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Circa 1910 postcard view of North Main Street in Hebron, Indiana. The 1909 Sanborn™ fire insurance map set for Hebron shows details of all the structures in downtown Hebron. The buildings in this postcard scene match those shown in the map set on the west side of North Main Street south of Sixth (Alyea) Street. The brick building in this scene was the fourth building south of Sixth Street and was identified in the map set as the Hebron Post Office. That building wasn’t identified in any way when this photograph was taken, but the photographer wrote POST OFFICE above the building. Another postcard view of this same scene was probably based on a photograph taken a couple of years later. It shows a sign above the entrance to this building that advertised the HEBRON U.S. POST OFFICE + MONEY ORDER OFFICE. That other postcard differs in one other respect. Canvas awnings had been installed on the two buildings north of the post office.
Aside from the post office, the 1909 map set identified the business at the left edge of this scene as a millinery shop. The two wood frame buildings north of the post office have signs painted on the windows that advertised J. IRV__ SADDLES and J. IRV__ HARNESS. The surname was probably IRVIN. The 1909 map set shows harness businesses (or maybe a single business) in both of these buildings. The next building north stood on the southwest corner of the Sixth Street intersection. The 1909 map set shows a carpenter and repair shop in the building. None of these five buildings has survived.
The postmaster was probably James E. Carson. He was appointed on December 3, 1907, and was reappointed in 1912. Postmaster Carson had replaced John M. Morrow, who was initially appointed in 1901 and was reappointed in 1905.
With the help of the Sanborn™ map set, the buildings in this scene were easy to identify. The automobiles are another matter. A simple notation on the back of the postcard says, "All Sears autos, Hebron, Ind." The author of that note is unknown as is the basis for that claim. These three runabouts appear to be identical, but they look nothing like the various models of the Sears Motor Buggy that Sears & Roebuck sold for a few years beginning in 1908. The Sears models had large diameter wheels, sat high off the ground and had a simple vertical dash (screen?) at the front. The runabouts pictured in this postcard scene with their smaller wheels, ground-hugging design and sloping dash in front are easily distinguishable from the Sears products.
Aside from Sears & Roebuck, the only vehicle we’ve found with a Sears name was a prototype produced in Indianapolis by the Sears Brothers Company in 1901. It was the “Sears Steam.” Other than the fact it was steam-powered, we have found no additional information. We have found no photos and the vehicle was apparently never put into production. The Sears Brothers Company was primarily a bicycle shop that evolved into a small mechanical repair business. That business involved steam boilers and other equipment. They also occasionally advertised individual used automobiles for sale in local newspapers. At the time of the 1910 Indianapolis Auto Show, the company was identified as an automobile dealer, but that was probably not an accurate description of their business. Indiana state inspection records for Sears Brothers Co. in the years leading up to 1910 varied, but typically mentioned bicycles and bicycle repair. One particular exception was in 1909 when auto repairing was mentioned as part of the business. They were not identified as an automobile dealer.
The manufacturer of these three runabouts remains a mystery for now.
From a private collection.
The full postcard image can be seen here.
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Titus, Lisa, and Michael Hall. Recollections of a Twentieth-Century Odalisque. New York, N.Y.: L. Titus, 1997.
See MCAD Library's catalog record for this book.
Big German postcard by Film-Foto-Verlag, no. K 1430. Photo: Baumann / Ufa.
Baroness Irene von Meyendorff (1916-2001) never planned to become a film star, but she appeared in more than 40 films. Unexpectedly, the breathtakingly beautiful, ice-cold blonde became a star of the Ufa in the 1940s. Her beauty attracted Josef Goebbels, who got a harsh rebuff from her. After the war, she played several parts in interesting German films and led a full, remarkable life.
Irene von Meyendorff was born as Irene Isabella Margarethe Paulina Caecilia Freiin von Meyendorff in Reval, Russian Empire (now Tallinn, Estonia) in 1916. She was the eldest child of a German-Baltic aristocrat. After the October Revolution, the family fled to Bremen in Germany. There, Irene's mother Elisabeth left her conservative husband with the children to live an unconventional life in the theatre circles of Weimar/Thuringia. In the early 1930s, Irene went to Berlin to work as a cutter in the Ufa film studios of Babelsberg. Breathtakingly beautiful, she was soon discovered for the screen. Her debut was a mediocre swashbuckler film, Die letzten Vier von Santa Cruz/The Last Four of Santa Cruz (Werner Klingler, 1936), which unexpectedly made her a star. She then appeared with Lída Baarová in Verräter/The Traitor (Karl Ritter, 1936), and with Hans Albers and Françoise Rosay in the circus film Fahrendes Volk/People Who Travel (Jacques Feyder, 1938). Von Meyendorff starred opposite Erich Ponto in Schneider Wibbel/Tailor Wibbel (Viktor de Kowa, 1939) based on a script by Helmut Käutner, and she appeared opposite Hans Moser in the comedy Einmal der liebe Herrgott sein/To Be God For Once (Hans H. Zerlett, 1942). She also starred in operetta films such as Frau Luna/Lady Luna (Theo Lingen, 1943) with Lizzi Waldmüller. Maybe her best part during this period was the noble Hamburg Patrician daughter Octavia in Veit Harlan's Opfergang/The Great Sacrifice (1944) with Carl Raddatz and Kristina Söderbaum. She also appeared in Harlan’s propaganda film Kolberg/Burning Hearts (Veit Harlan, 1945) starring Söderbaum and Heinrich George. This film was the pride and joy of the Nazi propaganda machine. It was filmed during the last year of the war. Lavish financial and material resources were expended to produce the film, and it premiered just ahead of the advancing Allied armies. Von Meyendorff never was a sympathiser of the Nazi system though. Her first husband, Dr. Heinz Zahler, was a member of the Kreisau Circle, a group of religiously motivated anti-Nazi-bourgeois. Her beauty attracted Josef Goebbels, minister of propaganda, who got a harsh rebuff from her ("You would degrade me - and you would degrade yourself"), according to her own recollections. Reportedly, Goebbels's nasty nick name ‘Bock von Babelsberg' (Horny Goat of Babelsberg) was Irene's creation.
