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Copyright© 2012
This image is protected under the United States and International Copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without written permission.
The Fort Pickens Area of the Gulf Islands National Seashore is so named because of the remains of Fort Pickens at the end of this island. It is one of four forts built to defend Pensacola Bay and its navy yard. The fort was begun in 1829, completed in 1834, and was named in honor of Major General Andrew Pickens of the South Carolina militia, who fought with distinction in several Revolutionary War battles. It was never held by the Confederate Army during the Civil War.
Built in the age of wooden warships and cannons firing round balls, the fort underwent changes in response to advances in weapon technology following the Civil War. Armored warships (like the "ironclads" Monitor and Merrimac) with steam engines and screw propellers, as well as larger and more powerful rifled cannons, made brick and stone forts obsolete.
Ten concrete gun batteries, including one in the middle of the historic fort, were built from the 1890s through the 1940s, each a response to a particular threat. Atomic bombs, guided missiles, and long-range bombers made such forts obsolete by the end of World War II and the Army abandoned the forts.
Interestingly, it is a part of a system of forts called the Third System Forts which were built up and down the Atlantic coast in the nineteenth century to shore up our weak coastal defenses following the war of 1812. One of the most famous of these is Fort Sumter!! Who'd a thunk that??
OK, now done with the history lesson! While wandering down the shoreline at Langham Beach, I found this emplacement of some kind slowly being buried by the shifting sands. I have no idea what it could be, but found it quite interesting as it was so totally unexpected!! I think it may have been some kind of gun battery because of the door and a long protuberance from the other side that could well have held a gun. Now where are those informational signs when we need them??
Way cool, IMHO!!!
© Thomas Schoeller Photography, LLC. | All Rights Reserved
Pepe's Cafe and Restaurant in Old Town Key West Florida. The low sun on the horizon cast a warm glow and long shadows. I really loved the feel of the "Old Town" section of Key West and I felt a composition from this location felt appropriate.
This image has been published several times and is a really hot-selling print. Published in the Florida-Key West Travel guide for 2008, and also an issue of "Poets and Writers magazine" as a center spread.
www.ThomasSchoeller.Photography
No rights are implied to the viewer, not for private or commercial use of ANY kind without the expressed written permission of the photographer
This captivating photograph captures the historic B&O Railroad Bridge crossing the Shenandoah River at Harpers Ferry, West Virginia. This site marks the confluence of the Shenandoah and Potomac rivers, nestled beneath the imposing rock face of Maryland Heights—a rugged landmark that looms above the scene. The bridge, a testament to 19th-century engineering and design, was a vital transportation route during the Civil War and remains a crucial part of American railroad history.
The steel truss bridge stretches across the river on sturdy stone piers, its weathered ironwork echoing the industrial past that shaped Harpers Ferry’s identity. Trains, still in service today, traverse the bridge, connecting the past with the present as they journey through the Appalachian landscape. The piers of an older bridge can be seen in the foreground—remnants of an earlier crossing that was destroyed during the war, a silent witness to the town’s tumultuous history.
Beyond the bridge, the stone ruins of earlier bridge abutments stand on the riverbank like sentinels, each block telling a story of conflict and resilience. Harpers Ferry was a strategic target during the Civil War, repeatedly contested by Union and Confederate forces. These bridge piers once supported a crucial link in the transportation network that supplied troops and carried commerce along the B&O Railroad.
The photograph’s composition draws the eye along the bridge to the dark, cavernous train tunnel cut into the mountain—a passage through which countless trains have roared since the 19th century. Above, the clouds dance in a dynamic sky, a perfect counterpoint to the river’s steady flow and the rugged cliffs beyond.
This image captures the enduring intersection of nature, history, and technology in Harpers Ferry, a town that continues to honor its place in America’s story.
Standing proudly on the corner beneath shifting clouds, the CornerstoneSF Church building in San Francisco captures the ornate romanticism of early 20th-century Moorish Revival architecture. Its indigo façade, graceful arches, and intricate white trim bring to mind Mediterranean and Andalusian influences—an unexpected yet harmonious presence in the heart of the city.
