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Cedar Fire operations include helicopter release of water where needed during the Cedar Fire in the Sequoia National Forest near Posey, CA, on Sunday, August 22, 2016. The hose below the helicopter allows water tanks to be refilled while hovering low over bodies of water, in this case a pond near the Balance Rock community in Tulare County. USDA Photo by Lance Cheung.
For more information please see:
@usda
@forestservice
Video The Heart of a Firefighter youtu.be/QxJFIfkOQLY
Work includes cleaning, waxing, repairing and conserving the existing bronze, and providing new bronze castings of missing or broken items. Initial stone work will include the cleaning and removal of patina bronze deposits from seven marble monument pedestals.
Full details on the restoration project are at www.aoc.gov/grant.
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This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov/terms.
Work includes cleaning, waxing, repairing and conserving the existing bronze, and providing new bronze castings of missing or broken items. Initial stone work will include the cleaning and removal of patina bronze deposits from seven marble monument pedestals.
Full details on the restoration project are at www.aoc.gov/grant.
-----
This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov/terms.
Takeshita Street (竹下通り Takeshita-dōri?) is a pedestrian-only street lined with fashion boutiques, cafes and restaurants in Harajuku in Tokyo, Japan. Stores on Takeshita Street include major chains such as The Body Shop, but most of the businesses are small independent shops that carry an array of styles. The shops on this street are often a bellwether for broader fads, and some are known as "antenna shops," which manufacturers seed with prototypes for test-marketing.
Takeshita Street was a reliable place to go and purchase fake Japanese and American street brand goods from the early 1990s to 2004. Since 2004, a stronger metropolitan government stance on counterfeit merchandise has led to a decrease of such items being available to the public.
Located directly across from the exit of JR Harajuku Station, Takeshita Street is very popular with young teenagers, particularly those visiting Tokyo on school trips, or local young people shopping for small "cute" goods at weekends.
Harajuku is known for the patrons that visit the area every Sunday. Every Sunday, many young people dress in a variety of styles that include gothic lolita, visual kei, and cosplay, among others and spend the day in Harajuku socializing. The fashion styles of these young people frequently vary and are rarely conformist to one particular style and are usually a mesh of many. Most young people gather on Jingu Bridge, which is a pedestrian bridge that connects Harajuku to the neighboring Meiji Shrine Area. [1] However, Harajuku is not just known for its Sunday visitors. It is also a well-respected fashion capital of the world renowned for its unique street fashion.[2] Harajuku street style is promoted in Japanese and international publications such as Kera, Tune, Gothic & Lolita Bible and Fruits. Many prominent designers and fashion ideals have sprung from Harajuku and incorporated themselves in to other fashions throughout the world. Harajuku is also a vast shopping district that includes luxury western designers like Louis Vuitton, Harajuku native designers, and affordable shops catered to youths.
A very sexy bikini with stripes going around the stomach.
Includes appliers for:
Lolas tango
Mirage
Omega (gives for the micro mesh avatar)
Cute/Phat
Sking Brazilia
G. Inc Perfect body (uses omega appliers)
Ghetto Booty
Maitreya
VS Fusion
Lena
Belleza
eBODY
slink physique clothing applier
Eve applier hud pulpy and slim
Petite mesh avatar
I have an inworld shop. Use the telepad at the landing point
maps.secondlife.com/secondlife/Static%20Beats/84/236/59
Marketplace store.
marketplace.secondlife.com/p/Sexy-Dreams-Wonder-bikini-bl...
The Norooz holiday season includes several symbolic and meaningful celebrations and rituals begining with the last Wednesday of the year, called the Chahar Shanbe Soori (translation yields "Wednesday Fire").On Tuesday evening (the night before the last Wednesday) every family celebrates the Chahar Shanbe Soori.
At the center of this traditional celebration is giving thanks for the fortune of having made it through another healthy year and to exchange any remaining paleness and evil with the life and warmth of the fire. Chahar Shanbe Soori is deeply rooted in Iranians' Zoroastrian past (Persian people's dominant religion prior to Islam). The part of this night especially popular with the youngsters is the bonfire. Every family gathers several piles of wood or brush to be lit shortly after the sunset.
All family members line up and take turns jumping safely along (and over) the burning piles, singing to the fire:
"Sorkheeyeh toe az man; zardeeyeh man az toe."
This translates to:
"Your redness (health) is mine; my paleness (pain) is yours."
Although a recent addition and generally against the law in the urban areas, the sights and sounds of fireworks are very common to this night.
Another routine of the Chahar Shanbe Soori festival is the Iranian version of Trick or Treating associated with the Western Halloween night. Flocks of often young trick or treaters, hidden under a traditional Chador (veil) go from door to door banging a spoon against a metal bowl asking for treats or money.
Another old and almost obsolete Chahar Shanbe Soori ritual is Falgoosh (fortune hearing!) This ritual was carried out usually by young women wanting to know their chances of finding the "Mr. Right" in the coming year. Falgoosh is the act of standing in a dark corner spot or behind a fence and listening to the conversations of the passers by and trying to interpret their statements or the subject of their dialogue as an answer to one's question(s)! This is analogous to calling a psychic reader to find out your fortune!!!
In the past several decades falgoosh has gradually become an almost unacceptable and "politically incorrect" ritual and is seldom practiced in the major urban areas.
Lots of modern (and high end) cars on the roads of Shanghai, but plenty of traditional bicycles too.
Kochi is a city in the Indian state of Kerala. Kochi is located in the district of Ernakulam. Old Kochi loosely refers to a group of islands including Willingdon Island, Fort Kochi and Mattancherry. Today Kochi includes Ernakulam, old parts of Kochi, Kumbalangi, and outlying islands.
For many centuries up to and during the British Raj, the city of Kochi was the seat of the eponymous princely state. Kochi traces its history back many centuries, when it was the centre of Indian spice trade for hundreds of years, and was known to the Yavanas (Greeks and Romans), Jews, Arabs and Chinese since ancient times. Kochi earned a significant position on the world trading map after the port at Kodungallur (Cranganore) was destroyed by massive flooding of the river Periyar in 1341.
The earliest documented references to Kochi occur in the books written by Chinese voyager Ma Huan, during his visit to Kochi in the 15th century as part of the treasure fleet of Admiral Zheng He. There are also references to Kochi in accounts written by Italian traveller Niccolò Da Conti, who visited Cochin in 1440 . Today, Kochi is the commercial hub of Kerala, and one of the fastest growing second-tier metros in India.
PREHISTORY
Not much is known about the prehistory of Kochi. There has been no clear evidence of Stone Age inhabitation. Quite ironically, Kochi forms the central part of the Megalithic belt of Kerala. The only trace of prehistoric life in the region is the menhir found in Tripunithura.
PRINCELY RULE
The history of Kochi prior to the Portuguese is not well documented. Though places north and south of Kochi are mentioned in quite detail in many accounts by ancient travellers, even a mention of Kochi is absent prior to the arrival of the Portuguese. Kochi's prominence as a trading port grew after the collapse of the port at Kodungallur in 1341 AD.
The Cochin State came into existence in 1102 AD after the breaking up of the Kulasekhara empire.
FOREIGN RULE
Kochi was under the rule of many foreign empires, during which the Raja of Kochi still remained the titular head.
PORTUGUESE PERIOD (1503-1663)
Kochi was the scene of the first European settlement in India. In the year 1500, Portuguese Admiral Pedro Álvares Cabral, landed at Cochin after being repelled from Calicut. The King of rival Kochi welcomed his guests and a treaty of friendship was signed. Promising his support in the conquest of Calicut, the admiral coaxed the king into allowing them to build a factory at Cochin. Assured by the support, the king called war with the Zamorins of Calicut. However, the admiral retreated in panic on seeing the powers of the Zamorin. The Zamorins, on the other hand, eager to win the favor of the Portuguese, left without a war. Another captain, João da Nova was sent in place of Cabral. However, he too faltered at the sight of the Zamorin. The consecutive retreats made the King of Portugal indignant. The king sent Vasco Da Gama, who bombed Calicut and destroyed the Arab trading posts. This invited the anger of the Zamorin, who declared a war against the Kochi Raja.
The war between Calicut and Cochin began on 1 March 1503. However, the oncoming monsoons and the arrival of a small Portuguese fleet under Francisco and Afonso de Albuquerque alarmed the Zamorin, and he called back his army. The Zamorin resorted to a retreat also because the revered festival of Onam was near, and the Zamorin intended to keep the auspicious day holy. This led to a triumph for the king of Kochi, who was later re-established in the possession of his kingdom. However, much of the kingdom was burnt and destroyed by the Zamorins.
After securing the king in his throne, the Portuguese got permission to build a fort – Fort Kochi (Fort Emmanuel) (after the reigning king of Portugal) - surrounding the Portuguese factory, in order to protect it from any further attacks. The entire work was commissioned by the Cochin Raja, who supplied workers and material. The Raja continued to rule with the help of the Portuguese. Meanwhile, the Portuguese secretly tried to enter into an alliance with the Zamorins. A few later attempts by the Zamorin at conquering the Kochi port was thwarted by the Cochin Raja with the help of the Portuguese. Slowly, the Portuguese armory at Kochi was increased, with the presumed notion of helping the raja protect Kochi. However, the measured led to decrease in the power of the Cochin Raja, and an increase in the Portuguese influence. From 1503 to 1663, Kochi was ruled by Portugal through the namesake Cochin Raja. Kochi remained the capital of Portuguese India till 1510. In 1530, Saint Francis Xavier arrived and founded a Christian mission. This Portuguese period was difficult for the Jews installed in the region, since the Inquisition was active in Portuguese India. Kochi hosted the grave of Vasco da Gama, the Portuguese viceroy, who was buried at St. Francis Church until his remains were returned to Portugal in 1539. Soon after the time of Albuquerque, the Portuguese rule in Kerala declined. The failure is attributed to several factors like intermarriages, forcible conversions, religious persecution etc.
DUTCH PERIOD (1663-1773)
The Portuguese rule was followed by that of the Dutch, who had by then conquered Quilon, after various encounters with the Portuguese and their allies. Discontented members of the Cochin Royal family called on the assistance of the Dutch for help in overthrowing the Cochin Raja. The Dutch successfully landed at Njarakal and headed on to capture the fort at Pallippuram, which they handed over to the Zamorin.
MYSORE INVASION
The 1773 conquest of the Mysore King Hyder Ali in the Malabar region descended to Kochi. The Kochi Raja had to pay a subsidy of one hundred thousand of Ikkeri Pagodas (equalling 400,000 modern rupees). Later on, in 1776, Haider captured Trichur, which was under the Kingdom of Kochi. Thus, the Raja was forced to become a tributary of Mysore and to pay a nuzzar of 100,000 of pagodas and 4 elephants and annual tribute of 30,000 pagodas. The hereditary Prime Ministership of Cochin came to an end during this period.
BRITISH PERIOD (1814–1947)
In 1814 according to the Anglo-Dutch Treaty, the islands of Kochi, including Fort Kochi and its territory were ceded to the United Kingdom in exchange for the island of Banca. Even prior to the signing of the treaty, there are evidence of English residents in Kochi. Towards the early 20th century, trade at the port had increased substantially, and the need to develop the port was greatly felt. Harbour Engineer Robert Bristow, was thus brought to Cochin in 1920 under the direction of Lord Willingdon, then the Governor of Madras. In a span of 21 years, he had transformed Cochin as the safest harbour in the peninsula, where ships berthed alongside the newly reclaimed inner harbour equipped with a long array of steam cranes. Meanwhile, in 1866, Fort Cochin was made a municipality, and its first Municipal Council election to a board of 18 members was conducted in 1883. The Maharajah of Cochin, in 1896 initiated local administration, by forming town councils in Mattancherry and Ernakulam. In 1925, Kochi legislative assembly was constituted due to public pressure on the state. The assembly consisted of 45 members, 10 of who were officially nominated. Thottakkattu Madhaviamma became the first woman to be a member of any legislature in India.
POST INDEPENDENCE ERA
In 1947, India gained independence from the British colonial rule. Cochin was the first princely state to join the Indian Union willingly. Post independence, E. Ikkanda Warrier became the first Prime Minister of Kochi. K. P. Madhavan Nair, P.T Jacob, C. Achutha Menon, Panampilly Govinda Menon were few of the other stalwarts who were in the forefront of the democratic movements. Then in 1949, Travancore-Cochin state came into being by the merger of Cochin and Travancore, with Parur T. K. Narayana Pillai as the first chief minister. Travancore-Cochin, was in turn merged with the Malabar district of the Madras State. Finally, the Government of India's 1 November 1956 States Reorganisation Act inaugurated a new state – Kerala – incorporating Travancore-Cochin, Malabar District, and the taluk of Kasargod, South Kanara. On 9 July 1960, the Mattancherry council passed a resolution that was forwarded to the government, requesting the formation of a Municipal Corporation by combining the existing municipalities of Fort Kochi, Mattancherry and Ernakulam. The proposal was condemned by the Fort Kochi municipality. However, the Ernakulam municipality welcomed the proposal, suggesting the inclusion of more suburban areas in the amalgamated Corporation. Major Balagangadhara Menon, the then Director of Local Bodies was appointed by the government to study the feasibility of the suggested merger. And based on the report submitted by him, the Kerala Legislative Assembly approved the formation of the Corporation. Thus, on 1 November 1967, exactly 11 years since the conception of the state of Kerala, the corporation of Cochin came into existence, by the merger of the municipalities of Ernakulam, Mattancherry and Fort Kochi, along with that of the Willingdon Island and four panchayats viz. Palluruthy, Vennala, Vyttila and Edappally and the small islands of Gundu and Ramanthuruth.