Between 1946 and 1949, some German films showed the will not to simply go on like nothing happened but to search for new forms of entertainment in the light of the Second World War and the guilt of the German people. Irene von Meyendorff starred in one of these films, Film ohne Titel/Film Without a Title (Rudolf Jugert, 1948), with Hans Söhnker and Hildegard Knef. Reviewer Herbert Schwaab writes at IMDb that the film is an “interesting reflection about the rights to be entertained: Which stories can be told, when all stories seem to have been finished? It shows the attempts of a film crew to shoot a film. They offer several versions of one simple love story in different film forms (melodrama or German expressionism) until they come out with the right form (which is this film itself).” That same year, she was also seen in the biopic The Mozart Story (Karl Hartl, Frank Wisbar, 1948) featuring Hans Holt. This was an Austrian film that was begun by Karl Hartl before World War II, but was shelved, unfinished, when the war began. After the war, the American rights to the film were purchased by Screen Guild. American-German director Frank Wisbar supervised the English dubbing and even added some new scenes, with Wilton Graff as Mozart's great rival, Antonio Salieri. The result was released as a new film when it was at least 10 years old. Hal Erickson at AllMovie comments: “Despite its patchwork construction, The Mozart Story weaves a cogent and credible (if not altogether accurate) version of Mozart's life and work.” Another interesting film was Der Apfel ist Ab/The Original Sin (Helmut Käutner, 1948), a fantasy about a modern Adam and Eve. The next year, she played the lead role in the comedy Einmaleins der Ehe/1 x 1 of the Marriage (Rudolf Jugert, 1949) opposite Hans Söhnker and in 1950, she co-starred in Epilog: Das Geheimnis der Orplid/Epilogue (Helmut Käutner, 1950), a suspenseful drama about people on board a boat. In 1953, she starred in the crime film Gift im Zoo/Poison in the Zoo (1953, Hans Müller) with Carl Raddatz. She again worked with Helmut Käutner in the romance Bildnis einer Unbekannten/Portrait of an Unknown Woman (Helmut Käutner, 1954) starring Ruth Leuwerik and O.W. Fischer. During the second half of the 1950s, her roles became less frequent and her films less interesting. She focused more on her stage career and played in theatres in Stuttgart, Zurich, Frankfurt am Main and Hamburg.
In 1960, Irene von Meyendorff met British actor James Robertson Justice on the set of Die Botschafterin/The Ambassadress (Harald Braun, 1960). The couple fell passionately in love. She left her third husband, journalist Pit Severin, to follow Robertson Justice to England. (Her second husband had been film producer Joachim Matthes). Incidentally, she appeared in German films like Lange Beine - lange Finger/Long Legs, Long Fingers (Alfred Vohrer, 1966) starring Senta Berger. She became a British citizen in 1967 and changed her name to Irina. She did small parts in international films with her husband such as the crime film Hell is empty (John Ainsworth, Bernard Knowles, 1967) starring Martine Carol in her last role, and the costume drama Mayerling (Terence Young, 1968) with Omar Sharif and Catherine Deneuve. Her last film was the Italian production Il gesto/The Gesture (Marcello Grottesi, 1973) with Ilse Steppat and Willy Birgel. A series of strokes gradually prevented James Robertson Justice from working and led to his bankruptcy. Earning her living as a teacher at a local Language School, Irina nursed him until he died in 1975. After 14 years of living together, they were finally married on his deathbed in the hospital. In 1990, she married his best friend and their neighbour, the millionaire and philanthropist Keith ‘Toby’ Bromley. She was a passionate gardener and excellent cook; her rose garden at Ashley Manor - the home she and Keith Bromley shared - was renowned locally, as was her extensive hospitality. Even at the age of 70, she sailed to the Arctic and the Orinoco River. For her long and acclaimed work in the German cinema, she was awarded the Filmband in Gold in 1988. In 2001, Irene von Meyendorff died of natural causes in King's Somborne, Hampshire, UK, after a full, remarkable life. She had one son, Andreas Zahler, who died in 1985. She had two grandchildren, Rebecca, daughter of Andreas Zahler, and a son from his first marriage.
Sources: Hal Erickson (AllMovie), Thomas Staedeli (Cyranos), Yancey (IMDb), Wikipedia (German) and IMDb.
And please check out our blog European Film Star Postcards.
Upper West Side, Manhattan, New York City, New York, United States
HISTORICAL INTRODUCTION
Although its history can be traced as far back as the late seventeenth century, the West Side, including the land within the boundaries of the West End-Collegiate Historic District, was still largely farmland until 1880. Prior to its urbanization at the end of the nineteenth century, the West Side, stretching roughly from 23rd Street to 125th Street, was known as Blooming-dale. This appellation came from the early Dutch settlers of New Amsterdam who called the region "Bloemendael" in fond recollection of a flower-growing area of the same name near Haarlem, in Holland,
In the 1660s, Governor Nicholls, the first English governor of New York, granted a large parcel of land in the Bloomingdale district to a syndicate of five patentees. Known as the "thousand acre tract," it was bounded roughly by the Hudson River and what are today 42nd Street, a point midway between 89th and 90th Streets, and Central Park West. The tract was surveyed and subdivided among the patentees. The territory which compromises the historic district fell within lots seven and eight, with the bulk of it being within lot seven. Both lots became the property of Egbert Wouterse, one of the five patentees.
In the early eighteenth century Bloomingdale Road was opened through the region following the course of an old Indian trail. The road provided the main link with the city at the tip of Manhattan. Gradually, wealthy New Yorkers began to establish country seats in the hinterland flanking Bloomingdale Road.
A number of country seats were established in the vicinity of the historic district. One of them, the homestead of Stephen De-Lancey, which was built before 1729, probably occupied the site of the later Vandenheuvel mansion on the west side of Bloomingdale Road at the present location of the Apthorp Apartments, a designated New York City Landmark. In 1792, John Cornelius Vandenheuvel, former governor of Demerara, built his mansion on this site."
By the 1830s, the mansion had been converted into a hotel called Burnham's. The Astor family acquired the site in 1879 and had the mansion demolished in 1905 to make way for the Apthorp Apartments
Another country seat in the vicinity was established by Teunis Somarindyck when all of lot seven of the thousand acre tract fell to him. After 1745 Somarindyck's house stood at the northwest
corner of 75th Street and Broadway. The house was demolished in 1868 to make way for the Boulevard, now Broadway. A second house belonging to the Somarindyck family was located at roughly the southeastern corner of the present West End Avenue and West 77th Street.
In the late 1840s, Fernando Wood purchased this house and the adjoining one, added a structure on its south side and used the house as his country seat. Wood lived here while he was mayor of New York City (1855-1858, 1860-1862). In 1860 Wood entertained the Prince of Wales in the home when the Prince of Wales made his famous trip to the United States as Baron Renfrew.
By the early nineteenth century four small villages had sprung up in Bloomingdale. According to historian Hopper Striker Mott, each of these villages was a distinct locality which maintained a semblance of village life at least up to the Civil War.