The building’s crowning tower, with its arcaded openings and deep eaves, recalls a bell tower or minaret, while the rhythmic repetition of arches across the façade adds an architectural lyricism that speaks to the optimism of its era. Constructed during a period when many American architects drew from eclectic global styles, this structure fuses spiritual aspiration with the craftsmanship of civic pride. The stucco walls and decorative plasterwork show the hand of artisans who believed in architecture as storytelling—a theme that resonates deeply in San Francisco’s layered urban fabric.
Originally built as a church, the building has evolved over time but continues to serve as a gathering space for community and reflection. Its vivid blue hue feels contemporary, yet the sculptural massing and ornamental flourishes firmly root it in the early 1900s. The repetition of Moorish motifs—horseshoe arches, geometric patterns, and flowing cornices—evokes a dialogue between light and shadow, faith and artistry. The choice of color adds to the emotional charge: blue for calm and devotion, white for purity and transcendence.
From street level, the structure’s welcoming arched entryway and rhythmic fenestration lead the eye upward, culminating in the delicate tracery that crowns the tower. Like much of San Francisco’s eclectic architecture, the building is a visual bridge between worlds—historical yet alive, sacred yet civic. Its enduring beauty lies in its balance between ornament and proportion, the play of historical reference and local identity.
Today, CornerstoneSF continues the building’s long legacy of gathering, performance, and connection. The architecture reminds visitors of the city’s openness to reinvention: a place where ornate historic forms coexist with contemporary use. Whether admired for its spiritual presence or its decorative power, this building remains one of the Mission District’s most visually distinctive landmarks—a testament to San Francisco’s ongoing dialogue between past and present, art and life.
Looking skyward inside the Waldorf Astoria Washington D.C. reveals the architectural heart of the former Old Post Office Pavilion: a vast atrium capped by a steel-and-glass skylight. Spanning multiple stories, this breathtaking space blends industrial innovation with Romanesque design elements—characterized by rounded arches, iron ornamentation, and layered stone and plaster detailing.
Originally completed in 1899, the Old Post Office was designed by Supervising Architect Willoughby J. Edbrooke and featured cutting-edge construction for its time, including a steel internal skeleton that allowed for the open vertical space seen here. The atrium once served a practical purpose—allowing natural light into the mail sorting floors—and has since been preserved as a centerpiece of the building’s adaptive reuse as a luxury hotel.
The photo captures the latticework of the skylight, intersected by iron beams and flanked by repeating columned arcades on all sides. Suspended acoustic panels float below the glass ceiling, subtly modern additions to a historic structure. Decorative ironwork and ornamental capitals around the perimeter reflect the building's 19th-century grandeur.
Today, the atrium functions as a public and private gathering space—dramatic yet peaceful, airy yet grounded in stone and steel. This is one of Washington D.C.'s few remaining Romanesque Revival interiors on such a monumental scale.
HABS Architectural Survey Standard:
Documented according to standards of the Historic American Buildings Survey (HABS):
Structure Name: Old Post Office
Location: 1100 Pennsylvania Avenue NW, Washington, D.C.
Style: Richardsonian Romanesque
Date of Construction: 1892–1899
Architect: Willoughby J. Edbrooke
HABS Reference Number: DC-275
Against the backdrop of the Bay Bridge, One Market stands proudly as a testament to San Francisco’s architectural evolution. Capturing the early morning light, the Bliss & Faville masterpiece, built in 1916, dominates the scene with its Neoclassical grandeur. The red-brick façade contrasts with the shimmering steel of the bridge, a juxtaposition of historical architecture and modern engineering. One Market’s detailed cornices and monumental columns, a hallmark of the Neoclassical style, reflect the craftsmanship of the early 20th century.
This building not only offers stunning views of the Bay Bridge and the waterfront but also marks a significant chapter in the city's development. Located at the edge of the Financial District, One Market was a hub of commerce and business as San Francisco rose from the ashes of the 1906 earthquake. The building’s symmetry and ornate classical details, including its arched windows and decorative cornice, embody the city’s commitment to rebuilding with elegance and strength.
The view of the Bay Bridge in the distance adds an extra layer of allure to One Market. With the palm trees below swaying in the breeze, it paints a picture of serenity amidst the hustle and bustle of the city. Visitors to the building or the surrounding area can enjoy a panoramic look at one of the most iconic bridges in the world while appreciating San Francisco’s storied architectural past.