WIKIPEDIA
Barsoom Numero 15 Sum-2011.
Includes: La sombra del pavo real (The Peacock's Shadow 1926) by E. Hoffmann Price.
Large apartments in a peaceful location near Elviria Beach with sea and mountain views. Includes FREE unlimited use of all the facilities of El Soto Golf Club.
LA FLORESTA DE LA MAIRENA
La Floresta de la Mairena is a new Taylor Wimpey residential development set near the village of Elviria and its beach, very close to Marbella, Malaga. La Floresta de la Mairena is set in beautiful surroundings which have been declared a natural biosphere reserve by UNESCO. The development benefits from stunning views towards the oak and pine forest as well as towards the sea.
MEDITERRANEAN STYLE APARTMENTS FOR SALE
Designed in a typical Mediterranean style, the apartments have large terraces on which to enjoy the beautiful views. The development also has 2 large communal swimming pools, landscaped gardens and external private parking.
The 2 bedroom apartments measure 141 square meters and the 3 bedroom penthouses are 239 square meters. The ground floor apartments have a private garden.
All units are built to the highest Taylor Wimpey's standard with first-class finishes including an Italian designed integrated kitchen with Silestone worktops, thermal and acoustic insulation and air-conditioning. Each block has its own elevator and exterior carpentry finishes in aluminum.
TAYLOR WIMPEY SPAIN
Taylor Wimpey de Espana has finished the first phase of 23 apartments built in 2 three storey blocks, and has started second phase.
First phase: Key ready properties available !
Second Phase: Delivered July 2.012
LA FLORESTA DE LA MAIRENA, ELVIRIA, MARBELLA
La Floresta de la Mairena es un complejo residencial de Taylor Wimpey de España situado cerca de Marbella, a sólo 7 kilómetros de la playa de Elviria. El espectacular entorno que rodea al complejo ha sido declarado reserva de la biosfera por la UNESCO, debido a la riqueza y belleza de los bosques de alcornoques y pinos dispuestos en torno a La Floresta de la Mairena. Junto a las vistas al mar hacen de este un lugar un ensueño.
APARTAMENTOS Y PISOS EN ELVIRIA, MARBELLA
Los apartamentos que Taylor Wimpey de España pone a la venta están dispuestos formando un tranquilo pueblo blanco y mediterráneo con amplias terrazas para disfrutar de las vistas. Con sólo tres alturas, con ascensor, 2 piscinas y jardín comunitario. Están diseñados de forma escalonada para optimizar la luz y el espacio, sin hacer concesiones a la tranquilidad.
Los pisos son de 2 amplios dormitorios y una superficie de 141 m2 y 5 exclusivos áticos de 3 dormitorios y una superficie 239 m2. Las plantas bajas dispondrán además de jardín comunitario de uso privativo y todos están dotados de amplias terrazas. Los acabados incluyen carpintería de aluminio, cocina de diseño italiano, Silestone, aislamiento acústico y térmico y aire acondicionado.
OCIO Y DEPORTE EN LA FLORESTA DE LA MAIRENA
La Floresta de la Mairena está a sólo 10 minutos de dos de los mejores campos de golf de Costa del Sol, La Cala y Santa María. Además, ser propietario de una vivienda el La Floresta significa tener el uso ilimitado de las instalaciones del Club de Golf El Soto, del que el residencial es parte integrante.
Todos los deportes acuáticos pueden ser practicados en las playas tanto de Elviria como de la costa Marbellí, donde se encuentra la playa Nikky Beach Club frecuentada por famosos de todo el mundo.
Primera fase: Listas para vivir !
Fin segunda fase: Octubre 2012
www.taylorwimpeyspain.com/plantillaProductoFinal.php?lang...
www.taylorwimpey.es/plantillaProductoFinal.php?lang=es&am...
photographer's notes and text borrowings-
"mutual building", cape town. art deco, deluxe. finished in 1939. architect, fred glennis
inspiration maybe from the "met tower", NYC"?, chicago board of trade", "chrysler building, NYC"?
stone mason, ivan mitford-barberton (south african)
most of the building was changed into residential units
beautiful friezes by miftord-barberton
some nine (only?) african tribes depicted in stunning granite carvings on one facade of the building. it's unclear why only nine tribes were depicted
the tribes being-
matabele
basuto
barotse
kikuyu
zulu
bushman
xosa (xhosa)
pedi
masai
the building has three street facades, darling, parliament and long market streets, cape town CBD
much more to be explored and to be pixed. the building itself is exquisite
***********************
Mutual Building
From Wikipedia, the free encyclopedia
The Mutual Building (Afrikaans: Mutual Gebou), in Cape Town, South Africa, was built as the headquarters of the South African Mutual Life Assurance Society, now the "Old Mutual" insurance and financial services company. It was opened in 1940, but before the end of the 1950s—less than 20 years later—business operations were already moving to another new office at Mutual Park in Pinelands (north east of the city centre); since then Old Mutual has become an international business and their present head office is in London.
The building is a fine example of art deco architecture and design, and it has many interesting internal features such as the banking hall, assembly room, directors' board room; external features include a dramatic ziggurat structure, prismoid (triangular) windows, and one of the longest carved stone friezes in the world. It has been said that it provides evidence of the colonial attitudes of the time, and the "ideals of colonial government promulgated
by Rhodes in the late nineteenth century".[1]
The Mutual Building is now converted to residential use, although some parts of the building are used commercially. For example, the Banking Hall (which is now an events venue) and the retail shops that operate outside on the ground level.
Coordinates: 33°55ʹ27.45ʺS 18°25ʹ20.25ʺE
Mutual Building
Mutual Gebou
The front of the building, in Darling Street, Cape Town
Location in central Cape Town Alternative Mutual Heights, Old Mutual
names Building
General information
Contents
1 History
1.1 The business
1.2 The "new" (1940) Head Office in Darling Street
1.3 Search for inspiration
1.4 Completion
1.5 Vacating and conversion
2 Structure of the building
3 Design elements
4 Features of the building
4.1 The Entrance Hall 4.2 The Banking Hall
4.3 The lifts (elevators) 4.4 The Assembly Room 4.5 The Directors' Rooms 4.6 The atrium
4.7 The windows
4.8 Granite cladding 4.9 The Tribal Figures 4.10 The frieze
5 Views of (and from) the building 6 References
7 Other external links
Type
Architectural style
Address Town or city Country Coordinates Completed Inaugurated Renovated Owner Height
Structural system
Floor count Lifts/elevators
Commercial converted to residential
Art Deco
14 Darling Street
Cape Town
South Africa
33°55ʹ27.45ʺS 18°25ʹ20.25ʺE 1939
1940
2005
Mutual Heights Body Corporate 84 metres (276 ft)
Technical details
Reinforced concrete, granite cladding
12 plus 3 levels basement parking
7
Architect
Architecture firm
Architect
Renovating firm
Structural engineer
Awards and prizes
Fred Glennie Louw & Louw
Renovating team
Robert Silke Louis Karol
Murray & Roberts
South African Institute of Architects, Presidents Award 2008
Website
Design and construction
www.mutualheights.net (www.mutualheights.net)
History The business
The Old Mutual business has a long history. In 1845 John Fairbairn (a Scot) founded "The Mutual Life Assurance Society of the Cape of Good Hope" in Cape Town. Over the next 100 years the business was to evolve significantly, changing its name in 1885 to the "South Africa Mutual Life Assurance Society", but becoming familiarly known simply as "The Old Mutual", so as to distinguish it from newer businesses of the same kind.
The company employed women as early as 1901, expanded into Namibia in 1920 and into Zimbabwe (then
Rhodesia) in 1927.[2] Old Mutual is now an international business with offices all over the world, and its portfolio
of financial services continues to evolve to meet market needs.
It is now some years since the business "de-mutualised" in order to issue shares and fund its operations using conventional investment markets.
The "new" (1940) Head Office in Darling Street
The name of the building in English and in Afrikaans ("Mutual Gebou"): The interesting frieze shown here is described in the text
Some comparisons with earlier inspirational buildings
In the 1930s it became clear that a new headquarters building was needed and very ambitious targets were set for the building: it was to be the tallest building in South Africa (possibly in the whole continent of Africa, with the exception of the pyramids in Egypt), it was to have the fastest lifts, it was to have the largest windows. At the same time it was to epitomise the values of the business: "Strength, Security and Confidence in the Future"; this demanded a combination of traditional
and contemporary design.[1]
Although it is clearly identified on the exterior as the "Mutual Building" (or "Mutual Gebou" in Afrikaans) it is often familiarly referred to as "The Old Mutual Building". Here, in the body of this article, it will be referred to as the "Mutual Building", thereby acknowledging the
nomenclature on the exterior of the building itself.
Search for inspiration
The figure here (adapted from www.skycrapers.com) compares the building with some of the other contemporaneous tall buildings in the world. Those involved in the design of the building travelled widely to study inspirational examples of corporate buildings elsewhere in the world. They learnt about the latest approaches to lighting, ventilation and fire protection in the USA, South America, England
and Sweden.[3] In the USA, the Eastern Columbia Building in Los Angeles is one example of the genre of building design that captured their attention: this building was completed in 1930 and has also since been
converted to residential occupation.[1]
The art deco style was chosen. However, the building is embellished with features in other styles (such as neo-classicist in the case of the banking hall) intended to reinforce the long- standing and traditional values of the Old Mutual business.
Completion
The building was completed in 1939 and opened
early in 1940 with a great fanfare. The local paper provided a 16 page supplement,[4] and South African architects and dignitaries enthused about it. In his definitive examination of the design of the building, Federico Freschi summarises the status of the building thus:
"Ultimately, the consensus suggests that the Old Mutual Building is at once a worthy monument to modern design principles and the consolidation of an important corporate and public image."[1]
The building is listed elsewhere as a notable building,[5] and it is regarded as an important example of the social values of the time and of the economic state of the nation, but all as seen from a European or
"colonial" perspective, as explained by Freschi.[1]
Vacating and conversion
Within 20 years (in the late 1950s) the Old Mutual began to vacate the building, moving in stages to new offices at Mutual Park in Pinelands, Cape Town. By the 1990s, only assorted tenants remained, the last of
which departed in May 2003.[3]
At this time, conversion to residential occupation began under the direction of Robert Silke at Louis Karol
Architects.[6] The name of the building was changed by the developers to Mutual Heights (www.mutualheights.net), a decision that did not find favour with all owners and residents involved in
the new community.[7] Despite scepticism about the name, it is generally agreed that the conversion was the first in a series of projects that re-invigorated the central business district of Cape Town. The conversion has
been the subject of a number of architecture and design awards.[8]
In February 2012, the large "Old Mutual" sign on the east side of the building was removed, leaving little external evidence of the commercial origins of the building; in 2015 Old Mutual Properties finally disposed of the remaining portions of the interior that had not been sold previously, including the banking hall, the directors suite and the fresco room.
Structure of the building
The building is constructed using reinforced concrete, filled in internally with bricks and plaster, and clad on the outside with granite. At first sight, the building is a striking example of the Art Deco style and many of its features epitomize this genre - however, some interior features deviate from true Art Deco and probably reflect the desire of the company to demonstrate solidity and traditional values at the same time as
contemporaneous, forward-looking values.[1]
It is 276 feet (85 metres) high, as measured from the ground floor to the top of the tower,[3] but the building is often listed as being more than 90 metres high (even as high as 96.8 metres on the Old Mutual web
site[2]); this probably takes account of the "spire" at the top.
Having only 10 levels ("storeys") above ground level in the main part of this tall building (excluding the three levels of basement car parking, and the additional levels in the tower), it is evident that the spacing between floors is generous — generally each floor is about 5 metres above (or below) the next. In one of the meeting rooms on the eighth level (the Assembly Hall - see below), the curtains alone are more than six metres long. This generous spacing between floors was intended to achieve the greatest possible overall height for the building without exceeding the city planning limitation of 10 storeys, and it was allowed only
in view of the "set back" design of the exterior structure.[1]
Design elements
The original design of the building is attributed to Louw & Louw (Cape Town architects), working with Fred Glennie (best known at the time as a mentor to architectural students) – Mr Glennie is personally
credited with most of the detailed work[9] but Ivan Mitford-Barberton[10] was also involved with some
internal details as well as with the external granite decorations.
It is pleasing that the principal areas of the building have been so little changed over the years, especially the entrance, the banking hall, the assembly room, the directors' room, the atrium, and the windows. Even the original door handles (including the Old Mutual "logo") and the original banisters (on the staircases) are all still intact, and the atrium is largely unchanged although it is now protected from the weather by a translucent roof.
The original light fittings in the "public" areas are largely still intact, and in most parts of the building there are beautiful block-wood (parquet) floors.
Here is a selection of interior design details that exemplify the quality and attention to detail that was applied to this project by the architects, artists and designers.