The general vicinity of the historic district was known as Har-senville, a hamlet centered around the present West 70th Street and Broadway. It was named for John Harsen whose house stood between 70th and 71st Streets.
Although Bloomingdale itself remained largely rural until the late nineteenth century, its eventual development as an integral part of New York City had been foreseen much earlier in the century. The state legislature appointed a commission of three in 1807 to prepare a plan for the orderly expansion of the city, and John Randel, Jr., an engineer, assumed the task of formulating such a scheme.
In 1811 he produced a plan, known as the Randel Survey or Commissioners' Map, which imposed a uniform grid of broad avenues and narrow cross streets upon the rolling hills of Manhattan as far north as 155th Street. The austerity of the rigid grid was relieved only by Bloomingdale Road (now Broadway) which cut across the plan diagonally.
To be sure, some fifty years elapsed before streets in the vicinity of the historic district were actually laid out. In the interim, the bucolic character of the area began to undergo changes. The large Somarindyck farm was subdivided during the early nineteenth century and much of the land within or near the historic district became part of six separate parcels.
Though ownership of these parcels varied throughout the first half of the century, they continued in use as either country seats or farms until being conveyed during the 1850s and 1860s in small parcels and lots. The Wood estate, centered on the present block bounded by West 76th and West 77th Streets, West End Avenue and Broadway, was not broken into lots until the 1880s.
The ready availability of land in Bloomingdale encouraged the establishment of a number of institutions there in the early nineteenth century.
One, the Orphan Asylum Society of New York, decided to move from its existing home in the increasingly congested and urbanized Greenwich Village area of the city to a new home in Harsenville so that the children in its charge could "enjoy purer air and more ample accommodations.
In the 1830s the Society purchased nine and one half acres of land, some of which is presently incorporated into the southern boundary of the historic district, and, on the site presently bounded by Riverside Drive, West End Avenue, West 73rd and West 74th Streets, erected its imposing new asylum. Completed in 1840, the asylum building survived until 1902.
During the period, the increase in the permanent population of Harsenville and Bloomingdale was sufficient to warrant opening a local public school. Established in the late 1820s at West 82nd Street and Eleventh Avenue (-West End Avenue), Public School 9 served the families who lived on the farms and in frame houses scattered throughout the area.
In spite of these various developments, Bloomingdale retained its countrylike atmosphere to the time of the Civil War. New York City, on the other hand, found itself in the throes of expansion and transformation into a rapidly growing metropolis.
Both the impact of the Industrial Revolution and massive immigration from Europe provided the impetus to northerly residential expansion which was channeled primarily to the East Side and roughly followed the uptown march of New York's wealthy citizens.
The predilection for development on the East Side was also heavily influenced by transit facilities which were provided there earlier than on the West Side. With the inauguration of the horsecar era in 1852, the city was pushed ever further north until it reached 59th Street.
As the city continually expanded to the north, it was increasingly apparent that Bloomingdale would eventually be engulfed by the tide of urban growth. However, residential development proceeded slowly in Bloomingdale. Its pace was influenced by a complex interrelationship of factors which included the opening of rapid transit lines, the construction of various civic improvements, and successive waves of real estate speculation .
Rapid growth and expansion only exacerbated the problems confronting New York City and led to closer scrutiny of the deficiencies of the Commissioners Map of 1811. Its rigid grid system for laying streets made meager provision for new squares ,
promenades or parks as a means of relieving congestion which resulted from the high densities of urban building. Moreover, the city's breathing spaces were confined to a few small squares, mostly damp and unwholesome "reservations" on the site of old water courses.
As early as 1840 a serious campaign was launched to create a park to benefit all the people of New York. By the late 1850s, Central Park, with a southern boundary coinciding with the northern boundary of the city, was under construction in a predominantly rural area of the island.
The decision to build Central Park in a rural, undeveloped part of the city spurred development during the 1850s in what is now midtown, particularly in the West 40s and 50s, close to Fifth Avenue, where brownstone rowhouses began to appear.
The determination of the park's boundaries also boosted property values to its east, west and north and sparked a wave of real estate speculation in all three areas. This first wave of speculation to affect the Upper West Side was confined to vacant lots along Eighth Avenue, just west of the park, which sold for nearly as much as those just to the east along Fifth Avenue. Since neither the population of the city at the time nor its transit facilities, which on the Upper West Side were limited to a stage line on Bloomingdale Road, warranted the prices at which property was being traded, the speculation was restricted to paper.
The period after the Civil War triggered the greatest speculative craze seen to that point in New York City. Land in the vicinity of Fifth Avenue was particularly susceptible even though most of it was unimproved, overvalued, and sold for very high prices. Generally speaking, the postwar speculation undoubtedly was one of the consequences of the inflation which followed the war. On the Upper West Side, it received an additional stimulus from contemplated rapid transportation facilities and from promised civic improvements.
The craze, however, was almost entirely restricted to vacant land. In 1868, for example, there were not more than half a dozen "modern" houses on the Upper West Side. In 1873, four lots on 81st Street and Riverside Drive, an avenue which then existed only on paper, were conveyed for $75,000. It was estimated that, between 1868 and 1873, the value of land north of 59th Street increased by 200 percent and in many cases 300 or 400 percent.
One of the earliest improvements to fuel post-war speculation on the Upper West Side was the extension of the Eighth Avenue horse car line to 84th Street in 1864. However more ambitious projects exerted far greater influence in this regard. By
the late 1860s a new rapid transit system connecting both the Upper East and Upper West Sides with downtown Manhattan seemed virtually assured.
The demand for other city improvements was also particularly insistent. Chief among the demands was a proposal to convert the Riverside precipice on the West Side of Manhattan into a park. The idea received additional support when Andrew H. Green, President of the Board of Commissioners of Central Park, submitted a plan to convert the precipice into a landscaped park for the West Side from 55th to 155th Streets.
The plan, approved by the Board of Commissioners of Central Park in 1867, called for not only the development of a Riverside Park but also the creation of Riverside Drive, Fort Washington Park and Morningside Park, as well as new streets and avenues that conformed to the natural contours of the land. One of the results was the replacement in 1868-71 of Bloomingdale Road by a wide avenue with grass malls from 59th Street to 155th Street.
The new avenue was named the "Boulevard" in the area of the historic district and the "Public Drive" further north. In 1899, the Boulevard and Public Drive were renamed "Broadway." At the same time city improvements, such as the opening, grading and flagging of streets in the area was proceeding slowly. By the 1870s most of the streets and avenues in or near the historic district had been laid out.