For both history lovers and architecture aficionados, One Market offers a unique perspective on the intersection of past and present in one of the city’s most scenic locations.
Quarter moon, stars coming out and a setting sun.. picture perfect for me.. Little Grayback Lookout SW Oregon
Nestled in the heart of San Francisco, 91 Central stands as an architectural marvel that captures the essence of the city’s rich history. This vibrant building, adorned with striking yellow and purple stripes, is a visual delight for both locals and visitors. The façade is a testament to the craftsmanship of a bygone era, featuring intricate floral motifs and regal crests that hint at its storied past.
Constructed during a period when attention to detail was paramount, 91 Central boasts a grand entrance flanked by robust columns leading to an ornate wrought-iron gate. This entrance exudes old-world charm and elegance, inviting onlookers to step back in time. The large windows, framed by decorative moldings, offer a glimpse into the opulence within, making it a favorite subject for urban photographers.
The building’s historical significance is matched by its structural integrity, having withstood the test of time to remain a beloved landmark in San Francisco’s urban landscape. It’s not just a structure but a piece of artistry that continues to tell tales of yesteryears while standing proudly amidst modern advancements.
For those seeking to immerse themselves in San Francisco’s cultural tapestry, 91 Central offers more than just visual splendor. It serves as an emblem of architectural heritage and timeless beauty—a true insider’s treasure waiting to be discovered. Whether you’re an architecture enthusiast or a history buff, this building is a must-see, offering a unique glimpse into the city’s architectural evolution.
This photograph captures a nostalgic slice of urban Japan, showcasing the textured layers of a vintage shopfront and apartment balcony that speak volumes about the city’s evolving architectural story. The faded signage in traditional kanji, hand-painted on weathered surfaces, hints at a once-busy local business—perhaps a hardware store or tool shop, as suggested by the old-school lettering and visible tools.
Above the storefront, a sun-worn balcony draped in drying laundry and shaded by a bright yellow awning reveals a lived-in domestic space, common in mid-20th century Japanese mixed-use buildings. This juxtaposition of commercial and residential life is a hallmark of Showa-era architecture, when maximizing space and utility in Japan's dense urban environments was essential.
The structure’s oxidized copper panels and rusted metal framework tell a quiet tale of time’s passage—materials once pristine now softened by age and weather. These patinated textures, combined with the quirky asymmetry of laundry lines and potted plants, offer a rare, intimate look into everyday life in Japan, far from tourist trails.
Below, a bright green modern awning has been added, contrasting sharply with the vintage facade above—a visual metaphor for Japan itself: constantly balancing modern updates with deep respect for its past. This layered scene is not just an architectural curiosity, but a love letter to working-class neighborhoods, where community, resilience, and daily ritual are preserved in every detail.
Whether you're an architecture enthusiast, urban explorer, or cultural photographer, this corner storefront is a rich subject of visual storytelling, capturing the essence of Japan’s endearing messiness, quiet dignity, and everyday beauty.
June 17, 2009. Demolition of the old Paterson grain elevator. The last of five along the railway in Mendham Saskatchewan.
A friend gave me this link to this song. I really like it!
DYNAMITE AND 'DOZERS (words & music by John Wort Hannam)
www.johnworthannam.com/discography.htm
Take a good look son, they ain't gonna last
There knockin' 'em down left and right
Take a good look son, next time we drive past
There may not even be one in sight
Another's up for closure, dynamite and 'dozers
Tradition ain't no match for progress
Scale sheds and gables, scrap wood for sale
That's the way it goes these days I guess
Sooner or later, the old elevators all will be coming down
Sooner or later, the old elevators all will be coming down
"What's that in the picture?", your grandkids will ask
Standing in the history museum
A small scale model, some old photographs
Likely the only way they'll ever see 'em
That's the day the congregation came to pay commiserations
Talk of when the grain reigned supreme
Nostalgia soaked tears, wait 'till the dust clears
It's the end of the line, a sign of the times it seems
In the heart of San Francisco’s vibrant downtown, this iconic building stands as a striking example of the city’s architectural evolution. The lower portion of the structure showcases classical design elements, featuring ornate stonework and grand windows that reflect the opulence of a bygone era. These historical details are a nod to San Francisco’s rich past, where craftsmanship and attention to detail were paramount.