Marble from the columns in the banking hall
As you use the stairs, you are reminded which storey you are on
Bulkhead lights on the 9th level
White-veined Onyx from the entrance hall
Hardwood block floors are still in place in many parts of the building
An original door handle (of which many remain)
The entrance hall has a gold leaf ceiling
Detail of a banister on one of the stairs
Original fire doors, with distinctive handles
Detail of the rail at the gallery of the Assembly Room
Some interior design details
The paragraphs below now visit each of the significant areas and features of the building in turn.
An original light fitting
The light fittings in the Assembly Room
The entrance lobby
Features of the building
The building incorporates a range of significant features.
The Entrance Hall
Black, gold-veined onyx is used in the Darling Street foyer, the ceiling of which is over 15 metres high and finished with gold leaf, laid by Italian workmen. The view of the glass window over the door to the banking hall (above) shows the iconic ziggurat shape of the building etched into the glass. Visitors must climb 17 steps to gain access to the banking hall, and towards the top they are met by the original "pill box" where security staff can observe who (and what) is entering and leaving the building. On either side of the pill box are the entrances to the main lifts – two on the left and two on the right (there are two "staff" lifts and one "service" lift elsewhere in the building).
Characteristic stainless steel trim and light fittings, such as can be seen here, are used extensively throughout the building.
The Banking Hall
Given its tall marble-clad colonnades, the magnificent banking hall would be more properly described as an example of "neo-classicism" although the light fittings echo the art deco theme that prevails elsewhere in the building, and again we see that the glass over the doors (at the far end in the photograph below) are etched with the iconic ziggurat form that is taken by the whole building.
The two service counters that can be seen in the banking hall look identical, but only the one on the right is original—the one on the left is a later, somewhat inferior, copy.
The banking hall
Between the columns of the banking hall the coats of arms are presented for each of the many provinces and countries within Southern Africa in which the South African Mutual Life Assurance Society had a presence.
The crests that appear between the columns in the banking hall
Northern Rhodesia Cape Colony Durban Rhodesia
Natal Petermaritzburg Port Elizabeth Orange Free State
Johannesburg Pretoria Kenya Colony Bloemfontein
Cape Town Union of South Africa Potchefstroom Windhoek The banking hall is now owned privately and is available for hire as an events venue.
The lifts (elevators)
The main lifts in the building are fast ("the fastest in Africa" it was claimed when the building opened) and no expense was spared – even in the basement parking area, the lifts are trimmed with black marble. Each door has an etched representation of an indigenous bird or animal from South Africa, with significant plants as additional decoration, or in some cases the corporate logo of the time.
There are seven lifts in the building, four of them "principal" lifts (as here)
The individual etchings in detail (click on the images to see the full-size version):
Springbok (Antidorcas marsupialis), with a king protea (Protea cynaroides), the national flower
Kudu (Tragelaphus), with veltheimia (Veltheimia bracteata) at the lower right
Giraffe, with a succulent (Crassula)
Zebra (Equus quagga), with a prickly pear (Opuntia ficus-indica)
The individual etchings on the lift doors
Ostrich (Struthio camelus australus), with prickly pear (lower left) and "century plant" (Agave americana)
Leopard (Panthera pardus pardus), with spekboom (Portulacaria afra) at the lower right and candelabra lily (Brunsvigia josephinae) at the lower left
Crane (Balearica regulorm) with reeds behind (Phragmites australis)
Lion, with lion's tail (or wild dagga - Leonotis leonuris) at lower left, violet painted petals (Freesia laxa) lower right and coral tree (Erythrina lysistemon) at the top
Secretary bird (Sagittarius serpentarius), with unidentifiable tree
The corporate "logo" (three entwined anchors), with Strelitzia reginae (bottom right), Disa uniflora (bottom left) and proteas (Protea repens) at the top
Vulture
These designs are attributed to Ivan Mitford-Barberton.
The Assembly Room
Perhaps the best known feature of the building (in artistic circles at least) is the Assembly Room, sometimes referred to as the "Fresco Room"; Freschi indicates that this was originally intended as a facility for policy
holders.[1] Here there are striking frescoes depicting some of the history of the nation of South Africa,
undertaken by Le Roux Smith Le Roux two years after the completion of the building.
Le Roux was supported in his early career by the famous British architect Herbert Baker, who provided bursaries so that Le Roux could spend time in
London and elsewhere. In London he
undertook a mural in South Africa House with
Eleanor Esmonde-White. An acquaintance (still living) of Le Roux and Esmonde-White recalls that Baker insisted that Eleanor Esmonde-White be awarded a bursary, despite gender-related objections from elsewhere; in the event she got to go to London with Le Roux, with the bursary. Following their years in London, Le Roux was awarded this commission to work on the Mutual Building and he therefore returned to Cape Town, but only after the main building work was done - it was not sensible to undertake this meticulous work while building operations were still in progress.
These frescoes are considered elsewhere as good examples of the genre—see for example
"Decopix - the Art Deco Architecture Site"[11] where the Mutual Building itself is well
represented.[12] The five frescoes on the end
walls and over the entrance depict more than
100 years of the history of the nation,
including industrial development, the Great
Trek, mining following the discovery of gold,
the growth of industry and agriculture, and a
hint of international travel and trade. Freschi considers that ".. in contemporary terms, Le Roux's work was seen to be distinctly progressive and very much in keeping with the ostensibly liberal party line of Jan
Smuts' coalition government".[1]
The panels are reproduced below, and selected portions from them are provided in the images that follow.
The five panels are presented left to right, in a clockwise direction when standing in the Assembly Room, back to the windows. The first and fifth are on the side walls, the second, third and fourth are on the long wall that includes the main entrance.
The fresco panels in the Assembly Room
The Assembly Room
Engineering water, The Great Trek building industry and
railroads
Trade and international travel
The discovery of gold
Railroads in service, productive farms
The fifth image includes a representation of the Mutual Building itself, the tallest building in what is known as the "City Bowl", below the slopes of Table Mountain. This did not remain true for long, it was only one year later that the General Post Office was built on the other (seaward side) of Darling Street, and a large number of larger more modern buildings have been built since (see the views from and of the building, shown further down this page).
Some details from the panels:
Some selected portions of the fresco panels in the Assembly Room
Mixing concrete, Wind-powered water working with the plans pumps provide
irrigation
The Great Trek - ladies Farm produce at last - a in their bonnets, men on smile on his face
horses
The Directors' Board Room
A detail - laying railway The image of the track Mutual Building under
Table Mountain
The Directors' Rooms
On the fourth level, at the front of the building, is the Directors' Board Room. As well as the board room there are two side rooms, one of which was a sitting room for Directors.
In the board room there is a continuous carved stinkwood frieze above the dado rail that incorporates animal and floral motifs (14 different species of birds and animals are represented). Ivan Mitford-Barberton is credited with this carving and it is probably the last work that he did in the building. Above the carved frieze is a mural designed and executed by Joyce Ord-Brown using stain on pale sycamore panelling. It represents
Cape Town as the "Tavern of the Seas" in a light hearted way.[1]
The selections below show some portions of the mural and the frieze, followed by some other details of the directors' rooms. The sea plane (second picture) is probably a Martin M-130, which is not recorded as having serviced South Africa (it worked the pacific routes). This is probably "artistic licence" on the part of Ord-Browne.
Portions of the Joyce Ord-Browne decorations
The Southern hemisphere, with route from Cape Town to London
Blue cranes flying
A sea plane
A portion of the Northern hemisphere, with King Neptune
Penguins and whales
A mermaid
Portions of the Mitford-Barberton stinkwood frieze
Some features of the directors' board room and sitting room
Entrance to the board room (see note below)
Easy chairs in the sitting room - unused in a long time
Marble at the door to the board room
Another original light fitting in the sitting room
Directors had their own storage drawers in the board room
An original light fitting in the board room that (seemingly) doubles as a ventilation device
It is of note that the etched ziggurat icon on the glass over the entrance to the board room (see the enlarged version of the first image above) is not the same as that which is used elsewhere.
The Directors' suite has great heritage value but in 2015 it was re-finished as a private apartment.
The atrium
The atrium extends from the roof of the banking hall to the very top of the main building. It was originally open to the weather, but it is now protected by a translucent roof, through which the tower can be seen extending even higher.
The circular windows visible here are incorporated into the apartments that now occupy the front of the building.
The windows
On entering the residential area of the building, one is struck by this extraordinary "top to bottom" atrium
The windows compared
The rising nature of the ziggurat mass of the exterior of the building is reinforced by the prismoid (triangular) windows, which extend up and down the height of the building. These windows are of note because they set the Mutual Building apart from some of the buildings that inspired it, for example the Eastern Columbia Building in Los Angeles. They are also functional, because they allow light to enter the building more effectively than would otherwise be the case (using the reflective properties of the inside face of the glass), and by opening and closing blinds on the one side or the other it is possible on sunny days to manage the heat entering the building as the sun traverses the sky.
Water-cooled air conditioning was another innovative feature of the original building, that avoided the need for extensive natural ventilation and allowed more freedom for the design of the windows and granite spaces between; the same water-cooled air conditioning design is in use today.
As Freschi notes in his paper, the prismoid windows make for much more visual interest than the conventional windows in the General Post Office building. Here the image juxtaposes the Mutual building (foreground) with the General Post Office built the following year (behind).
Granite cladding
The granite cladding of the building was hewn from a single boulder on the Paarl Mountain, north east of the
city of Cape Town.[1] The cladding incorporates decorative baboon, elephant and tribal heads that project from the upper facades of the Darling Street elevation (the front of the building).
The granite decorations
The decorations Elephant (6th level) Baboon (8th level) Tribal head (tower)
Tower with tribal head
The Tribal Figures
On the Parliament Street facade there are carved granite figures representing nine ethnic African groups (not just South African) labelled thus: "Xosa", "Pedi", "Maasai", "Matabele", "Basuto", "Barotse", "Kikuyu", "Zulu", and "Bushman". Note that the identification of the tribes does not necessarily follow current practice.
The nine tribal figures looking over Parliament Street.
The individual figures in detail (remember you can click on the images to see the full-size version):
The individual tribal figures
"Xosa" "Pedi" "Masai" "Matabele"
"Basuto" "Barotse" "Kikuyu" "Zulu"
"Bushman"
Recently Sanford S. Shaman has written a critique of these figures, and other features of the building [13] partly based on interviews with pedestrians walking around the building.
The frieze
Around the three sides of the building facing Darling Street, Parliament Street and Longmarket Street there is a 386 feet (118 metre) frieze depicting scenes from the colonial history of South Africa, reported at its
completion to be the longest such frieze in the world.[4]
A portion of the 386 feet frieze that traverses three sides of the building, showing the 1820 settlers landing
It is of interest that, at the time, it was proclaimed that the building was built by South Africans, using South African materials; while the frieze was itself designed by South African, Ivan Mitford Barberton (born in Somerset East, Eastern Cape, in 1896), the work was executed by a team of Italian immigrants led by Adolfo Lorenzi. It has recently come to light that, in the course of the work, Lorenzi's team of masons were incarcerated when the Second World War broke out in 1939, being Italian and therefore regarded as "the
enemy" at that time. They were obliged to finish their work under an armed guard.[14]
A composite view of the frieze can be seen at the right; unfortunately in this version some portions are missing or obscured by trees in leaf.
The sections of the frieze are as follows:
The landing of Jan van Riebeeck
The arrival of the 1820 Settlers
The "Post Office Stone"
The building of the Castle of Good Hope
The emancipation of the slaves
Negotiations with Chaka (also known as "King Shaka)" The Great Trek
The dream of Nongqawuse (other spellings are sometimes used) Discovery of diamonds at Kimberley
Erection of a cross by Bartholomew Dias
Rhodes negotiating with the Matabele
David Livingstone preaching, healing and freeing slaves The opening up of Tanganyika Territory
The defence of Fort Jesus depicting Arab inhabitants
A second version of this collage of the complete frieze can be found elsewhere[15]
A composite showing almost all of the frieze in its 15 sections – some portions are missing in this version – click to see a readable version and then choose the "Full resolution" option under the image (but be patient, this is a large file – 1Mb)
Seen from Darling Street, the Mutual Building today stands proud as the day it was built.
Views of (and from) the building
The busy city works around the building. The Mutual Building can claim that its restoration and conversion to residential use brought new life to the city centre, and started a five year programme of re- invigoration and rapid improvement. The large green "Old Mutual" sign and logo were removed from the building in February 2012.
The skyline of the city of Cape Town has changed significantly since the Mutual Building was constructed. Even from its highest point of easy access, the Mutual Building View is now dwarfed by the more modern buildings in the Cape Town central business district.
In the modern skyline the Mutual Building is lost in a maze of tall buildings. Here the sea mist swirls around the central business district and the small coloured arrow picks out the Mutual Building, at the left. This photograph is taken from District Six, on the slopes of Devil's peak to the east of Table Mountain. Click to see the full size version of this photograph, when the outline of the building can be more easily discerned.
The view of the harbour from the middle levels of the Mutual Building in Darling Street in Cape Town, once uninterrupted, is now obscured by the General Post Office constructed shortly afterwards (seen here at the extreme left).