The Panic of 1873, caused by the failure of Jay Cooke & Co. and the suspension of the Union Trust Co., burst this speculative bubble. Not only did the bottom fall out of the real estate market, but the real estate industry entered into a period of stagnation which lasted until recovery at the end of the decade. During this period little building occurred on the Upper West Side and, more significantly, the value of building lots fell dramatically, often to their pre-Civil War levels.
Although this period of stagnation did not completely end until 1879, a large amount of capital had already been invested by then in the region of the historic district. The Boulevard had been opened, Riverside Drive and Park were under construction and the Ninth Avenue Elevated Railroad was nearing completion and in operation by the end of 1879.
The erection of the American Museum of Natural History in 1874 - 1877 in Manhattan Square between 77th and 81st Streets and Eighth and Ninth Avenues, indicated the emerging role of this area of the Upper West Side as a setting for cultural activities. Despite these improvements, the Upper West Side at this time "was barren, open land marked with occasional shanties, vegetable gardens, menacing rock out-
growths, lowly taverns and decrepit eighteenth and early nineteenth century mansions."
With the gradual return to prosperity by the end of the decade building activity once again resumed in the city, but much of it was confined to the Upper East Side. By contrast, the Upper West Side was distant from the city's historic thrust northward along Fifth Avenue. Rather than shift a mile to the west to proceed up Eighth Avenue or Broadway, development marched logically northward on the East Side into the Sixties and Seventies.
Furthermore, when real estate began to recover, owners of property on the Upper West Side who had suffered great losses during the Panic deliberately kept prices high in anticipation of development. ^ As a result, East Side property was more attractive to builders and, hence, nearly all of them were busy on the Upper East Side and even in Harlem.
After having lagged some twenty years behind the Upper East Side, development on the Upper West Side was finally stimulated by the completion of the Ninth Avenue El in 1879. However, despite the completion of the El, developers were reluctant, at first, to build on the Upper West Side. Builders hesitated to enter a nearly empty area whose social composition had not yet been determined.
Although everyone agreed that Central Park West and Riverside Drive were destined to supplant Fifth Avenue as the future home of New York's wealthy citizens, with West End Avenue being envisioned as the location of small shops catering to the needs of local households, no one seemed to agree about the future constitution of the rest of the Upper West Side. To be sure, the elevated stations at 72nd, 8 1st, 93rd and 104th Streets did attract builders like magnetic points, but there were few other fixed points to guide investors in determining the nature of buildings most profitable to erect.
The Upper West Side was a wilderness of confusing possibilities. In addition, high real estate prices, the unreliability of city improvements, delays in opening streets, and difficulties in evicting occupants of the numerous shanties spread throughout the region further confounded attempts at development.
Development that occurred on the Upper West Side during the first years of the 1880s was restricted largely to individual entrepreneurs. Construct ion first began in the vicinity of 125th Street at the north and in the area of 72nd Street at the south. Edward Clark, President of the Singer Sewing Machine Co., was the first to make major investments on the Upper West Side. In the late 1870s he invested heavily in property bounded by 72nd and 74th Streets, Eighth and Ninth Avenues.
Early in 1880, a row of his dwellings was put on the rental market and later in the same year he filed plans for his long heralded Dakota Apartments, a designated New York City Landmark. Standing at Central Park West between 72nd and 73rd Streets, it was mockingly dubbed "Clark's Folly" because of its unfashionable location.
The Dakota, however, soon became the nucleus of a residential community built up on nearby streets. Clark's real estate ventures proved to be superb investments and attracted much public attention and comment
Despite the publicity generated by such ventures as Clark's, the "Great West Side Movement" continued to lag behind development on the East Side, but by 1885 the Upper West Side had emerged as the recognized speculative area of the city. The developers already at work there undertook new and larger projects and were joined by nearly all of the larger builders in the city to the degree that the city's whole building force seemed to have been transferred to the West Side.
Buildings erected on the Upper West Side now sold readily and builders were inclined and financially able to continue launching even more projects throughout the area. In 1886, the Times wrote:
The west side of the city presents just now a scene of building activity such as was never before witnessed in that section, and which gives promise of the speedy disappearance of all the shanties in the neighborhood and the rapid population of this long neglected part of New York.
The huge masses of rock which formerly met the eye, usually crowned by a rickety shanty and a browsing goat, are being blasted out of existence. Streets are being graded, and thousands of carpenters and masons are engaged in rearing substantial buildings where a year ago nothing was to be seen but market gardens or barren rocky fields.
Construction began on the first houses, as they stand today in the historic district, in 1885. Designed by F. B. White, a very young architect, these houses are located on West End Avenue at 78th Street. Roughly one quarter of the row houses which survive in the historic district were built by the end of the decade. They were concentrated on West 76th and West 77th Streets and Eleventh Avenue, which had been named West End Avenue in 1880.
Contrary to earlier expectations, West End Avenue evolved into a street of fashionable houses rather than a commercial thoroughfare.
By the early 1890s, the Upper West Side had become more densely built up. The West 70s and 80s, in particular, had acquired row houses and began to establish itself as the Upper West Side's most fashionable neighborhood. Development occurred more rapidly on the streets between the Boulevard and Central Park than on the streets to the west of the Boulevard.
This was due, undoubtedly, to two factors. First, the land "vest of the Boulevard was relatively less accessible to street cars and to the Ninth Avenue El. Second, land flanking Riverside Drive, Central Park West, and, to some degree, West End Avenue, was considered to be prime property.
Speculation thrived on the notion that New York's socially elite and wealthy citizens would abandon Fifth Avenue, move en masse to the West Side and erect palatial mansions along these avenues. Consequently, the value of land adjacent to these streets remained consistently higher than elsewhere on the Upper West Side. High property values discouraged development there.
Promotional brochures and publicity in the press, which began to focus on the territory surrounding the historic district, heightened the interest of buyers and sellers alike in the territory west of the Boulevard. In 1888, for example, the West End Association published a pamphlet entitled "West End Avenue: Riverside Park in the City of New York" in which they lauded the virtues of West End Avenue and environs as an ideal residential area.
They pointed out the avenue's proximity to Riverside Park, its high elevation and its scientific sewerage system as its chief amenities.
In August 1890, the New York Herald ran a series of editorials and articles extolling the advantages of the Upper West Side but especially the Riverside Drive area. The paper focused attention on the proposals of Peter B. Sweeney, Chairman of the Department of Parks, for the creation of a "splendid public pleasure ground for lovers of the horse and the horse himself" on an embankment of the Hudson River between 72nd Street and 98th Street.
The newspaper also portrayed the Upper West Side as an extremely desirable residential area.
The district to the east of Riverside Park as far as Central Park is likely, or rather, sure to become within the next twenty years, perhaps the location of the most beautiful residences in the world.