As your eyes travel upward, the building transitions into a modern skyscraper with a sleek, rounded glass façade. This juxtaposition of old and new creates a visually captivating experience, embodying San Francisco’s dynamic spirit and its blend of tradition and innovation. The glass tower not only reflects the sky but also symbolizes the city’s forward-thinking ethos and its relentless pursuit of progress.
This architectural marvel is more than just a building; it’s a testament to San Francisco’s ability to honor its historical roots while embracing modernity. The structure’s base, with its intricate detailing, invites you to appreciate the artistry of the past, while the towering glass above speaks to the city’s future aspirations. It’s a favorite among urban photographers and architecture enthusiasts who are drawn to its unique blend of styles.
Whether you’re a history buff or a lover of contemporary design, this building offers a fascinating glimpse into San Francisco’s architectural journey. It’s a must-see landmark that captures the essence of the city—where the past and present coexist in perfect harmony.
Copyright© 2012
This image is protected under the United States and International Copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without written permission.
Jumping back to the Gulf Islands National Seashore...
In the Pensacola District and just about across the street from the Naval Aviation Museum is the still active Pensacola Lighthouse.
Built in 1858 on the north side of the entrance to Pensacola Bay, the tower is 150 feet tall and sits on a 40 foot bluff, meaning the light sits 190 feet above sea level.
At the start of the Civil War, Pensacola was controlled by Confederate forces, while Fort Pickens across the bay remained in Union hands. Confederate authorities removed the lens from the lighthouse, and most of the lighthouse supplies were requisitioned for the war effort. In 1863 the Pensacola Light was relit using a fourth-order Fresnel lens. A new first-order lens was placed in the tower in 1869. The tower was all white during the Civil War. Later, the upper two-thirds of the tower was painted black. Electricity was introduced to the lighthouse in 1939, eliminating the need to rewind the light rotation clockworks every 4½ hours. The light was automated in 1965. The lighthouse tower and associated buildings were placed on the National Register of Historic Places in 1974.
This is my kinda lame attempt at HDR without the Photomatix program.
Happy Friday to all!
The Roedde House Museum is a late-Victorian home located at 1415 Barclay Street in Vancouver, Canada. It was the home of Gustav Roedde and his family. The house was built in 1893 and was possibly designed by architect Francis Rattenbury in the Queen Anne Revival style.
Gustav Roedde (1860-1930) emigrated from Germany to Cleveland, US in 1882 where he completed his apprenticeship as a bookbinder. During a Halloween party, he met Matilda Cassebohm (1862-1951), who emigrated from the island of Helgoland, Germany. The two were married in Cleveland in 1883. Together they lived in different cities; San Francisco, California and Victoria, British Columbia, before settling down in Vancouver in 1888
The family grew to include seven children and three St. Bernard dogs. Stories have been passed down, that the children used to play in the upstairs storage room to hear the adults’ conversations on the lower floor.
In 1925 , the family moved to a new home on Drummond Drive, in Point Grey
The City of Vancouver restored the exterior of the house. In 1984, the Roedde House Preservation Society was formed to implement the interior restoration. Historical records were used to insure the house replicated what it would have looked like between 1893 and 1925. Stripping down wallpaper helped discover the original colours of the walls and the house was furnished with all the accoutrements of middle-class life in the 1890s. The Roedde House Museum was officially opened on May 12, 1990.
A number of the barns of the Dairy of the Northern State Hospital for the Insane are still standing. However, many of the doors and windows are missing.
Centered in the heart of San Francisco’s Chinatown on Stockton Street, the Chinese Consolidated Benevolent Association building displays quintessential Chinese architectural motifs: green tiled roofs with upturned eaves, red columns, and golden calligraphy. Flanked by utilitarian storefronts and modern facades, the CCBA’s design stands out with vibrant ornamentation and symbolic guardian lions. The building’s layered elevation and symmetry emphasize its importance within the Chinese American community, both historically and civically. Founded in the 19th century, the CCBA remains a hub for advocacy, cultural preservation, and neighborhood unity. Its enduring architectural presence anchors tradition amid Chinatown’s ever-evolving urban landscape.
