedroom accessible from the "Chamber #6" bedroom. When the drawing room was refinished and new furniture added, the old furniture went into the south parlor. A delicately carved mantelpiece was installed there in 1887 to add class. In 1892, the main staircase leading from the lobby to the second floor was installed, and a year later the verandah was extended around the southwest and south parts of the house. James Roosevelt also added another 490 acres of land to the property, and not only farmed the property but used it for forestland. He also added a very large kitchen garden (1880), coach house (1886), duplex house (for staff housing; 1895), and large ice house (1898).

 

Franklin Delano Roosevelt was born on January 30, 1882. The Roosevelts had no other children, and James Roosevelt died in 1900. (Franklin had an older half-brother, "Rosey", who lived in a mansion just south of Springwood.) Franklin married his first cousin, Eleanor Roosevelt, in 1905. Sara had a "life estate" in the house. This meant that she could live there until she died, although the mansion belonged to Franklin. FDR's first child came in 1906, and he and Eleanor had five more over the next 10 years. With a rapidly expanding family, and Sara living in the house, major changes were needed. Springwood was electrified in 1908. In 1915, a massive upgrade was made to the structure, designed by Hoppin and Koen of New York City. The clapboards were removed and the exterior of the house finished in stucco. A new tower was constructed around the south parlor to match the north tower, and stone north and south wings added to the building. The south wing had a library on the first floor and three bedrooms on the second. The north wing had a large new kitchen in the rear (complete with "cold room"), and a servants' hall and small classroom (that later became FDR's study) for the children in the front. A loggia was added to the front of this wing, and a porch to the north side. On the second floor of the north wing were eight small servants' bedrooms, two new baths, a trunk room, a tiny valet's room, and a new servants' stairs. An entirely new third floor was added over the main building that contained a large playroom, nursery, three bedrooms, two baths, and two tiny "visiting servants" bedrooms. The third floor also featured elliptical and half-round windows capped with swags. The main entrance was also gussied up, with a four-columned portico. Window panes in bo0th new wings were eight-over-eight double-hung sash windows, and a roof balustrade placed atop the entire structure. Over time, Franklin also added a greenhouse (1906), garage (1911), rose garden (1912), and pump house (1916), and added another 900 acres to the property. During his lifetime, Franklin Roosevelt planted more than 200,000 trees (some in tree farms, others in orchards, some as reforestation projects) on the estate.

 

Until 1941, the two ice houses were filled with ice from the two large artificial ponds on the property. FDR claimed the ice had a special taste that made cocktails better. The night before each election day, Roosevelt's neighbors came in a torchlight parade to the front of the house to wish him good luck. He spent every election night in the dining room with his advisors. From the study in the north wing, Roosevelt delivered some of his famous "fireside chats".

 

James Roosevelt, his first wife Rebecca Rowland, and his second wife Sara Delano were art collectors. Franklin, too, was a collector – albeit of naval prints and taxidermied animals. Springwood contains family heirlooms going back more than 200 years; numerous pieces of porcelain, jade, wood, and painting from China; an extensive collection of family portraits (some by famous painters, like Gilbert Stuart); and statuary (bronze and marble).

 

The only building at the Springwood estate which is not original is the large Stables. The original structure burned to the ground in 1971, and was replaced by a steel-beam reproduction in 1974.

 

Interestingly, the Greenhouse (which cost a staggering $3,700), has three sections. The south and largest section is a hothouse for roses. The middle section is sealed to create moisture for ferns, and the northern section is cooler for plants like carnations. It remains in use today, providing plants for Springwood.

 

The Gardener's Cottage and Duplex House are both used as employee residences today.

 

In 1935, Franklin Roosevelt donated the Springwood mansion and 33.23 acres of land around it to the United States. He also donated 12 acres of land for a library, and designed and constructed on that land a presidential library. Congress accepted the donation by passing the Historic Sites Act of 1935 and legislation accepting the library building in 1939.

 

About 600 feet to the northwest of the Springwood mansion is Bellefield, the mansion of the Newbold/Morgan family. Originally constructed about 1795, the 16-room house was greatly enlarged between 1840 and 1860. Thomas Newbold, a wealthy local investor and state legislator, purchased the residence about 15 acres of land in 1885. The Newbolds, and their descendants the Morgans, were good friends of the Roosevelts. It is used for employee housing and office space today.

 

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