The advantages of pure air and beautiful surroundings, glimpses of the New Jersey Hills at the end of each street, with the glitter of the Hudson between; the nearness of parks and the accessibility of the district will be insurmountable factors in popularity.
As the time of square brick and brown stone houses has gone by, so alas has the time when New York can afford to neglect her approach and her outward appearances.
In spite of the Panic of 1893, the entire area within the historic district had been developed with large row houses for the well-to-do by the late 1890s, a time span of less than 15 years since the first houses were constructed, Especially along Riverside Drive, numerous rows of large, ornate houses were built on speculation.
The architect Clarence True was instrumental in developing these houses which, with their broad widths, hardly qualified as ordinary row houses but rather as "mansions" with party walls.
By the turn of the century the region of the historic district had evolved into, in the minds of many, the most fashionable residential district in the city. In 1899, one observer noted that West End Avenue above 68th Street was one of the finest residential streets in New York City, while Riverside Drive, known as Riverside Avenue, was "universally acknowledged to be one of the most beautiful and picturesque streets in the world."
The early years of the twentieth century witnessed the increasing popularity and acceptance by the upper middle class of the residential hotel and apartment house, particularly in Manhattan.
As they appeared throughout the city, the value of available vacant land, which previously had been reserved for row house development, escalated sharply and ultimately the cost of the average row house jumped to a point where not even the prosperous upper middle class could afford to buy one.
Legislation of the early twentieth century, which permitted the construction of taller apartment buildings, as well as a "universal demand for comfort, with less care and expense then entailed in private house maintenance," further encouraged the construction of apartment houses and residential hotels and caused the virtual disappearance of rowhouse construction in Manhattan.
The completion of the Broadway subway (IRT) in 1904 undoubtedly contributed to the popularity of the apartment house on the West Side. During the first decade of the twentieth century, residential hotel and apartment house construction boomed.
Apartment house construction on the Upper West Side continued up until the time of the Depression. However, as vacant lots became ever more scarce, particularly after World War I, developers took to demolishing existing rowhouses, many of which were less than twenty years old, in order to assemble sites for more lucrative apartment house construction.
Riverside Drive and West End Avenue were particularly vulnerable to this development trend. Most of the rowhouses which had once lined West End Avenue and Riverside Drive succumbed to the apartment house. Numerous apartment buildings standing along both avenues in the historic district date from this period and are the fruit of this development practice.
With the onset of the Depression, the Upper West Side entered a period of stagnation and decline. Little new construction occurred there. Many rowhouses, which had become financial burdens to maintain, were converted into multiple dwellings. Although urban renewal activity in the 1950s and 1960s left its mark on the Upper West Side, it did not affect the historic district. Moreover, the district has seen no major building activity since World War II. In recent years, however, the historic district has become one of the most desirable residential areas in the city.
La he oscurecido a petición de Sara que no quería que se la viese mucho, así que juntándose con su pelo (moreno) no se ve apenas nada...
Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Location[edit]
Croome Court is located near to Croome D'Abitot, in Worcestershire,[1] near Pirton, Worcestershire.[2] The wider estate was established on lands that were once part of the royal forest of Horewell.[3] Traces of these older landscapes, such as unimproved commons and ancient woodlands, can be found across the former Croome Estate.[4]
House[edit]
Croome Court South Portico
History[edit]
The foundations and core of Croome Court, including the central chimney stack structure, date back to the early 1640s.[5] Substantial changes to this early house were made by Gilbert Coventry, 4th Earl of Coventry.[6]
In 1751, George Coventry, the 6th Earl, inherited the estate, along with the existing Jacobean house. He commissioned Lancelot "Capability" Brown, with the assistance of Sanderson Miller, to redesign the house and estate.[7][1] It was Brown's "first flight into the realms of architecture" and a "rare example of his architectural work",[8] and it is an important and seminal work.[9] It was built between 1751 and 1752, and it and Hagley Hall are considered to be the finest examples of Neo-Palladian architecture in Worcestershire. Notable Neo-Palladian features incorporated into Croome Court include the plain exterior and the corner towers with pyramidal roofs (a feature first used by Inigo Jones in the design of Wilton House in Wiltshire).[1] Robert Adam worked on the interior of the building from 1760 onwards.[10]
The house has been visited by George III,[2][11] as well as Queen Victoria[7] during summers when she was a child, and George V (then Duke of York).[11]
A jam factory was built by the 9th Earl of Coventry, near to Pershore railway station, in about 1880, to provide a market for Vale of Evesham fruit growers in times of surplus. Although the Croome connection with jam making had ceased, during the First World War, the building was leased by the Croome Estate Trust to the Huddersfield Fruit Preserving Company as a pulping station.[12]
The First World War deeply affected Croome, with many local casualties, although the house was not requisitioned for the war effort. This is possibly because it was the home of the Lord Lieutenant of the County, who needed a residence for his many official engagements.[13]
During the Second World War Croome Court was requisitioned by the Ministry of Works and leased for a year to the Dutch Government as a possible refuge for Queen Wilhelmina of the Netherlands; to escape the Nazi occupation of the Netherlands. However, evidence shows that they stayed two weeks at the most, perhaps because of the noise and fear created by the proximity of Defford Aerodrome. They later emigrated to Canada.[14]
In 1948 the Croome Estate Trust sold the Court, along with 38 acres (15 ha) of land, to the Roman Catholic Archdiocese of Birmingham, and the mansion became St Joseph's Special School, which was run by nuns[15] from 1950[11] until 1979.[15]
The house was listed on 11 August 1952; it is currently Grade I listed.[10]
In 1979 the hall was taken over by the International Society for Krishna Consciousness (Hare Krishna movement), who used it as their UK headquarters and a training college[16] called Chaitanya College,[15] run by 25 members of the movement.[16] During their tenure they repainted the Dining Room.[17] In 1984 they had to leave the estate for financial reasons. They held a festival at the hall in 2011.[16]
From 1984 onwards various owners tried to use the property as a training centre; apartments; a restaurant and conference centre; and a hotel and golf course,[15] before once more becoming a private family home,[2][15] with outbuildings converted to private houses.[15]
The house was purchased by the Croome Heritage Trust, a registered charity,[18] in October 2007,[19] and it is now managed by the National Trust as a tourist attraction. It opened to the public in September 2009, at which point six of the rooms had restored, costing £400,000, including the Saloon. It was estimated that another £4 million[2][20] to £4.8 million would be needed to restore the entire building. Fundraising activities for the restoration included a 2011 raffle for a Morgan sports car organised by Lord and Lady Flight. After the restoration is complete, a 999-year lease on the building will be granted to the National Trust.[21] An oral history project to record recollections about Croome was funded by the Heritage Lottery Fund.[15] As of 2009, the service wing was empty and in need of substantial repair.[22]