The condemned 1907 steel truss bridge that connected Corinne with the Wasatch Front. The girders are all stamped Carnegie, a reminder of the robber baron whose company provided the materials.
Kidds Mill Covered Bridge in Shanango, PA, Pymatuning Township, Mercer County. Kidds Mill is thoe only Smith Truss bridge in Pennsylvania and the only existing covered bridge in Mercer County
This evocative exhibit at the Smithsonian National Museum of American History presents a partial reconstruction of the Worcester House, a rare example of 18th-century timber-frame domestic architecture in colonial America. Built in Massachusetts in the mid-1700s, the original house was painstakingly documented, dismantled, and partially reassembled within the museum to give modern visitors a glimpse into early American life and construction practices.
The structure displays mortise-and-tenon joinery, hand-hewn beams, and clapboard siding, some of which are original. This type of timber framing was standard in New England homes of the period, and the visible craftsmanship reveals how colonists constructed buildings without the use of modern nails or power tools. The exhibit smartly leaves one half of the house open—showing the skeletal post-and-beam framework—while the other half is finished in siding, complete with a paned window and brick chimney.
Interpretive panels below the reconstruction offer detailed context on life in early America: from foodways and family life to tools and trades. Exhibits like this one bridge the abstract gap between modern museum visitors and the daily realities of people who lived centuries ago. For architecture enthusiasts, it's a rare opportunity to see exposed historical framing methods up close—without a hard hat.
Photographed here with an emphasis on warm lighting and detail, this image captures the contrast between raw structure and completed exterior, showing both the technical and emotional resonance of preserving American history through buildings.
Buffalo, New York. A rare postcard view from 1912. Wright's 1906 office building supported the factories and shipping facilities in the background. The Larkin building was torn down in 1950. A parking lot now sits on the site.
June 17, 2009. Demolition of the last of five, the old Paterson grain elevator. Mendham Saskatchewan.
Thousands of elevators once stood along the railways in Western Canada, from western Ontario all the way to eastern British Columbia... Sadly 3/4 of Canada's elevators have been destroyed and continue to be destroyed.
Best when viewed large.
A friend gave me this link to this song. I really like it!
DYNAMITE AND 'DOZERS (words & music by John Wort Hannam)
www.johnworthannam.com/discography.htm
Take a good look son, they ain't gonna last
There knockin' 'em down left and right
Take a good look son, next time we drive past
There may not even be one in sight
Another's up for closure, dynamite and 'dozers
Tradition ain't no match for progress
Scale sheds and gables, scrap wood for sale
That's the way it goes these days I guess
Sooner or later, the old elevators all will be coming down
Sooner or later, the old elevators all will be coming down
"What's that in the picture?", your grandkids will ask
Standing in the history museum
A small scale model, some old photographs
Likely the only way they'll ever see 'em
That's the day the congregation came to pay commiserations
Talk of when the grain reigned supreme
Nostalgia soaked tears, wait 'till the dust clears
It's the end of the line, a sign of the times it seems
This image captures the Bay Street entrance to the Presidio of San Francisco, a historic site blending natural beauty with preserved architectural details. The buildings reflect the Spanish Colonial Revival style, characterized by red-tiled roofs, stucco walls, and symmetrical forms. Once part of a U.S. Army installation, the Presidio’s structures date back to the early 20th century, built to house military personnel and support operations. The entrance is framed by a mix of manicured greenery and mature trees, hinting at the park-like environment within. Today, the Presidio serves as a gateway to San Francisco’s rich military history and cultural evolution, offering visitors a glimpse into its past while functioning as a space for recreation and exploration. The attention to detail in the architecture, from the decorative ironwork to the well-maintained exteriors, underscores its historical significance. This corner represents the harmonious blend of history and modern-day urban life that defines the Presidio’s enduring appeal.