Table Mountain and its "table cloth" seen from the upper levels of the building.
Looking in the other direction, the City Hall, the Grand Parade and the Castle can all be seen clearly. In the distance are the Hottentots Holland Mountains.
References
The learned article by Federico Freschi is particularly recommended to all who are interested in this building and its context.
1. Freschi, F (1994). "Big Business Beautility: The Old Mutual Building, Cape Town, South Africa". Journal of Decorative and Propaganda Arts, Vol 20, pp.39-57
2. "Old Mutual - Our heritage". Old Mutual Web Site. Retrieved 27 December 2010.
3. CSD, (2003). "Mutual Heights Heritage Impact Assessment Report", CS Design Architects and Heritage
Consultants, Cape Town, South Africa (August)
4. Cape Times (1940). "Old Mutual in New Home", The Cape Times (special supplement) (30 January)
5. "Mutual Heights". Emporis - The world's building website. Retrieved 27 December 2010.
6. "Cocktails over the Grand Parade". Cape Times online. 25 July 2003. Retrieved 27 December 2010.
7. Minutes of the Annual General Meeting of the Body Corporate, Mutual Heights, 2008
8. "Louis Karol awards". Louis Karol web site. Retrieved 27 December 2010.
9. "SA Mutual Life Assr Soc (Old Mutual)". Artefacts web site. Retrieved 27 December 2010.
10. "Ivan Mitford-Barberton". Biographical web site by Margaret C Manning. Retrieved 27 December 2010.
11. "Decopix - the Art Deco Architecture Web site". Randy Juster's Art Deco web site. Retrieved 27 December 2010.
12. "The Mutual Building featured on Randy Juster's art deco web site". Randy Juster's Art Deco web site. Retrieved
27 December 2010.
13. "Art South Africa web site". "The Heights of Contradiction" by Sanford S. Shaman. Retrieved 3 March 2011.
14. Correspondence by email, Giovanni Adolfo Camerada to Andy Bytheway, 2008
15. "The Mutual Building Frieze". Web site of the Mutual Heights community.
Other external links
Website for the Mutual Heights Community (www.mutualheights.net)
Louis Karol Architects website (www.louiskarol.com/index.html)
Randy Juster's art deco web site (www.decopix.com)
David Thompson's art deco buildings web site (artdecobuildings.blogspot.com/) City of Cape Town web site (www.capetown.gov.za)
Stewart Harris' flikr photographs include some images of Fred Glennie and Le Roux Smith Le Roux at work on the building, and other interesting images of the building (www.flickr.com/groups/1615104@N21/)
Confirmation of the Bloemfontein crest that defied identification for several years (www.ngw.nl/heraldrywiki/index.php?title=Bloemfontein)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Mutual_Building&oldid=700901155" Categories: Art Deco skyscrapers Buildings and structures in Cape Town Skyscrapers in Cape Town
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Rainbow Mountain hike 2 Days is new route which includes a part of the Ausangate route, it is an adventure that will take your breath away constantly. With a combination of wild mountain landscapes, glaciated peaks, rushing rivers and challenging mountain passes, everything seeming untouched and undiscovered.- PRIVATE TRANSPORT:• $225 p/p (Mínimo 2 pax)• $200 p/p (Mínimo 3 pax)• $180 p/p (Mínimo 4 pax)• $150 p/p (Mínimo 5 pax)- SHARED TRANSPORTATION:• $160 p/p (Mínimo 2 pax)• $130 p/p (Mínimo 3 pax)• $110 p/p (Mínimo 4 pax)• $80 p/p (Mínimo 5 pax)
DAY 1: CUSCO - CHECACUPE - QUESIUNO - AUSANGATE LAGOONPICK-UP TIMES IN LODGINGS:• Private Transportation: 06:00 A.M.• Shared Transportation: 03:00 A.M - 4:00 A.M.Our adventure begins around 03:00 AM to 6:00 AM (Depending on the service you have hired), picking it up at your respective lodging and then heading to the picturesque town of "Checacupe" where you will receive a nutritious and energizing breakfast (08:00 AM-09: 00 AM approx.); later we will visit two very important places within the history and culture of "Checacupe", one of them is the "COLONIAL BRIDGE OF CHECACUPE", built in the XVII century, its structure is lime and singing, it makes the shape of a semicircular arch , mounted on its solid walls of natural rocks. The bridge is located on the river Ausangate or Pitumayu; adjacent to the bridge you can see the foundations of an Inca bridge, and another one of rails from the time of the republic. This bridge fulfilled its function for many years giving way to the first coal engines that arrived from Arequipa to Cusco; Then we will go to the "CHECACUPE TEMPLE", its construction dates from the sixteenth century, until the early eighteenth century. Its adobe walls were decorated internally with almost entirely murals which have themes such as the face of the Immaculate Virgin considered as the oldest painting in Cusco.After visiting these two important buildings of the town, we will go to the town of "QUESIUNO", town that is in the midst of multicolored landscapes, mountains, snow and Andean animals such as llamas and alpacas, to start our journey to the lagoons that are around the majestic "APU AUSANGATE" (10:00 to 10:30 AM approx.), after about seven kilometers of walk from the town of quesiuno, we will visit our first lagoon where we will be around an hour to enjoy the landscape, the majesty of the mountains and our delicious lunch prepared by our chef. At the end of our meal, we will walk approximately four kilometers more, enjoying the landscape, lagoons, colors and surroundings to reach our base camp, where we will have free time, we will have dinner and spend the night, to rest and recover energy for the next day .DAY 2: AUSANGATE LAGOON - RAINBOW MOUNTAIN - QUESIUNO - CUSCOVery early in the morning (05:00 AM) we will get up and prepare for our nutritious breakfast (06:00 AM) and begin our adventure towards the wonderful "MONTAÑA DE COLORES", step of 5,029 meters above sea level, where you can see beautiful landscapes , lagoons where South American camelids (alpacas, llamas and vicuñas) and other species of mammals such as pumas, Andean birds, condor etc. The place Called Montaña VININCUNCA, it is from where you can observe the wonderful colorado hill with the sunrise shows its best impressive valley and colored hills of magical colors that only exists in this place of Peru. Around you can see mountains like Apu Sarinini and "Montaña Ausangate", with a height of 6,372 m.s.n.m. being one of the highest in Cusco. In the Inca mythology of this mountain and the nearby lakes - among which Sivinacocha stands out, from where the masculine energy that fertilizes the sacred earth mother Pachamama is born. We will be visiting the Mountain of Colors approximately 30 minutes, in which our guide will give us a small explanation of their surroundings and take some pictures of this wonderful landscape. After this wonderful experience, we will begin our descent (2 hrs and 30 min approximately) to the town of quesiuno, observing the wonderful landscape it offers us and the small towns that are there and live in this wonderful valley, upon arrival we will receive our exquisite lunch buffet, which consists of typical Peruvian food, then pack and return to Cusco around 19:00 hrs. approximately.
The Dallas Arts District's "Spotlight Sunday" on October 18
Festivities to celebrate the opening of the new AT&T Performing Arts Center include a day of free admission and extended hours. Enjoy performances in the exhibition All the World’s a Stage, tours family experiences, and much more.
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The Dallas Arts District
2200 Ross Ave
Dallas, TX 75201
(214) 744-6642
The Dallas Arts District is a unique, 68-acre, 19-block neighborhood in the heart of the city. A rare jewel that is the centerpiece of the region’s cultural life, the District is home to some of the finest architecture in the world. Enhancing the downtown Dallas skyline are buildings by Pritzker Prize winners I.M. Pei, Renzo Piano, Norman Foster, Rem Koolhaas and AIA “Gold Medal” recipient Edward Larrabee Barnes.
Our neighborhood is a center for innovative architecture, world-class exhibits, exemplary cultural programming and much more. We are restaurants, hotels, churches, residences and even the world headquarters of 7-Eleven.
This website is designed to help you explore the many facets of the district. And whether you are coming from around the corner or from around the world, we hope you will find your trip enjoyable and your experience unparalleled.
We look forward to sharing with you the works of art, the performances, the cuisine and the vibrancy of the Dallas Arts District.
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Dallas Museum of Art
The Dallas Museum of Art ranks among leading art institutions in the country and is distinguished by its innovative exhibitions and groundbreaking educational programs.
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Nasher Sculpture Center
The Nasher Sculpture Center opened in 2003 as the first institution in the world dedicated exclusively to the exhibition of modern and contemporary sculpture with a collection of global significance at its foundation.
www.nashersculpturecenter.org/
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Trammell Crow Center and Crow Collection of Asian Art
The Trammell and Margaret Crow Collection of Asian Art is nestled like a small jewel in Dallas’ Arts District, offering visitors a glimpse of a world possessing serene beauty and spirituality in the heart of a bustling city.
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Belo Mansion
The current home of the Dallas Bar Association, the Belo Mansion was built c. 1890 by Coleonel A. H. Belo, founder of the Dallas Morning News.
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Cathedral Shrine of the Virgin of Guadalupe
The city’s oldest Catholic parish, this High Victorian Gothic cathedral is the second busiest Catholic cathedral in the nation.
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Morton H. Meyerson Symphony Center
Since its grand opening celebration, the legendary rich sound of the Meyerson’s Eugene McDermott Concert Hall has made it a premier destination for the world’s finest soloists and conductors.
www.dallasculture.org/meyersonSymphonyCenter/
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AT&T Performing Arts Center Margot and Bill Winspear Opera House
With transparent, soaring 60-foot glass walls revealing views of the Grand Lobby and a café open throughout the day, the Winspear Opera House is a destination for all.
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AT&T Performing Arts Center Dee and Charles Wyly Theatre
The world’s only vertical theatre, the innovative design of the Wyly Theatre creates ultimate performance flexibility.
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Booker T. Washington High School for the Visual and Performing Arts
The school’s dual emphasis on arts and academics has produced a stellar list of famous graduates including Grammy Award®-winners Norah Jones, Erykah Badu and jazz trumpeter Roy Hargrove.
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St. Paul United Methodist Church
St. Paul United Methodist Church was founded in 1873 by freed slaves from Mississippi, Louisiana and Texas.
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One Arts Plaza
One Arts Plaza is a multiuse structure comprised of residences, corporate offices and retail, the first of three buildings on over 10 acres at the eastern edge of the Dallas Arts District.
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Dallas Black Dance Theatre
Dallas Black Dance Theatre is the city’s oldest continuously operating dance company.
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AT&T Performing Arts Center Elaine D. and Charles A. Sammons Park
Weaving together the Winspear Opera House, Wyly Theatre, Strauss Square and City Performance Hall, the ten-acre park stretches from Woodall Rodgers Freeway to Ross Avenue, and is the first public park in the Dallas Arts District.
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Il Sogno Di Cthulhu (The Dream of Cthulhu)
I Miti di Cthulhu [9] (The Myths of Cthulhu [9])
Cover by Boris Vallejo
Fanucci Editore, Roma (Rome)
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Includes La Ragazza di Samarcanda (The Girl from Samarcand) by E. Hoffmann Price
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The Dallas Arts District's "Spotlight Sunday" on October 18
Festivities to celebrate the opening of the new AT&T Performing Arts Center include a day of free admission and extended hours. Enjoy performances in the exhibition All the World’s a Stage, tours family experiences, and much more.
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The Dallas Arts District
2200 Ross Ave
Dallas, TX 75201
(214) 744-6642
The Dallas Arts District is a unique, 68-acre, 19-block neighborhood in the heart of the city. A rare jewel that is the centerpiece of the region’s cultural life, the District is home to some of the finest architecture in the world. Enhancing the downtown Dallas skyline are buildings by Pritzker Prize winners I.M. Pei, Renzo Piano, Norman Foster, Rem Koolhaas and AIA “Gold Medal” recipient Edward Larrabee Barnes.
Our neighborhood is a center for innovative architecture, world-class exhibits, exemplary cultural programming and much more. We are restaurants, hotels, churches, residences and even the world headquarters of 7-Eleven.
This website is designed to help you explore the many facets of the district. And whether you are coming from around the corner or from around the world, we hope you will find your trip enjoyable and your experience unparalleled.
We look forward to sharing with you the works of art, the performances, the cuisine and the vibrancy of the Dallas Arts District.
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Dallas Museum of Art
The Dallas Museum of Art ranks among leading art institutions in the country and is distinguished by its innovative exhibitions and groundbreaking educational programs.
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Nasher Sculpture Center
The Nasher Sculpture Center opened in 2003 as the first institution in the world dedicated exclusively to the exhibition of modern and contemporary sculpture with a collection of global significance at its foundation.
www.nashersculpturecenter.org/
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Trammell Crow Center and Crow Collection of Asian Art
The Trammell and Margaret Crow Collection of Asian Art is nestled like a small jewel in Dallas’ Arts District, offering visitors a glimpse of a world possessing serene beauty and spirituality in the heart of a bustling city.
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Belo Mansion
The current home of the Dallas Bar Association, the Belo Mansion was built c. 1890 by Coleonel A. H. Belo, founder of the Dallas Morning News.
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Cathedral Shrine of the Virgin of Guadalupe
The city’s oldest Catholic parish, this High Victorian Gothic cathedral is the second busiest Catholic cathedral in the nation.