Exterior[edit]
The mansion is faced with Bath stone,[7] limestone ashlar, and has both north and south facing fronts. It has a basement and two stories, with three stories in the end pavilions. A slate roof, with pyramid roofs over the corner towers, tops the building, along with three pair-linked chimneys along the axis of the house.[10]
Both fronts have 11 bays, split into three central sets of three each, and one additional bay each side. The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with cast stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade.[10]
A two-story L-shaped service wing is attached to the east side of the mansion. It is made of red brick and stone, with slate roofs.[10] It was designed by Capability Brown in 1751-2.[22] On the far side of the service wing, a wall connects it to a stable court.[10]
Interior[edit]
The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by J. Rose Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end.[10]
The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace. The three rooms were probably decorated around 1758-59 by Capability Brown.[10] The dining room was vibrantly repainted by the Hare Krishnas in the 1970s-80s.[17]
The central room on the south side is a saloon, probably by Brown and Vassalli. It has an elaborate ceiling, with three panels, deep coving, and a cornice, along with two Ionic fireplaces, and Palladian doorcases.[10] George III was entertained by George Coventry, the 6th Earl, in the house's Saloon.[2] A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace.[10]
To the east of the saloon is the Tapestry Room.[10] This was designed in 1763-71, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by Jacques Germain Soufflot, and made by Manufacture Nationale des Gobelins.[23] Around 1902 the ninth Earl sold the tapestries and seating to a Parisian dealer. In 1949 the Samuel H. Kress Foundation purchased the ceiling, floor, mantlepiece, chair rails, doors and the door surrounds, which were donated to the Metropolitan Museum of Art, New York, in 1958. In 1959 the Kress Foundation also helped the Metropolitan Museum acquire the chair and sofa frames, which they recovered using the original tapestry seats.[7][23] A copy of the ceiling was installed in place of the original.[10] As of 2016, the room is displayed as it would have looked after the tapestries had been sold, with a jug and ewer on display as the only original decoration of the room that remains in it. The adjacent library room is used to explain what happened to the tapestry room;[17] the former library was designed by Adam, and was dismantled except for the marble fireplace.[10]
At the west side of the building is a long gallery,[10] which was designed by Robert Adam and installed between 1761 and 1766. It is the best preserved of the original interior (little of the rest has survived in situ).[1] It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half-hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton.[10] As of 2016, modern sculptures are displayed in empty niches along the Long Gallery
wikipedia
Uncle Walters recollections -
"That was in Berlin. The wagons weren’t always that clean! We were still working, we did a lot of work. That must have been just after the Victory Parade, the wagons have been painted.”
Uncle Walter would have just turned 20 here.
1912 postmarked postcard view of the Elm Street Viaduct over the Pennsylvania (PCC & St Louis) Railroad at Bunker Hill, Indiana. This view was looking northwest. The passenger depot was on the east side of Elm Street just north of the tracks. Two sets of stairs led down to the track level.
The viaduct didn’t exist when the 1907 Sanborn™ fire insurance map set was being prepared. There was only one track at that time. The 1913 map set shows three tracks under the viaduct and says the structure (including the stairs) was iron and the "walk" (street surface?) was concrete. That map set shows only the set of stairs nearest the depot.
From a private collection.
1914 postmarked postcard view of the new St. Vincent's Hospital in Indianapolis, Indiana. The hospital was located between North Capitol Avenue and North Illinois Street. Construction was completed in 1913. The hospital moved to the north side of the city several years ago and this building has recently become an integral part of the Ivy Tech Community College campus.
From a private collection.
Copyright 2005-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
everything seemed to be going downhill; i was literally down to my last three quarters. i even contemplated going to outside sources for help. i had to fix the situation. but then,
BAM!
i remembered there was a pouch of toll-booth quarters in the car from the last trip home. i was once again free to wash the laundry! TAKE THAT, DIRTY TOWELS! TAKE IT AND SUCK IT! yeeeeah, i'll show YOU unscented tide with baking soda! i need 6 quarters to wash a single pile of laundry, and as 3 quarters and no clean clothes left equals hippie time, i was understandably worried. but now all is well. until next time.
on a funny note, tonight's laundry event has nothing to do with this photo, which is from thursday. the shot just seemed like a kind of "but wait..." moment. this also started as a color then went to a b&w then a different b&w and then a color again and then a texture and now a sepia with texture. i still can't decide.
spinnnnn!
330/365
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1914 postmarked postcard view of State Street in Pendleton, Indiana. There were a few pedestrians in this scene and a handful of horse-drawn buggies and wagons. One vehicle in the distance may be an automobile. The photographer was standing west of Main Street and facing east when he took the photograph. The Main Street intersection is in the foreground.
Although this postcard has a postmark from 1914, the photograph was taken prior to 1910. The K. of P. (Knights of Pythias) Building at 16-18 West State Street (using the old street address system) was built in 1910. That building did not yet exist when this photograph was taken.
The hand water pump on the northeast corner of the Main Street intersection is shown in the 1914 Sanborn™ fire insurance map set for Pendleton, but not in the 1908 map set. The sign above the awning on that corner advertised DRY GOODS, SELZ SHOES and GROCERIES. Both map sets show this type of business at that location (40 West State Street). The Redmen’s Hall was on the second floor of that building. The 1908 map set shows the small wood frame building with the barber’s pole, but the building had been replaced by a single-story brick structure by the time the 1914 map set was being prepared. The 1908 and the 1914 map sets both identify the next building east (single-story brick construction) as the Pendleton Post Office (36 West State Street). Beyond the post office, the single-story wood frame building was a 5c theatre according to the 1908 map set. However, that building had also been replaced by a single-story brick structure (34 West State Street) by 1914.
Farther east, very few business signs were visible. The name on the _______ OFFICE sign east of the 5c theatre isn’t quite readable. Both map sets show a millinery shop and a grocery store in that building (30 West State Street) with a stairway between the two businesses. The sign was probably hanging above the stairway entrance and advertising a professional office on the second floor. The only other visible sign on the north side of the street is the RESTAURANT sign. The 1908 map set shows a restaurant in a single-story wood frame building west of the IOOF (Independent Order of Odd Fellows) Building. The distinctive IOOF façade is easy to identify in this photograph. However, the four small wood frame buildings to the west of it are difficult to see in this scene. The K. of P. Building and a bank replaced those small buildings and businesses in 1910.