"The lower two-thirds of the Giralda Tower were constructed between 1184 and 1198 as the minaret for the Great Mosque of Seville. After the Christian conquest of Seville in 1248, the mosque was converted into a cathedral. The tower was preserved, and centuries later, in the 16th century, a Renaissance-style belfry was added to transform it into a bell tower. This is the part that holds the 24 cathedral bells and gives the Giralda Tower of Seville its distinctive final silhouette. At the very top stands the famous bronze weather vane known as El Giraldillo. Installed in 1568, it represents Faith and serves as a symbol of the city itself. The tower actually gets its name from this statue: “Giralda” comes from the Spanish verb girar, meaning “to turn”.
Over time, the Seville Giralda Tower became the city’s most recognized landmark. It has survived earthquakes, wars, and centuries of change, yet it still looks remarkably similar to how it did in the Middle Ages.
Unlike most towers, the Giralda Tower doesn’t have stairs. Instead, it has 35 gently sloping ramps, wide enough for a man on donkeyback. This clever design made it easier for the muezzin to ride up to the top five times a day to call Muslims to prayer when the tower was part of the old mosque." www.seville-traveller.com/giralda-tower/
At the corner of Washington and Stockton Streets, the Chinese United Methodist Church fuses restrained neoclassical symmetry with a distinctive East Asian silhouette. Its stuccoed façade and deep cornices evoke early 20th-century American institutional design, while the gold-tipped, pagoda-style cupola affirms its cultural identity. The contrast between minimal ornamentation and bold roofline symbolism reflects the church’s mission: rooted in faith, shaped by community, and grounded in bicultural expression. Originally built in 1911, this church has long served as a spiritual and social anchor for Chinese Americans in San Francisco, its architecture quietly honoring both Methodist tradition and Chinese heritage.
The 1880s Boynton Stapleton house in Oroville, California, which now houses law offices.
Best seen in winter and early spring when the trees are bare, it's well known locally for the beautiful azaleas blooming in the front and back yards every spring.
From looking at old pictures of the house, it appears the second story balcony was added by the original owners after the house was finished. It dresses it up just right, making it look even better than it did before.
In the heart of San Francisco’s Haight-Ashbury neighborhood, the Doolan-Larson Building stands as a living witness to more than a century of transformation—from Victorian refinement to countercultural rebellion. This quiet closeup of the kitchen wall reveals the depth of that history not through sweeping architecture, but through texture, craftsmanship, and time itself. The aged wood paneling glows with the patina of years, its warm tones carrying the memory of hands that shaped, sanded, and polished it long before the building became an icon of 1960s San Francisco.
Built in 1903 at the corner of Haight and Ashbury Streets, the Doolan-Larson Building is a rare survivor of the city’s Edwardian commercial era, its structure now preserved as part of the National Register of Historic Places. The interior, though humble compared to its ornate façade, is rich with period detail. Here, the paneled wainscoting and plastered wall above reflect the era’s devotion to craftsmanship—an everyday artistry meant to communicate both permanence and pride.
The photograph captures the subtle interplay between wood and light. Morning sun filters through the slatted blinds, casting geometric shadows that dance across the grain. Cracks in the plaster and slight imperfections in the finish remind us that preservation is not about perfection—it’s about continuity. The building’s layers, like the city itself, record adaptation: the gaslight era giving way to the electric, the quiet Edwardian kitchen giving way to a space that would one day serve the heart of a cultural revolution.
What was once a private domestic space later became a hub of creative energy when Norman Larson—an artist and preservationist—purchased and restored the building. His stewardship saved not only its structure but its soul. Each board, each seam, each scratch tells part of that layered story: of survival through the 1906 earthquake, of weathering decades of social change, and of the quiet persistence of San Francisco’s architectural heritage.
In architectural photography, moments like this offer a meditation on time. There’s a rhythm in the repeating panels, a calm order in the geometry, and a living warmth in the light that strikes the varnished surface. It’s not grandeur that makes this wall remarkable—it’s honesty. The Doolan-Larson Building’s preserved interiors remind us that architecture is not only about what we see, but what we inherit: the feeling of place, the dignity of craft, and the endurance of design made to last.
Vintage photograph of Budapest’s Elisabeth Bridge with Gellért Hill and Liberty Statue in background, post-1964.
This wonderful Italianate style Victorian mansion was completed in 1868, has been restored to near-original condition, and is now a museum and State Historic Park open for guided tours.