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Morton H. Meyerson Symphony Center
Since its grand opening celebration, the legendary rich sound of the Meyerson’s Eugene McDermott Concert Hall has made it a premier destination for the world’s finest soloists and conductors.
www.dallasculture.org/meyersonSymphonyCenter/
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AT&T Performing Arts Center Margot and Bill Winspear Opera House
With transparent, soaring 60-foot glass walls revealing views of the Grand Lobby and a café open throughout the day, the Winspear Opera House is a destination for all.
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AT&T Performing Arts Center Dee and Charles Wyly Theatre
The world’s only vertical theatre, the innovative design of the Wyly Theatre creates ultimate performance flexibility.
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Booker T. Washington High School for the Visual and Performing Arts
The school’s dual emphasis on arts and academics has produced a stellar list of famous graduates including Grammy Award®-winners Norah Jones, Erykah Badu and jazz trumpeter Roy Hargrove.
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St. Paul United Methodist Church
St. Paul United Methodist Church was founded in 1873 by freed slaves from Mississippi, Louisiana and Texas.
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One Arts Plaza
One Arts Plaza is a multiuse structure comprised of residences, corporate offices and retail, the first of three buildings on over 10 acres at the eastern edge of the Dallas Arts District.
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Dallas Black Dance Theatre
Dallas Black Dance Theatre is the city’s oldest continuously operating dance company.
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AT&T Performing Arts Center Elaine D. and Charles A. Sammons Park
Weaving together the Winspear Opera House, Wyly Theatre, Strauss Square and City Performance Hall, the ten-acre park stretches from Woodall Rodgers Freeway to Ross Avenue, and is the first public park in the Dallas Arts District.
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Inside the AT&T Performing Arts Center Dee and Charles Wyly Theatre
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
Jon Magnuson, Executive Director of the nonprofit Cedar Tree Institute in Marquette, Michigan
906-2285494
magnusonx2@charter.net
EarthKeepers II (EK II) Project Coordinator Kyra Fillmore Ziomkowski explains creating 30 interfaith community gardens (2013-2014) across the Upper Peninsula of Michigan that include vegetables and native species plants that encourage and help pollinators like bees and butterflies.
The video was shot on April 5, 2013 at the Big Bay Point Lighthouse Bed and Breakfast in Big Bay, MI during a meeting of EK II representatives.
An Interfaith Energy Conservation and Community Garden Initiative Across the Upper Peninsula of Michigan to Restore Native Plants and Protect the Great Lakes from Toxins like Airborne Mercury in cooperation with the EPA Great Lakes Restoration Initiative, U.S. Forest Service, 10 faith traditions and Native American tribes such as Keweenaw Bay Indian Community
10 faiths: Roman Catholic" "Episcopal" "Jewish" "Lutheran" "Presbyterian" "United Methodist" "Bahá'í" "Unitarian Universalist" "American Friends" "Quaker" "Zen Buddhist" "
EK II website
Nonprofit Cedar Tree Institute
Marquette, MI
Great Lakes Restoration Initiative
Deborah Lamberty
Program Analyst
U.S. Environmental Protection Agency
Great Lakes National Program Office
Chicago, IL
Lamberty.Deborah@epa.gov
312-886-6681
Pastor Albert Valentine II
Manistique, MI
Manistique Presbyterian Church of the Redeemer
Gould City Community Presbyterian Church
Presbytery of Mackinac
Rev. Christine Bergquist
Bark River United Methodist Church
First UMC of Hermansville
United Methodist Church Marquette District
Rev. Elisabeth Zant
Eden Evangelical Lutheran Church
Munising, MI
Evangelical Lutheran Church in America (ELCA) Northern Great Lakes Synod
Heidi Gould
Marquette, MI
Marquette Unitarian Universalist Congregation
Rev. Pete Andersen
Marquette, MI
ELCA
Helen Grossman
Temple Beth Sholom
Jewish Synagogue
Rev. Stephen Gauger
Calvary Lutheran Church
Rapid River, MI
ELCA
Jan Schultz, Botanist
U.S. Forest Service (USFS)
Eastern Region 9
EK II Technical Advisor for Community Gardens
Milwaukee, WI
USFS
www.fs.fed.us/wildflowers/nativegardening
Pollinator photos by Nancy Parker Hill
Rev. David Van Kley, Senior Pastor
Rev. Amanda Kossow, Associate Pastor
Messiah Lutheran Church
Evangelical Lutheran Church in America
Marquette, Michigan
Rev. David Van Kley, Senior Pastor
Rev. Amanda Kossow, Associate Pastor
NMU EK II Student Team
Katelin Bingner
Tom Merkel
Adam Magnuson
EK II social sites
www.youtube.com/EarthKeepersII
www.facebook.com/EarthKeepersII
www.twitter.com/EarthKeeperTeam
pinterest.com/EarthKeepersII/Great-Lakes-Restoration-Init...
pinterest.com/EarthKeepersII/EarthKeepers-II-and-the-EPA-...
Lake Superior Zendo
Zen Buddhist Temple
Marquette, Michigan
Rev. Tesshin Paul Lehmberg
906 226-6407
plehmber@nmu.edu
Dr. Michael Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI
Helen Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI
906-475-4009 (hm)
906-475-4127 (wk)
www.templebethsholom-ishpeming.org
www.templebethsholom-ishpeming.org/tikkun
www.templebethsholom-ishpeming.org/aboutus
Wild Rice: 8 videos
www.learningfromtheearth.org/video-interviews/wild-rice-m...
Birch – 2 videos
www.learningfromtheearth.org/video-interviews/paper-birch...
Photos (click on each name or topic to see the respective photo galleries):
www.learningfromtheearth.org/photo-gallery
www.picasaweb.google.com/Yoopernewsman/JonReport?authuser...
www.picasaweb.google.com/100329402090002004302/JonReport?...
“Albert Einstein speculated once that if bees disappeared off the surface of the earth, then humans would have only four years of life left.”
the late Todd Warner, KBIC Natural Resource Director
Links:
Zaagkii Wings and Seeds Project website:
Cedar Tree Institute: Zaagkii Project
www.cedartreeinstitute.org/2010/07/wings-seeds-zaagkii-pr...
www.cedartreeinstitute.org/2009/01/wings-seeds-the-zaagki...
Zaagkii Project Videos on youtube (also uploaded to dozens of internet sites):
KBIC Pollinator Preservation
www.indiancountrytodaymedianetwork.com/ictarchives/2008/0...
Zaagkii Project Indigenous Plants Help Give New Face to Sand Point on Keweenaw Bay www.indiancountrytodaymedianetwork.com/ictarchives/2008/0...
Zaagkii Project 2010: U.S. Forest Service & Keweenaw Bay Indian Community Native Plants Greenhouse
www.youtube.com/watch?v=Hoq5xXHDF4E
United States Forest Service sponsored Zaagkii Project featured on Pollinator Live
www.youtube.com/watch?v=8P3DPfxx7Jw
2009 Zaagkii Project Vid #9: Teens Painting Mason Bee Houses in Northern Michigan
www.youtube.com/watch?v=QIIV6jrlT20
2009 Zaagkii Project Vid #8: Marquette, Michigan Teens Build Mason Bee Houses
www.youtube.com/watch?v=c3MBfV7ION8
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service
www.youtube.com/watch?v=hGQScEI9x7Q
2009 Zaagkii Project Vid #6: "The Butterfly Lady" Susan Payant teaches teens about Monarchs
www.youtube.com/watch?v=JlIgsuTFSuM
2009 Zaagkii Project Vid #5: Terracotta half-life, Marquette, MI band supports environment projects
www.youtube.com/watch?v=JqlFCHwW30o
2009 Zaagkii Video #4: Michigan teens meet 150,000 swarming honeybees with beekeeper Jim Hayward
www.youtube.com/watch?v=U2B4MEzM7w4
2009 Zaagkii Video #3: Michigan teens give away mason bee houses, honor supporters
www.youtube.com/watch?v=dqfWeEgDxTY
2009 Zaagkii Project #2: Historic KBIC native plants greenhouse, USFS protects pollinators
www.youtube.com/watch?v=vg8H5nhvzzc
2009 Zaagkii Project #1: Students make bee houses, plant native species plants
www.youtube.com/watch?v=E8jqJAQyXwE
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service:
www.youtube.com/watch?v=hGQScEI9x7Q
Zaagkii Wings & Seeds Project: Northern Michigan teens, KBIC tribal youth protect pollinators
www.youtube.com/watch?v=VoPJOXHt7pI
Zaagkii Project – Northern Michigan University:
www.webb.nmu.edu/Centers/NativeAmericanStudies/SiteSectio...
Native Village stories: Beautiful Layout by Owner Gina Boltz:
Zaagkii Wings and Seeds Project: A Project by Ojibwe Students from the Keweenah Bay Indian Community
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
NMU Students Join Pollinator Protection Initiative
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
KBIC Tribal youth protect pollinators
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
Teens Help with Sweet Nature Project
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
USFS Success Stories:
Restoring Native Plants on the Enchanted Island
www.fs.fed.us/r9/ssrs/story?id=6274
Keweenaw Bay Indian Community Native Plant Greenhouse & Workshop
www.fs.fed.us/r9/ssrs/story?id=5499
Intertribal Nursery Council Annual Meeting a Success
www.fs.fed.us/r9/ssrs/story?id=6276
New Greenhouse for KBIC Restoration
www.fs.fed.us/r9/ssrs/story?id=5336
Zaagkii Wings & Seeds - An Update
www.fs.fed.us/r9/ssrs/story?id=5076
Zaagkii Wings & Seeds Project
www.fs.fed.us/r9/ssrs/story?id=4025
News Stories:
U.P. teens build butterfly houses, grow 26,000 indigenous plants
www.miningjournal.net/page/content.detail/id/519835.html?...
Effort to protect pollinators launched
www.miningjournal.net/page/content.detail/id/512810.html
Marquette Monthly (Sept. 2009):
www.mmnow.com/mm_archive_folder/09/0909/feature.html
As bees die, Keweena Bay Indian Community adults, teens actively protect pollinators
www.nativetimes.com/index.php?option=com_content&view...
Michigan Teens Build Butterfly Houses and Plant 26,000 Native Plants through the Zaagkii Wings and Seeds Project
www.treehugger.com/culture/michigan-teens-build-butterfly...
Examples of numerous Gather.com articles with lots of photos/videos:
Zaagkii Wings and Seeds Project: Northern Michigan teens and KBIC tribal youth are protecting pollinators by building butterfly houses and planting native plants
www.gather.com/viewArticle.action?articleId=281474977550233
Zaagkii Wings & Seeds Project: Protecting Pollinators
www.gather.com/viewArticle.action?articleId=281474977428640
2009 Zaagkii Project #2: Keweenaw Bay Indian Community in 2010 to build first Native American native species plants greenhouse on tribal property in U.S.
www.gather.com/viewArticle.action?articleId=281474978040745
2009 Zaagkii Project #1: Northern Michigan Teens Protect Pollinators with U.S. Forest Service, Keweenaw Bay Indian Community, NMU Center for Native American Studies: Build mason bee houses, butterfly houses, distribute thousands of native species plants
www.gather.com/viewArticle.action?articleId=281474978040729
Zaagkii Project Internet sites – blogs, photos, videos etc.:
ZaagkiiProject on flickr
www.flickr.com/photos/zaagkiiproject
www.flickr.com/people/zaagkiiproject
Zaagkii on youtube:
Zaagkii on bliptv:
Zaagkii on word press:
www.zaagkiiproject.wordpress.com
Zaagkii on Blogger:
www.zaagkiiproject.blogspot.com
Zaagkii on Photobucket:
www.photobucket.com/ZaagkiiProjectWingsSeeds
www.photobucket.com/ZaagkiiProjectWingsSeeds/?start=all
Zaagkii Wings and Seeds Project website:
Cedar Tree Institute: Zaagkii Project
cedartreeinstitute.org/2010/07/wings-seeds-zaagkii-project
cedartreeinstitute.org/2009/01/wings-seeds-the-zaagkii-pr...
Zaagkii Project Videos on youtube (also uploaded to dozens of internet sites):
KBIC Pollinator Preservation
indiancountrytodaymedianetwork.com/ictarchives/2008/08/15...
Zaagkii Project Indigenous Plants Help Give New Face to Sand Point on Keweenaw Bay indiancountrytodaymedianetwork.com/ictarchives/2008/09/03...