The railroad crossing arms in the background identify the location of the C. C. C. & St. L. (Cleveland, Cincinnati, Chicago & St. Louis) Railway crossing. The crossing is between Pendleton Avenue and Broadway Street. The location of the HARNESS sign on the south side of State Street matches a harness and implements business at 11 East State Street in the 1908 map set. The DENTIST sign may have been on the building at the southwest corner of Pendleton Avenue or possibly above the bank on the southeast corner. The 1908 map set shows two saloons in the building on the southwest corner (1 and 3 West State Street). A Third saloon was located at 11 West State Street, but none of the three was identifiable in this photograph. The CIGAR STORE sign advertised a store located at 5 West State Street when the 1908 map set was published. That building and several other wood frame buildings (5 West State to 15 West State) were gone by the time the 1914 map set was being prepared.
The large barber’s pole in this scene stood in front of the two-story brick building at 25 West State Street. A cigar store was located in that building when the 1908 map set was being prepared, but the 1914 map set shows a barbershop. It is unclear on which building the PENDLETON LAUNDRY sign is posted. Neither map set lists a laundry business in that vicinity. The name on the ______ OFFICE UP STAIRS sign is not quite readable. The three-story building (27-29 West State Street) housed a furniture store in 1908. The K. of P. Hall was on the second floor and the Masonic Hall was on the third floor. The small wood frame building next door (31 West State Street) was occupied by a confectionery business when both map sets were published. The word HAIR was painted on the next building west (35 West State Street). However, both map sets show a photo gallery in that building. The sign next door (37 West State Street) advertised a cobbler’s business that is shown in the 1908 map set, but was gone by the time the 1914 set was being prepared. The business sign used images of a boot and a shoe as part of the sign. A tailoring business occupied the building on the southeast corner at Main Street. The building also served as a dwelling.
Copyright 2010-2015 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
From Josephine Neill's scrapbook.
There so many things (flowers, corsage ribbons, cigarettes) with Bud's name on them in Josephine's scrapbook, so the romance between Bud and Josephine during their college days must have been quite a serious one. Wish I knew what happened to their little love affair. Was she too flirty with other boys? Was he too quiet? Did they get bored with each other, argue too much? Whatever happened, neither of them married during college, I know that. Bud went off to New Mexico, and I don't know when he got married. Josephine didn't marry until long after college when she was 27 (in 1935).
It was a beautiful day. It felt so surreal. The feeling is still fresh in my soul. If only I could draw that feeling...
The third panel in the LULUBELL Toy (Re)collections triptych. In this one I recreated my earliest toy experiment when I attempted to make a mold of my Greedo figure with a bar of soap and cast it in Green crayon.
The show is Saturday, June 5th
from 6-9PM
Lulubell Toy Bodega
439 N. 6th Avenue, Suite 187
Tucson, AZ 85705
1910 postcard view of the aftermath of a train wreck near Fort Benjamin Harrison, Indiana. This scene was on the Cleveland, Cincinnati, Chicago and St. Louis (CCC & St Louis) Railway northeast of Indianapolis.
From a private collection.
A closeup section of this postcard image can be seen here.
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1914 postmarked postcard view of the Winona Flyer trolley car and waiting passengers in Warsaw, Indiana. This view was looking northeast on East Center Street, just east of the alley between North Buffalo and North Indiana Streets. The sign advertising the WINONA ELECTRIC LIGHT AND WATER COMPANY was painted on the side of the building (113 East Center Street) facing the alley. According to the 1910 Sanborn™ fire insurance map set for Warsaw, the traction depot was located at 115 East Center Street in the center of that building. The map set shows a “motion pictures” theater in the east end of the building (117 East Center Street). The building standing at that location today appears to be the same building, but with a new façade. The steeple in the background belonged to the First Baptist Church on the northeast corner at East Center and North Indiana streets. The Sanborn™ map set says the steeple was 60 feet tall. The church is no longer there.
The trolley in this view belonged to the Winona Interurban Railway Company. That company was the successor to the Wabash and Winona Railroad that had formed in 1902. The purpose of the original company was to carry passengers between Warsaw and Winona Lake. The new company incorporated in 1905 to connect Warsaw with several other northern Indiana cities via interurban rail lines.
John Inbody used his own photograph to produce this postcard in his Elkhart, Indiana, studio. He was probably the most consistent photographer in Indiana in terms of publishing high quality real photo postcards with interesting scenes. However, he died at a relatively young age in 1915.
Copyright 2005-2016 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
c1910 postcard view of the Perry County Court House in Cannelton, Indiana. This building is located on the north corner of the 7th and Taylor Streets intersection. The county seat was moved to Tell City in 1994 and this building is now home to the Perry County Old Courthouse Museum.
The windows on the nearest corner of the building had SHERIFF’S painted on them. The word “OFFICE” was probably there as well, but isn’t visible on this postcard.
From the collection of Thomas Keesling.
Copyright 2006-2013 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
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The following additional information is provided courtesy of David Enyart from his “Data Base of Indiana Court Houses.”
Troy and Rome were Perry County seats before Cannelton became county seat in 1859. This is the fourth Perry County Court House and served the county from 1897 until the county seat was transferred to Tell City in 1994.
Details: Italian Renaissance style architecture; part of the Cannelton Historic District
Cost: $30,000 (paid by the city of Cannelton)
Architect: John Bacon Hutchings
Cornerstone: 9/10/1896
Accepted: June 1897
The move of the county seat to Tell City in 1994 is the first County seat move in Indiana since the 1896 Crawford County move from Leavenworth to English.
David has compiled additional information for this and the other 91 Indiana counties. Through David's generosity, all of that information can be found at the Allen County Public Library Genealogy Center. The web address is www.genealogycenter.info/search_incourthousehistories.php.
Service recalls 9/11 trauma, resolve, resilience that followed
By Franklin Fisher
franklin.s.fisher2.civ@mail.mil
CAMP RED CLOUD, SOUTH KOREA – The American people have demonstrated resilience and resolve in the years since the Sept. 11 terrorist attacks, a speaker at Camp Red Cloud said during a chapel service in remembrance of the traumatic events and their aftermath.
Titled “A Call to Remember!” the service began Sept. 11 at 11:30 on a sunny Tuesday and ended around noon before an audience of about 40.
In his remarks, the speaker, Lt. Col. Steven G. Finley, commander, U.S. Army Garrison Casey, first evoked the specter of those events in 2001 that have become seared in the national consciousness and are often compared to Japan’s attack on the United States at Pearl Harbor, Dec. 7, 1941.
“Eleven years ago, America confronted one of the darkest nights,” Finley said of the events that unfolded that morning in 2001, which saw not only the attacks on the World Trade Center in Manhattan, but also on the Pentagon, and that included the crash of United Airlines Flight 77 near Shanksville, Pa.