It's designated as California Historical Landmark # 329, and is also listed on the National Register of Historic Places.
The mansion was the home of John and Annie Bidwell and had many famous visitors through the years, including John Muir, Susan B. Anthony, General Sherman, Asa Gray, Governor Stanford, President Rutherford B. and Lucy Hayes, and many others.
It was built using the proceeds from a gold strike some miles north of and shortly after the one that started the California Gold Rush itself.
John started building the mansion before he met Annie, and because of his political aspirations he built it in a grand style befitting a potential future governor.
The mansion is 10,000 square feet in size, has 26 rooms, many of the original fixtures and furnishings, and, of course, that marvelous tower.
From the outside you'd swear there are only two stories to the mansion, but there are really three.
Due to an intentional trick of perspective, the third floor isn't readily visible from the outside (though once you know the secret, you'll see how it's been hiding in plain sight all these years).
Tour guides tell us it was built this way to keep it from appearing too tall and overwhelming.
As you enter the mansion, you'll see a wide central hallway that stretches to the back of the building and connects to most of the rooms on the first floor.
The first floor includes the large parlor where the Bidwells entertained their guests, as well as the dining room, kitchen, laundry, library, and John's private office. The grand stairway to the upper floors is located between the library and John's office.
The second floor contains the Bidwells' master suite including their private bathroom, and several guest bedrooms and another bathroom. Many of the rooms have access to the large balcony that wraps around the mansion.
The third floor has a large open area that was intended to be a ballroom, but the Bidwells never used it for that purpose because Annie's religion didn't allow its members to dance.
The servants' quarters are at the back of the house above the kitchen and are accessible from the back stairway. They've also been restored and are included in the tour.
The mansion had the most up to date plumbing of its day, including a carbide gas generator that made the gas used in the lighting fixtures (the generator is still on the property, though it's not used for that purpose anymore).
The carriage house behind the mansion has also been restored and contains several of the Bidwells' original carriages.
The landscaping around the mansion features a number of trees John Bidwell planted with his own hands, including cork oaks (the kind that corks come from), a giant fan-leafed ginkgo that turns brilliant yellow in the fall, and the crown jewel: the enormous Southern magnolia directly in front of (and now taller than) the mansion itself.
John was older than Annie, and after sharing their beautiful mansion together for 32 years, he passed away in 1900. She lived there for the rest of her life, passing away in 1918.
Because the Bidwells had no children, Annie left the mansion and grounds to the Presbyterian Church.
In 1923, the Church sold the mansion to the Chico State Teachers College (now known as California State University, Chico) which turned it into student dormitories, and later also used it as classroom and office space.
The California State Park System acquired the mansion in 1964 and began the long, painstaking job of restoring it to its former glory, including removing an addition that had been built onto one side.
For safety reasons the tower isn't accessible these days but you can visit the rest of the mansion, including the ballroom that never was (and see for yourself how to make an entire floor seem to disappear from view).
The mansion's official designation on the California Historical Landmarks listing is:
Rancho Chico and Bidwell Adobe
Landmark no. 329
The National Register of Historic Places listing is:
Bidwell Mansion
Landmark no. 72000216
Location:
Bidwell Mansion State Historic Park
525 Esplanade, Chico, Butte County, California
A broken beauty, waiting for restoration.....or demolition depends on how you look at it. I have always loved this old home on the north end of Broadway Street in Raymond, Alberta. It came up for sale just recently and is sold for "lot value" only! If I was in the position to take on such a project I would be all over that sh*t. Unfortunately, the house sold weeks after the listing went up and a demolition sale was held, stripping the home of its treasures.
Sadly and I can't emphasis that enough. The town of Raymond actually encourages the demolition of "older homes” with grant money, in favor of new development!! WTH?! A historic Mormon Settlement such as Raymond letting their history be replaced.
I took a tour of the place myself and the house needs a sh*t-ton of work such as a new basement, windows, roof and the list goes on...but for what you pay for; the large lot and house you could easily have a completely renovated "character home" with new foundation and only spend over $150-200,000. Not to mention the house would most likely sell with a lot that large for about $300,000 after renovations etc.
No word on when or if it will be demolished. :(
A unexpected sight in Cowley, Wyoming is a historic Bank of Deaver Building. Deaver is a few miles west of Cowley.