Zaagkii Project 2010: U.S. Forest Service & Keweenaw Bay Indian Community Native Plants Greenhouse
www.youtube.com/watch?v=Hoq5xXHDF4E
United States Forest Service sponsored Zaagkii Project featured on Pollinator Live
www.youtube.com/watch?v=8P3DPfxx7Jw
2009 Zaagkii Project Vid #9: Teens Painting Mason Bee Houses in Northern Michigan
www.youtube.com/watch?v=QIIV6jrlT20
2009 Zaagkii Project Vid #8: Marquette, Michigan Teens Build Mason Bee Houses
www.youtube.com/watch?v=c3MBfV7ION8
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service
www.youtube.com/watch?v=hGQScEI9x7Q
2009 Zaagkii Project Vid #6: "The Butterfly Lady" Susan Payant teaches teens about Monarchs
www.youtube.com/watch?v=JlIgsuTFSuM
2009 Zaagkii Project Vid #5: Terracotta half-life, Marquette, MI band supports environment projects
www.youtube.com/watch?v=JqlFCHwW30o
2009 Zaagkii Video #4: Michigan teens meet 150,000 swarming honeybees with beekeeper Jim Hayward
www.youtube.com/watch?v=U2B4MEzM7w4
2009 Zaagkii Video #3: Michigan teens give away mason bee houses, honor supporters
www.youtube.com/watch?v=dqfWeEgDxTY
2009 Zaagkii Project #2: Historic KBIC native plants greenhouse, USFS protects pollinators
www.youtube.com/watch?v=vg8H5nhvzzc
2009 Zaagkii Project #1: Students make bee houses, plant native species plants
www.youtube.com/watch?v=E8jqJAQyXwE
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service:
www.youtube.com/watch?v=hGQScEI9x7Q
Zaagkii Wings & Seeds Project: Northern Michigan teens, KBIC tribal youth protect pollinators
www.youtube.com/watch?v=VoPJOXHt7pI
Zaagkii Project – Northern Michigan University:
webb.nmu.edu/Centers/NativeAmericanStudies/SiteSections/A...
Native Village stories: Beautiful Layout by Owner Gina Boltz:
Zaagkii Wings and Seeds Project: A Project by Ojibwe Students from the Keweenah Bay Indian Community
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
NMU Students Join Pollinator Protection Initiative
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
KBIC Tribal youth protect pollinators
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
Teens Help with Sweet Nature Project
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
USFS Success Stories:
Restoring Native Plants on the Enchanted Island
www.fs.fed.us/r9/ssrs/story?id=6274
Keweenaw Bay Indian Community Native Plant Greenhouse & Workshop
www.fs.fed.us/r9/ssrs/story?id=5499
Intertribal Nursery Council Annual Meeting a Success
www.fs.fed.us/r9/ssrs/story?id=6276
New Greenhouse for KBIC Restoration
www.fs.fed.us/r9/ssrs/story?id=5336
Zaagkii Wings & Seeds - An Update
www.fs.fed.us/r9/ssrs/story?id=5076
Zaagkii Wings & Seeds Project
www.fs.fed.us/r9/ssrs/story?id=4025
News Stories:
U.P. teens build butterfly houses, grow 26,000 indigenous plants
www.miningjournal.net/page/content.detail/id/519835.html?...
Effort to protect pollinators launched
www.miningjournal.net/page/content.detail/id/512810.html
Marquette Monthly (Sept. 2009):
mmnow.com/mm_archive_folder/09/0909/feature.html
As bees die, Keweena Bay Indian Community adults, teens actively protect pollinators
nativetimes.com/index.php?option=com_content&view=art...
Michigan Teens Build Butterfly Houses and Plant 26,000 Native Plants through the Zaagkii Wings and Seeds Project
www.treehugger.com/culture/michigan-teens-build-butterfly...
Examples of numerous Gather.com articles with lots of photos/videos:
Zaagkii Wings and Seeds Project: Northern Michigan teens and KBIC tribal youth are protecting pollinators by building butterfly houses and planting native plants
www.gather.com/viewArticle.action?articleId=281474977550233
Zaagkii Wings & Seeds Project: Protecting Pollinators
www.gather.com/viewArticle.action?articleId=281474977428640
2009 Zaagkii Project #2: Keweenaw Bay Indian Community in 2010 to build first Native American native species plants greenhouse on tribal property in U.S.
www.gather.com/viewArticle.action?articleId=281474978040745
2009 Zaagkii Project #1: Northern Michigan Teens Protect Pollinators with U.S. Forest Service, Keweenaw Bay Indian Community, NMU Center for Native American Studies: Build mason bee houses, butterfly houses, distribute thousands of native species plants
www.gather.com/viewArticle.action?articleId=281474978040729
Zaagkii Project Internet sites – blogs, photos, videos etc.:
ZaagkiiProject on flickr
www.flickr.com/photos/zaagkiiproject
www.flickr.com/people/zaagkiiproject
Zaagkii on youtube:
Zaagkii on bliptv:
Zaagkii on word press:
Zaagkii on Blogger:
Zaagkii on Photobucket:
Every year Tewkesbury hosts Europe’s largest medieval festival which includes the re-enactment of the battle. We attended on the Saturday in July 2011, with mixed weather but some very fine displays. The battle of Tewkesbury took place on May 4th 1471 between the royal houses of York, The White Rose, and Lancaster, The Red Rose. It started because Henry VI was considered insane and the country was without a strong leader. Edward of York, the most able leader left, was declared King in 1461. He had Henry locked in the tower of London and his wife Margaret of Anjou fled to France with their son also called Edward. When he reached 18 she decided to return to England and re-claim the throne for him. She landed at Weymouth on April 14, 1471, and set off for Wales, where Jasper Tudor awaited with re-enforcements for her army. Gathering supporters as they went, they headed for Gloucester to cross the Severn, only to find the city locked against them, by King Edward's orders. They headed for the next crossing point, Tewkesbury, but found that Edward's army was so close behind they had to stand and fight, rather than cross. Exhausted and outnumbered battle ensued but they were easily defeated, and so many of them were killed trying to get to the river that the field they ran through is still known today as Bloody Meadow. Margaret fled the scene with some of her ladies and was later found in a priory at Little Malvern. Prince Edward was killed either during the battle or just afterwards and he is interned in Tewkesbury Abbey. A brass plaque in the choir marks his last resting place, directly beneath a ceiling boss depicting the Yorkist badge.
This is Cobalt Square and office block in Five Ways.
Office building, residents include Birmingham City Council and The Insolvency Service.
Cobalt Square presents an ideal opportunity to be located in a prime position at the gateway to Birmingham's Central Business District. The building boasts a contemporary design, benefiting from a superb specification ensuring a comfortable working environment for your staff, while impacting on clients and visitors alike. Located on one of the main arterial routes in and out of the city, Cobalt Square offers flexible lease terms and accommodation.
At 83 - 85 Hagley Road.
I probably took this from Francis Road.
According to Pevsner this is Hagley House.
Hagley House by Madins, 1963-5, exposed concrete structure and glass mosaic facing panels.
From Pevsner Architectural Guides: Birmingham by Andy Foster
Location: Brisbane, Queensland.
Notes: Copied and digitised from an image in The Queenslander, 8 July 1911.
Description: The collection includes six architectural drawings for the proposed Salvation Army's People's Palace, Brisbane, 1910; four architectural drawings relating to proposed additions to the People's Palace ranging from 1912 to 1915; and one undated plan showing basement and ground floor details. All plans were drawn by Lieutenant-Colonel Saunders, the Salvation Army's architect and secretary for property affairs.
User comments: I have the beautiful dining room mirror, now sits happily in my hall in the UK. I purchased it in early 80's when the building was being closed up. I love it! Gives me so much joy to think I rescued it, and restored it. (TELL5251)
View the original image at the State Library of Queensland: https://hdl.handle.net/10462/deriv/112985.
Date: 1911.
More Information in our blog: www.slq.qld.gov.au/blog/peoples-palace
Copyright status: Out of copyright.
Conditions of use: You are free to use without permission. Please attribute the State Library of Queensland.
A page from the programme for 'The Yeomen of the Guard'. The page includes adverts for Walter Banks (carpets and linos) of Cooke Street, Keighley, and for John Laycock ("fashionable tailor") of Cavendish Street, Keighley.
The Keighley Amateur Lyric and Dramatic Society staged a production of W. S. Gilbert and Arthur Sullivan's 'The Yeomen of the Guard (or The Merryman and his Maid)' at the Hippodrome theatre in Keighley from 18th to 23rd October 1909.
The story is set in the sixteenth century and revolves around Colonel Fairfax, a condemned prisoner in the Tower of London, and his attempts to secure a wife before his execution for sorcery. He manages to escape the Tower disguised as a Yeoman and much confusion ensues before all is righted by the end.
It starred Arthur Greenwood as Colonel Fairfax, with E. G. Moulding, James Pearson, Willie Boyes, J. R. Hammond, H. Connelly, John Merrall, C. A. Greenwood, J. Greenwood, B. Hardacre, H. V. Wilkinson, Miranda Sugden, Ethel Bird, Miss Lambert and Mrs Heaton. The musical director was W. S. Wilkinson and the stage manager was W. G. Bedford. Scenery was hired from the Northern Theatres Co. Ltd. and was specially painted by F. G. Venimore.
The Keighley Amateur Lyric and Dramatic Society had only formed a year previous (in 1908) and the theatre had only been renamed the Hippodrome earlier that year (in 1909). Prior to that it was known as the Queen’s Theatre, although both names remained on the front of the building, and many programmes and adverts continued to refer to the ‘Hippodrome and Queen’s Theatre’.
In 1876, Abraham Kershaw, a piano player and tuner from Huddersfield, had bought 700 square yards of land in Queen Street. On it he had built a five-storey wooden theatre, designed by architect J. B. Bailey, that opened at Easter 1880. The theatre was not a financial success and the wooden theatre was pulled down. A new improved theatre, called the Queen’s Theatre was built instead and opened on 26th August 1889. But even this new theatre was deemed inadequate, and in its place was built the new Queen’s Theatre. This was designed by theatre architect Frank Matcham (1854-1920). It covered 7,000 square feet with a frontage of 86 feet to Queen Street and 48 feet to Adelaide Street. There was an iron veranda fitted with coloured glass that ran the whole length of the front. It could seat almost 2,000 people, the stage was 65 feet wide by 45 feet deep, and it boasted that every person in the house had an uninterrupted view of the whole stage. There were six private boxes, bars on all five floors, and ten dressing rooms. The new theatre opened on the 3rd February 1900.
Impresario Francis Laidler (1867-1955) took over the theatre in 1913 – he also ran the Prince’s Theatre and Alhambra Theatre in Bradford, and the Theatre Royal in Leeds. He was managing director up until his death when his widow, Gwladys, took over until the theatre closed in October 1956.
The theatre was demolished in 1961 and in its place now stands the Airedale Shopping Centre multi-storey car park. Keighley Local Studies Library holds various records relating to the theatre including a scrapbook belonging to Abraham Kershaw, a box office notebook, a theatrical postcard album covering 1906 to 1929, autograph books and various photographs, programmes, and posters.
This souvenir programme was a collaboration between photographer H. Charlton of Lawkholme Crescent, and the printers Wadsworth & Co. of The Rydal Press, Russell Street. It measures approximately 255mm by 190mm and is 36 pages long. The programme was donated to the Keighley and District Local History Society by Tim Neal in 2022. A second copy was received by the History Society from an anonymous donor later in 2022. Both copies are held in the History Society's physical archive.
Takeshita Street (竹下通り Takeshita-dōri?) is a pedestrian-only street lined with fashion boutiques, cafes and restaurants in Harajuku in Tokyo, Japan. Stores on Takeshita Street include major chains such as The Body Shop, but most of the businesses are small independent shops that carry an array of styles. The shops on this street are often a bellwether for broader fads, and some are known as "antenna shops," which manufacturers seed with prototypes for test-marketing.
Takeshita Street was a reliable place to go and purchase fake Japanese and American street brand goods from the early 1990s to 2004. Since 2004, a stronger metropolitan government stance on counterfeit merchandise has led to a decrease of such items being available to the public.
Located directly across from the exit of JR Harajuku Station, Takeshita Street is very popular with young teenagers, particularly those visiting Tokyo on school trips, or local young people shopping for small "cute" goods at weekends.
Harajuku is known for the patrons that visit the area every Sunday. Every Sunday, many young people dress in a variety of styles that include gothic lolita, visual kei, and cosplay, among others and spend the day in Harajuku socializing. The fashion styles of these young people frequently vary and are rarely conformist to one particular style and are usually a mesh of many. Most young people gather on Jingu Bridge, which is a pedestrian bridge that connects Harajuku to the neighboring Meiji Shrine Area. [1] However, Harajuku is not just known for its Sunday visitors. It is also a well-respected fashion capital of the world renowned for its unique street fashion.[2] Harajuku street style is promoted in Japanese and international publications such as Kera, Tune, Gothic & Lolita Bible and Fruits. Many prominent designers and fashion ideals have sprung from Harajuku and incorporated themselves in to other fashions throughout the world. Harajuku is also a vast shopping district that includes luxury western designers like Louis Vuitton, Harajuku native designers, and affordable shops catered to youths.
Includes Garfield High School. Item 77212, Engineering Department Photographic Negatives (Record Series 2613-07), Seattle Municipal Archives.
The Great Limerick Run 2015 (Marathon, Half Marathon, Relay, and 6 Mile) races were held in Limerick City, Ireland on Sunday 3rd of May 2014 starting at 09:00. This was a very large mass participation event which is now firmly established on the Irish running calendar. These are a set of a photographs from: the start of the marathon, the mile 2 mark of the mark, the half way point of the marathon (to about a 3:40 finishing time), a selection from mile 20 of the marathon. These sets of photographs will not include every competitor. The official results are available here [www.tdl.ltd.uk/] and the official race website is available at [www.greatlimerickrun.com/] These are not offical race photographs.