The Pont-Neuf (New Bridge) is in many respects the first of the modern bridges in Paris and the most famous. Its design marks the end of the Middle Ages. With its superb design and decoration, it was the central feature of the grandiose royal architecture to be found along the Seine.
It linked the Louvre, the Abbaye de Saint-Germain (Saint-Germain Abbey) and the Left Bank in royal times.Although planned during the reign of Henri II, in 1556, the construction of the bridge was opposed by the Provost of the merchants and the stallholders installed on the other bridges who could see no need for this bridge.
The first stone was laid by his son, Henri III, in 1578, in the presence of the Queen Mother, Catherine de Médicis, under the direction of Baptiste Androuet du Cerceau. Interrupted by the League troubles, work started again under Henri IV who opened it on 20 June 1603. He christened it four years later with the name it bears today.
It was designed by a team of five architects, and is made of two sections; one has five arches and askew piers, the other with seven arches with the same askew piers; the sections are joined by an artificial traffic divider formed by joining two small islands: the île aux Juifs (Jews Island) and the île du Patriarche or de la Gourdaine (Patriarch or Gourdaine Island).
The statue of Henri IV mounted on a horse stands on this platform, replacing - at Louis XVIII's wish - the one broken up by the revolutionaries, which dated back to 1614. At the request of Henri IV, above the second arch was the "La Samaritaine" (Samaritan) pump which provided the Palais du Louvre (Louvre Palace), the Tuileries and the neighbourhoods with water from the Seine. On its main face there was a bas-relief in gilded bronze of the meeting of Christ and the Samaritan at Jacob's well. The building was topped by a bell tower and an astronomical clock, which were demolished and replaced a century later. The grimacing parade of 381 grotesque stone heads under the oldest Parisian bridge is hardly something you see every day. Called “mascarons”, the sculptures’ name derives from the architectural term “mascaron” – an ornamental face, whose function was to scare away evil spirits.
The peculiar creatures living under the Pont Neuf wear all possible human expressions (from violence and joviality to mischief and salaciousness) and allegedly represent satyrs, sylvans and other river gods with characteristic charm. Widely appreciated in architecture between the 15th and the 19th century, they can be found in many European cities today. Yet historians keep questioning the original background of these particular ones. A caricature of the king’s mistresses according to some, others liken this multitude of devilish faces to the men that Henri XIV cuckolded. Still others believe that this was a physiognomic example of the features of common people back in the day the bridge was built. Of all that, this much is true – the gallery of hideous masks is a genuine “theatre of grimaces” and a nice spectacle to observe should you have some time to spare under the bridge.
The Pont-Neuf (New Bridge) was an instant success, not only because of its width but also because it was the first bridge with no houses, giving Parisians a view of the Seine that they had not previously had.
The masses were very enthusiastic about it, and for two centuries it was recognised as a rallying point for all the sophisticated and vulgar pleasures of the capital. A saying has it that one was sure to meet "a monk, a white horse and a street walker" here. If the number of people seeking amorous encounters was certainly large, it was matched by the number of shady characters, thieves, conmen and bandits of all kinds.
Small business flourished with second hand booksellers and other itinerant merchants. It became the centre of a permanent, milling fair. But it was also a prestigious location and public exhibitions by painters from the Académie Saint-Luc were held here on the day of the Fête-Dieu (Corpus Christi).
More recently, the modern artist Christo wrapped it up for two weeks between 23 September and 6 October 1985, leaving only the roadway uncovered. The Pont-Neuf (New Bridge) was restored in the middle of the 19th century; its arches were lowered to compound curve arches in order to reduce the slope of the humpback.
The Ville de Paris has undertaken major building and waterproofing work.
Started in 1990, they will be spread over several years.
Description:
Built in 1578 and 1604.
238 m long
Usable width - 20 m wide
it is divided into two sections separated by the divider where the Henri IV statue stands.
Construction principles
Seven arches on the main branch of the Seine, five on the small branch, all made of brick and, to all intents and purposes, semi-circular.
The span of the arch is 15 to 19 m on the large branch, 10 to 16 m on the small branch.
Photo: K. Jerman
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