We have a full set of photographs from todays race on Flickr at this album location:https://www.flickr.com/photos/peterm7/sets/72157651923101059/
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
The shallow dome of the Librarian's Room includes a central disc with a painting by Edward J. Holslag. Representing Letters, the seated figure of a beautiful woman holds a scroll in her hand and is accompanied by a child with a torch. In the ribbon banner is the Latin phrase "Litera scripta manet" (The written word endures).
Surrounding the ceiling painting of Letters is plaster ornamentation in low relief by Albert Weinert. There are two slightly different alternating Grecian female figures holding a garland. Below them are square panels in which there is an open book. These, in turn, alternate with ovals, each containing an octagonal panel with an owl. Between each Grecian figure is a palm branch with a hexagonal panel above. These panels contain the lamp of learning. The open book, owl, and lamp symbols, used throughout the Jefferson Building, represent wisdom and learning. The dome also features decorative urns, fluttering ribbons, and bay leaf swags.
From: http://www.loc.gov/jefftour/lc/lc-pnlc.html and http://www.loc.gov/jefftour/lc/lc-girls.html
Takeshita Street (竹下通り Takeshita-dōri?) is a pedestrian-only street lined with fashion boutiques, cafes and restaurants in Harajuku in Tokyo, Japan. Stores on Takeshita Street include major chains such as The Body Shop, but most of the businesses are small independent shops that carry an array of styles. The shops on this street are often a bellwether for broader fads, and some are known as "antenna shops," which manufacturers seed with prototypes for test-marketing.
Takeshita Street was a reliable place to go and purchase fake Japanese and American street brand goods from the early 1990s to 2004. Since 2004, a stronger metropolitan government stance on counterfeit merchandise has led to a decrease of such items being available to the public.
Located directly across from the exit of JR Harajuku Station, Takeshita Street is very popular with young teenagers, particularly those visiting Tokyo on school trips, or local young people shopping for small "cute" goods at weekends.
Harajuku is known for the patrons that visit the area every Sunday. Every Sunday, many young people dress in a variety of styles that include gothic lolita, visual kei, and cosplay, among others and spend the day in Harajuku socializing. The fashion styles of these young people frequently vary and are rarely conformist to one particular style and are usually a mesh of many. Most young people gather on Jingu Bridge, which is a pedestrian bridge that connects Harajuku to the neighboring Meiji Shrine Area. [1] However, Harajuku is not just known for its Sunday visitors. It is also a well-respected fashion capital of the world renowned for its unique street fashion.[2] Harajuku street style is promoted in Japanese and international publications such as Kera, Tune, Gothic & Lolita Bible and Fruits. Many prominent designers and fashion ideals have sprung from Harajuku and incorporated themselves in to other fashions throughout the world. Harajuku is also a vast shopping district that includes luxury western designers like Louis Vuitton, Harajuku native designers, and affordable shops catered to youths.
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
'Includes real working escalator and tons of fun accessories!'
Obviously the first set in the line this actually came to me in a dream lot during november with a majority of the shops for $60 shipped. My own escalator does work, I lack some key salon accessories and with no instructions I have no idea how to use the fountain but I adore it all. My favorite little detail might be the hidden payphone on the bench behind the escalator, as well as the ATM! I also got the furniture for the pizza place in this lot but pushed it into the overall middle of the display so it wasn't cluttered.
I first found and cleared this cemetery back in December, so this is the very first time I've seen it turn green. I spent a quick ten minutes cutting new shoots this evening, and that saved hours of work over letting it go months. A stitch in time and all that. It's quite a feeling, and I can't completely explain it, to see spring come alive in the land of the dead. There are six names to read in this secret grove. There's said to be others buried below, but these are the stories set in stone. Lucinda Stronach, and her three children – Mercy, Edwin, and Charles Inglis. Then there's Gilbert Reagh, and his daughter Lydia. Another short-lived cemetery, spanning the 1850s to the 70s. That puts a lot of weight on not too many families to remember, to say where this tangled place is found and come here themselves. The effort isn't really for the dead, who don't know and can't thank me. It's for the living, and that includes me and my sense of adventure, though I'm sure enough no descendant. Blackflies feel the heat and come to eat me alive, but here lies a story worth fighting to tell.
May 26, 2021
Reagh Cemetery
East Margaretsville, Nova Scotia
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La Casa delle Streghe e Altri Racconti.
The Witches' House and Other Stories.
Includes: Attraverso le porte della Chiave d'Argento (Through the Doors of the Silver Key).
Through the Gates of the Silver Key by H. P. Lovecraft and E. Hoffmann Price.
Fort Smith National Historic Site is a National Historic Site located in Fort Smith, Arkansas, along the Arkansas River. The first fort at this site was established by the United States in 1817, before this area was established as part of Indian Territory. It was later replaced and the second fort was operated by the US until 1871. This site was designated as a National Historic Landmark in 1961.
The fort was the first site of the United States District Court for the Western District of Arkansas, which had jurisdiction over western Arkansas and all of Indian Territory. It began operations in 1875 with the appointment of Isaac C. Parker as the first federal district judge here. The town of Fort Smith, Arkansas developed around the fort.
The site includes the second historic fort constructed at this place. In addition, located on the grounds are the foundation remains of the first Fort Smith (1817–1824), the commissary building (c. 1838) and a reconstruction of the gallows used by the federal court. A walking trail along the Arkansas River includes wayside exhibits on the Trail of Tears.
Congress authorized acquisition of land on the Oklahoma bank of the Arkansas River to be included in the National Historic Site, in order to preserve a historic viewshed, but it has not been acquired.
The park visitor center is now located in the old Barracks/Courthouse/Jail building. Exhibits in the visitor center focus on Fort Smith's military history from 1817 to 1871, its role in the western expansion of the United States, Federal District Judge Isaac Parker and the federal court's effects on justice in Indian Territory, the U.S. Deputy Marshals and outlaws, Federal Indian policy, and Indian Removal, including the Cherokee Trail of Tears.
The site was established in 1961 in order to protect the remains of two 19th-century U.S. military forts, including a building that once housed the United States District Court for the Western District of Arkansas, which had jurisdiction over federal cases in Indian Territory. Fort Smith was also notable as a major stop for the Choctaw and Cherokee people along the "Trail of Tears." during the period of Indian Removal from the Southeast. It was designated a National Historic Landmark in 1961.
The original fort was established on December 25, 1817, by Major William Bradford in order to maintain harmony between the local Osage Indians, who had long been dominant in this territory, and a band of Cherokee who had migrated west, under pressure from European Americans, from their traditional territory in the Southeast. This time would later be historically referenced as the "First Fort." It ended in 1824 when the U.S. Army abandoned Fort Smith after constructing Fort Gibson further west.
As a result of the increased tensions Indians following the Indian Removal Act of 1830, and local white settlers who encroached on their territory, the U.S. Army created a second Fort Smith in 1838 near the original's ruins. This is the beginning of the historical "Second Fort" period. During General Zachary Taylor's command of the fort in the 1840s, it became a supply depot for other forts within the Indian Territory. It was captured during the Civil War from Confederate forces in 1863 by Union troops. The majority of the Cherokee and other Five Civilized Tribes had initially allied with the Confederacy, and supplied warriors to its forces. The fort continued in use as a supply depot to other forts in the region until it was no longer occupied in an official capacity by 1871; historically the end of the "Second Fort" era.
As often happened, a small town developed around the fort, with people attracted for business. In addition, court operations continued at a courthouse built in town for the United States District Court for the Western District of Arkansas, which presided over the western half of Arkansas and all of Indian Territory. It was first held at the fort, as noted above. The first federal district judge here was Isaac C. Parker, who presided over the court from 1875 to 1896.
Arkansas is a landlocked state in the South Central region of the Southern United States. It borders Missouri to the north, Tennessee and Mississippi to the east, Louisiana to the south, Texas to the southwest, and Oklahoma to the west. Its name derives from the Osage language, and refers to their relatives, the Quapaw people. The state's diverse geography ranges from the mountainous regions of the Ozark and Ouachita Mountains, which make up the U.S. Interior Highlands, to the densely forested land in the south known as the Arkansas Timberlands, to the eastern lowlands along the Mississippi River and the Arkansas Delta.
Arkansas is the 29th largest by area and the 34th most populous state, with a population of just over three million at the 2020 census. The capital and most populous city is Little Rock, in the central part of the state, a hub for transportation, business, culture, and government. The northwestern corner of the state, including the Fayetteville–Springdale–Rogers Metropolitan Area and Fort Smith metropolitan area, is a population, education, and economic center. The largest city in the state's eastern part is Jonesboro. The largest city in the state's southeastern part is Pine Bluff.
Previously part of French Louisiana and the Louisiana Purchase, the Territory of Arkansas was admitted to the Union as the 25th state on June 15, 1836. Much of the Delta had been developed for cotton plantations, and landowners there largely depended on enslaved African Americans' labor. In 1861, Arkansas seceded from the United States and joined the Confederate States of America during the American Civil War. On returning to the Union in 1868, Arkansas continued to suffer economically, due to its overreliance on the large-scale plantation economy. Cotton remained the leading commodity crop, and the cotton market declined. Because farmers and businessmen did not diversify and there was little industrial investment, the state fell behind in economic opportunity. In the late 19th century, the state instituted various Jim Crow laws to disenfranchise and segregate the African-American population. White interests dominated Arkansas's politics, with disenfranchisement of African Americans and refusal to reapportion the legislature; only after the federal legislation passed were more African Americans able to vote. During the civil rights movement of the 1950s and 1960s, Arkansas and particularly Little Rock were major battlegrounds for efforts to integrate schools.
Following World War II in the 1940s, Arkansas began to diversify its economy and see prosperity. During the 1960s, the state became the base of the Walmart corporation, the world's largest company by revenue, headquartered in Bentonville. In the 21st century, Arkansas's economy is based on service industries, aircraft, poultry, steel, and tourism, along with important commodity crops of cotton, soybeans and rice.
Arkansas's culture is observable in museums, theaters, novels, television shows, restaurants, and athletic venues across the state. Notable people from the state include politician and educational advocate William Fulbright; former president Bill Clinton, who also served as the 40th and 42nd governor of Arkansas; general Wesley Clark, former NATO Supreme Allied Commander; Walmart founder and magnate Sam Walton; singer-songwriters Johnny Cash, Charlie Rich, Jimmy Driftwood, and Glen Campbell; actor-filmmaker Billy Bob Thornton; poet C. D. Wright; physicist William L. McMillan, a pioneer in superconductor research; poet laureate Maya Angelou; Douglas MacArthur; musician Al Green; actor Alan Ladd; basketball player Scottie Pippen; singer Ne-Yo; Chelsea Clinton; actress Sheryl Underwood; and author John Grisham.
The history of Arkansas began millennia ago when humans first crossed into North America. Many tribes used Arkansas as their hunting lands but the main tribe was the Quapaw, who settled in the Arkansas River delta upon moving south from Illinois. Early French explorers gave the territory its name, a corruption of Akansea, which is a phonetic spelling from the Illinois language word for the Quapaw.[1] This phonetic heritage explains why "Arkansas" is pronounced so differently than the U.S. state of "Kansas" even though they share the same spelling.
What began as a rough wilderness inhabited by trappers and hunters became incorporated into the United States as part of the Louisiana Purchase in 1803 and later became the Arkansas Territory from 1819 to 1836. Upon gaining statehood on June 15, 1836, Arkansas had begun to prosper under a plantation economy that was heavily reliant on slave labor. After the American Civil War (1861–1865), Arkansas was a poor rural state, whose main economic base revolved around agriculture based chiefly on cotton production. In the late 19th century, the state instituted various Jim Crow laws to disenfranchise and segregate the African American population. This would last until federal legislation was passed in the 1960s. During the civil rights movement of the 1950s and 1960s, Arkansas and particularly Little Rock, were major battlegrounds for efforts to integrate schools.
The state started to see some economic prosperity during and after World War II in the 1940s. Arkansas became the base for retail corporation Walmart during the 1960s, which is headquartered in Bentonville. Walmart would later become the world's largest company by revenue. During the 20th century, different Arkansas political leaders would become nationally prominent, including the 42nd U.S. President Bill Clinton, who was Governor of Arkansas, 1979–1981 and 1983–1992.
Beginning around 11,700 B.C.E., the first indigenous people inhabited the area now known as Arkansas after crossing today's Bering Strait, formerly Beringia. The first people in modern-day Arkansas likely hunted woolly mammoths by running them off cliffs or using Clovis points, and began to fish as major rivers began to thaw towards the end of the last great ice age. Around 9500 BCE, forests also started to expand, enabling local peoples to engage in greater gathering. Crude containers became a necessity for storing gathered items. Since mammoths had become extinct, hunting bison and deer became more common. These early peoples of Arkansas likely lived in base camps and departed on hunting trips for months at a time.
Further warming led to the beginnings of agriculture in Arkansas around 650 BCE. Fields consisted of clearings, and Native Americans would begin to form villages around the plot of trees they had cleared. Shelters became more permanent and pottery became more complex. Burial mounds, surviving today in places such as Parkin Archeological State Park and Toltec Mounds Archaeological State Park, became common in northeast Arkansas. This reliance on agriculture marks an entrance into Mississippian culture around 950 CE. Wars began occurring between chieftains over land disputes. Platform mounds gain popularity in some cultures.
The Native American nations that lived in Arkansas prior to the westward movement of peoples from the East were the Quapaw, Caddo, and Osage Nations. While moving westward, the Five Civilized Tribes inhabited Arkansas during its territorial period.
The first European contact with Arkansas was the Spanish expedition led by Hernando de Soto in 1541. De Soto wandered among settlements, inquiring about gold and other valuable natural resources. He encountered the Casqui in northeast Arkansas, who sent him north around Devil's Elbow to the Pacaha, the traditional enemies of the Casqui. Upon arrival in the Pacaha village, the Casqui who had followed behind de Soto attacked and raided the village. De Soto ultimately engaged the two tribes' chiefs in a peace treaty before continuing on across central Arkansas and into the Ozark Mountains in his search for riches. After finding nothing he considered of value and encountering native resistance the entire way; he and his soldiers returned to the Mississippi River where de Soto fell ill. He died the following day in what is believed to be the vicinity of modern-day McArthur in May 1542. Soto's body was weighted down with sand and he was consigned to a watery grave in the Mississippi River under cover of darkness.
De Soto had attempted to deceive the native population into thinking he was an immortal deity, sun of the sun, in order to forestall attack by outraged Native Americans on his by then weakened and bedraggled army. In order to keep the ruse up, his men informed the locals that de Soto had ascended into the sky. His will at the time of his death listed: "four Indian slaves, three horses and 700 hogs" which were auctioned off to his men. His starving men, who had been living off maize stolen from Native Americans and who had not been allowed to eat the enormous herd of hogs but had had to care for them, immediately started to butcher them. Later on his remaining men, now commanded by his aide de camp Moscoso, attempted an overland return to Mexico. They made it as far as Texas before running into territory too dry for maize farming and too thinly populated to sustain themselves by stealing food from the locals. The expedition promptly backtracked to Arkansas. After building a small fleet of boats they then headed down the Mississippi River and eventually on to Mexico by water.
In 1673, French explorers Jacques Marquette and Louis Jolliet reached the Arkansas River on an expedition to map the Mississippi River. After a calumet with friendly Quapaw, the group suspected the Spanish to be nearby and returned north.
Robert La Salle entered Arkansas in 1681 as part of his quest to find the mouth of the Mississippi River, and thus claim the entire river for New France. La Salle and his partner, Henri de Tonti, succeeded in this venture, claiming the river in April 1682. La Salle would return to France while dispatching de Tonti to wait for him and hold Fort St. Louis. On the king's orders, La Salle returned to colonize the Gulf of Mexico for the French, but ran aground in Matagorda Bay. La Salle led three expeditions on foot searching for the Mississippi River, but his third party mutinied near Navasota, Texas, in 1687. de Tonti learned of La Salle's Texas expeditions and traveled south in an effort to locate him along the Mississippi River. Along with this journey south, de Tonti founded Arkansas Post as a waypoint for his searches in 1686. La Salle's party, now led by his brother, stumbled upon the Post and were greeted kindly by Quapaw with fond memories of La Salle. The troupe thought it best to lie and say La Salle remained at his new coastal colony.
The French colonization of the Mississippi Valley would end with the later destruction of Fort St. Louis were it not for de Tonti establishing the small trading stop, Arkansas Post. The party originally led by La Salle would depart the Post and continue north to Montreal, where interest was spurred in explorers who had the knowledge that the French had a holding in the region.
The first successful European settlement, "Poste de Arkansea", was established by Henri de Tonti in 1686 on the Arkansas River. The post disbanded for unknown reasons in 1699 but was reestablished in 1721 in the same location. Sited slightly upriver from the confluence of the Arkansas River and Mississippi River, the remote post was a center of trade and home base for fur trappers in the region to trade their wares. The French settlers mingled and in some cases even intermarried with Quapaw natives, sharing a dislike of English and Chickasaw, who were allies at the time. A moratorium on furs imposed by Canada severely affected the post's economy, and many settlers began to move out of the Mississippi River Valley. Scottish banker John Law saw the struggling post and attempted to entice settlers to emigrate from Germany to start an agriculture settlement at Arkansas Post, but his efforts failed when Law-created Mississippi Bubble burst in 1720.
The French maintained the post throughout this time mostly due to its strategic significance along the Mississippi River. The post was moved back further from the Mississippi River in 1749 after the English with their Chickasaw allies attacked, it was moved downriver in 1756 to be closer to a Qua-paw defensive line that had been established, and to serve, as an repent, or trading post, during the Seven Years' War and prevent attacks from the Spanish along the Mississippi.
In 1762, the secret treaty of Fontainebleau transferred control of colonial Louisiana (including present-day Arkansas), to Spain in exchange for Florida. The Spanish showed little interest in Arkansas except for the land grants meant to inspire settlement around the post. Afterward, the post was again moved upriver out of the floodplain in 1779. Its position 4 miles (6.4 km) up the Arkansas River made it a hub for trappers to start their journeys, although it also served as a diplomatic center for relations between the Spanish and Quapaw. Many that stopped at Arkansas Post were simply passing through on their way up or down river and needed supplies or rest. Habitants included approximately ten merchants, some domestic slaves, and the wives and children of voyageurs. A small detachment of the Fixed Infantry Regiment of Louisiana lived inside the fort, tasked with protecting the village of Arkansas Post nearby. On April 17, 1783, present-day Arkansas experienced its only battle of the American Revolutionary War when Captain James Colbert of the 16th Regiment of Foot led a force of British partisans and Chickasaws against the Spanish village and fort.
Although the United States of America had gained separation from the British as a result of the Revolutionary War, Arkansas remained in Spanish hands after the conflict. Americans began moving west to Kentucky and Tennessee, and the United States wanted to guarantee these people that the Spanish possession of the Mississippi River would not disrupt commerce. Napoleon Bonaparte's conquest of Spain shortly after the American Revolution forced the Spanish to cede Louisiana, including Arkansas, to the French via the Third Treaty of San Ildefonso in 1800. England declared war on France in 1803, and Napoleon sold his land in the new world to the United States, today known as the Louisiana Purchase. The size of the country doubled with the purchase, and a stream of new White settlers led to a changed dynamic between Native Americans and Arkansans. Prior to the Louisiana Purchase, the relationship between the two groups was a "middle ground" of give and take. These relationships would deteriorate all across the frontier, including in Arkansas.
Thomas Jefferson initiated the Lewis and Clark Expedition to find the nation's new northern boundary, and the Dunbar Hunter Expedition, led by William Dunbar, was sent to establish the new southern boundary. The group was intended to explore the Red River, but due to Spanish hostility settled on a tour up the Ouachita River to explore the hot springs in central Arkansas. Leaving in October 1804 and parting company at Fort Miro on January 16, 1805, their reports included detailed accounts of give and take between Native Americans and trappers, detailed flora and fauna descriptions, and a chemical analysis of the "healing waters" of the hot springs. Useful information for settlers to navigate the area and descriptions of the people inhabiting south Arkansas was also included.
The settler-Native American relationship deteriorated further following the 1812 New Madrid earthquake, viewed by some as punishment for accepting and assimilating into White culture. Many Cherokee left their farms and moved shortly after a speech in June 1812 by a tribal chief admonishing the tribe for departing from tradition.
A small segment of the Territory of Missouri applied for statehood on March 2, 1819. The application included a provision that would bring Missouri into the Union as a slave state, which would upset the delicate balance of slave and free states. This application also defined all land in the Missouri Territory south of the parallel 36°30' north, except the Missouri Bootheel between the Mississippi River and the Saint Francis River north of the 36th parallel north, as the new Territory of Arkansaw. When the Missouri Enabling Act was taken up in the United States House of Representatives, James Tallmadge denounced slavery and succeeded in passing the Tallmadge Amendment in the House, an act that would have extinguished slavery in Missouri in a generation. The act was the first attempt to curb the rapid expansion of slavery along the country's expanding western frontier and caught many southern Democrats by surprise. The following day, John Taylor proposed identical restrictions on slavery before authorizing the Arkansaw Enabling Act. The banning of new slaves amendment was soundly defeated, but the gradual emancipation measure was tied until Speaker of the House Henry Clay cast the deciding no vote killing the Amendment and allowing Arkansas to organize as a slave territory. The Missouri Compromise was later struck allowing Maine to enter as a free state, thus allowing Missouri to enter as a slave state to keeping the balance of free/slave states at 12 each.
The uncertainty surrounding Missouri's status as a slave state caused a rapid out-migration of slaveholders into Arkansas. Slavery also became a divisive issue within Arkansas. The wealthy planters of southeast Arkansas strongly supported slavery since manual labor was the only method of harvesting cotton at the time. The northwest parts of the state did not have cotton plantations, and as little as 2% of the black population in northwest Arkansas was enslaved during the territorial era. However, northwest Arkansas backed slavery in support of the southeastern Arkansas planters.
Different aspects of frontier life are preserved today in three state parks. Historic Washington State Park in southwest Arkansas is a restored town that was formerly a bustling stop on the Southwest Trail. Davidsonville Historic State Park preserves one of early Arkansas's most important communities, including Arkansas's first post office and courthouse. Powhatan Historic State Park on the Black River allows visitors to relive a former riverport town during its heyday.
The new Arkansas Territory held its territorial government at the territorial capital, Arkansas Post, and included all of present-day Arkansas and Oklahoma except the Oklahoma panhandle. These lands became Indian Territory by 1828, leaving the modern day outline of Arkansas. Upon creation of the territory, President James Monroe appointed James Miller of New Hampshire, the hero of Lundy's Lane, as territorial governor, and young Robert Crittenden as secretary of the territory. Miller had little interest in governing the territory, and spent most of his time outside its boundaries. This left an opportunist Crittenden in charge of Arkansas, and he quickly assembled three judges together to form Arkansas's first legislature. Crittenden also held an election that selected James Woodson Bates as Arkansas's territorial delegate to Congress in addition to forming and filling the two branches of the General Assembly of Arkansas Territory. This election became contested when Miller returned and decided Arkansas would follow an 1812 law that all territorial legislative positions were to be filled by appointment, nullifying Crittenden's election. Congress later affirmed the election, but the situation formed a divide between Miller's followers and the Crittenden faction.
Miller and Crittenden were again divided over the relocation of the territorial capitol from the unsuitable backwater at Arkansas Post. The legislature discussed the issue of relocating the capitol in 1820, but could not decide between Little Rock and Cadron before the session ended. After the session ended, William Russell, owner of hundreds of lots around Little Rock, began selling them to legislators and influential men like Crittenden, Robert Oden, William A. Trimble, and Andrew Scott. Upon returning, the legislature passed a bill to move the capitol to Little Rock by three votes, increasing the value of many legislators' Little Rock lots significantly. In protest, Miller moved to a new house at Crystal Hill near Cadron before being reassigned to Salem, Massachusetts. During the move to Little Rock, Crittenden formed the Rose Law Firm with Chester Ashley, forming a powerful political alliance between The Family and Crittenden's supporters. Arkansas's second territorial governor was George Izard, a wealthy planter who moved to the territory from South Carolina. Izard succeeded in changing divorce law and briefly stopping the Quapaw removal in Arkansas. He also organized a militia and managed to quiet Crittenden, who remained as secretary of the territory. Izard died in 1828 and was replaced by John Pope, who was appointed by Andrew Jackson.
In an effort to prevent white settlers taking over their territory, the Quapaw signed an 1818 treaty relinquishing all their hunting lands in exchange for keeping 32,000,000 acres (13,000,000 ha) of land along the Arkansas River in south Arkansas in their possession. This treaty was later reneged upon the following year, with whites taking all but 1,000,000 acres (400,000 ha) back for settlement. At this time, Cherokee from Georgia, South Carolina, and North Carolina were being forced into Arkansas onto Caddo hunting lands west of Little Rock. The Caddo did not welcome the invasion of the Cherokee, who had thought they were moving to uninhabited land. The Caddo viewed the Cherokee as "domesticated" by the white man for signing treaties with the United States government and the tribes went to war. Cephas Washburn established Dwight Mission near Russellville as a school for Cherokee youth at the tribe's request in 1822. This school was later moved to Sallisaw, Oklahoma. The Osage signed a treaty to leave Arkansas in 1825 and moved to Kansas briefly before buying their own reservation in Osage County, Oklahoma. The United States established Fort Smith and Fort Gibson, Oklahoma, to keep the peace and trade with the Native Americans.
During the Industrial Revolution, cotton prices boomed and white settlers clamored for the fertile lands around the Arkansas River inhabited by the Quapaw. Eventually the government forced the Quapaw to a reservation in Louisiana with the Caddo. Antoine Barraqué led the Quapaw south in the winter of 1825–26. They found the Caddo inhospitable because the Quapaw were viewed as invaders and when the Quapaw's crop washed away twice due to flooding of the Red River, conditions got even worse. Combined with the overcrowding and lack of annuities promised to both tribes, the Quapaw were unhappy and followed chief Saracen back to their homeland along the Arkansas River. By 1830, the entire tribe had returned to Arkansas, and despite Governor Pope and Indian agent Richard Hannon, the Quapaw were removed to a separate reservation in northeast Oklahoma in 1833. Secretary Robert Crittenden was instrumental in acquiring the final removal.