“Mighty towers crumbled,” he said. “Black smoke billowed up from the Pentagon. Airplane wreckage smoldered on the Pennsylvania field.
“Friends and neighbors, sisters and brothers, mothers and fathers, sons and daughters – they were taken from us with heartbreaking swiftness and cruelty.
“On September 12, the day after, the nation awoke to a world in which evil was closer at hand, and uncertainty clouded our future,” Finley said.
“These past 11 years have shown that America does not give in to fear,” said Finley. “The rescue workers who rushed to the scene, the firefighters who charged up the stairs, the passengers who stormed the cockpit – these patriots defined the very nature of courage…
“These past eleven years have shown America’s resolve to defend its citizens and the American way of life…” he said.
“Proof of our healing has been a story of total resilience. The Pentagon is repaired, and filled with patriots working in common purpose daily. Shanksville is the scene of friendships forged between residents of that town, and the families who lost loved ones there.
“New York remains a vibrant capital of the arts and industry, fashion and commerce.
“The trade center – where it once stood the sun now glistens off a new tower that reaches toward the sky.
“Our people still work in skyscrapers, our stadiums are filled with fans and our parks full of children playing.”
The audience also heard personal recollections from two other members of the Warrior Country community, Mark Hagelin, management analyst with the U.S. Army Garrison Red Cloud’s Plans, Analysis, and Integration Office, and Chaplain (Maj.) Andrew Lawrence, the 2nd Infantry Division’s deputy division chaplain.
Hagelin said his brother, an attorney who “worked around the corner” from the World Trade Center, was out on a case and miles away when the attacks occurred.
“Others weren’t quite so lucky,” he said, noting that among high school friends of his sister-in-law was a firefighter who died “fighting to save others” when the second tower of the World Trade Center collapsed.
“I refuse to hate,” said Hagelin. “Hate brings pain and intolerance.”
But, he said, “I will not forget,” and likened the Sept. 11 attacks to Pearl Harbor.
“The horrific vision and soundtrack of 9/11 are etched into my soul,” said Hagelin. “I will never forget.”
Lawrence, then a parish priest in Iowa, accompanied a group of Catholic parishioners on a pilgrimage to Rome, arriving there Sept. 11. They ended the day stunned by news of the attacks. They awoke next morning, Sept. 12, to find under their hotel room doors a letter signed by the mayor of Rome expressing condolences and goodwill to the city’s American visitors.
Later that day, during a tour of St. Peter’s Basilica, an American woman on vacation from her job at the Pentagon approached Lawrence, asked if he was an American, and in the course of conversation said she’d been unable to reach her co-workers after news of the attacks. She feared some of them may have been killed, she said, and asked Lawrence to pray with her, which he did.
Toward the end of Tuesday’s service, during a ceremonial moment of silence, a firefighter from the Camp Red Cloud fire department, clad in his dark blue work uniform, his face expressionless, struck a brass memorial bell five times, paused, and struck another five times, at intervals, until the bell had sounded 20 times.
1907 postmarked postcard view of the south side of the courthouse square in Bedford, Indiana. This view was looking east along Sixteenth Street from the J Street intersection.
The character of this block changed in the period between 1904 and 1910 when two Sanborn™ fire insurance map sets were published. In 1904, five saloons were located in this block. Four of them were in the east half of the block at 900, 904, 906 and 914 Sixteenth Street. The fifth was at 924 Sixteenth Street. All were gone by 1910.
The small two-story brick building on the corner at I Street (900-02 Sixteenth Street) was replaced with a new two-story building after 1904 and before this photograph was taken. The new building had a stone façade. A clothing store occupied that newer building (900 Sixteenth Street) when the 1910 Sanborn™ map set was being prepared.
Business signs in this view identify several of the businesses in existence when this photograph was taken in 1907 or earlier. Beginning near the east end of the block, the round sign appears to be in front of the building at 906 Sixteenth Street with the stone façade. That was the location of one of the saloons in 1904 and a soft drinks business in 1910. The first readable sign was the HOT & COLD BATHS sign that appears to be at 910 Sixteenth Street. However, both the 1904 and the 1910 Sanborn™ map sets show a boots and shoes business at that address. Partially hidden by the baths sign was a sign advertising a DENTIST. It may have been J. G. Hogan. Another sign, below the baths sign, advertised the office of DOCTOR ______. A little farther west, the DRUGS and NEWS DEPOT signs identified the location of the drug store at 912 Sixteenth Street. The 1904 map set shows a drug and stationery store at that address while the 1910 map set shows simply a drug store.
The oval sign west of the drug store at 914 Sixteenth Street appears to read WALKER RYE. In 1904, one of the saloons was located at that location. By 1910, a bakery had moved into the building. A tall, decorated post at the curb in front of that building probably advertised the location of the barbershop at 916 Sixteenth Street.
Farther west, the RESTAURANT sign was at 922 Sixteenth Street, but the address changed to 924 Sixteenth Street by 1910). The restaurant was identified in the 1910 Sanborn™ map set, but the 1904 set shows a novelties store at that location. Next door, the round sign advertised GERMAN HOUSE RYE and identified the location of the saloon at 924 Sixteenth Street. The GEO. W. HAY sign advertised a store at 926 Sixteenth Street. A clothing store was at that location in 1904 and in 1910. The container on the sidewalk in front of that store has UNION printed on it.
The sign on the building west of the Hay store advertised the ADES store. Both Sanborn™ map sets show a clothing store at this address. There was a stairway between the Hay and Ades stores leading to the second floor. A sign posted above the Hay store advertised S. B. LOWE. Another sign, S. B. LOWE LAW OFFICE, was reflected in the Ades display window next to that stairway.
The large DRUGS sign advertised the OWL DRUG STORE on the corner (930 Sixteenth Street). The 1904 Sanborn™ map set shows this as a drug and jewelry store. Signs mounted on the utility pole at the curb in front of the drug store advertised AT&T LOCAL AND LONG DISTANCE TELEPHONE, HARRISON'S TOWN & COUNTRY PAINT and KODAKS. Signs painted on a display window advertised SODA WATER and STICKNEY's SEGARS. A sign below that window advertised DR. A. C. DANIELS MEDICINES. Signs below the windows on either side of the store entrance advertised STICKNEY’S NEW TARIFF CIGAR and STICKNEY’S CHANCELLOR CIGAR.
This photograph appears to show a stairway between the drug store and the Ades clothing store. However, neither the 1904 nor the 1910 map set shows the stairway. The signs at that stairway advertised THE CLIMAX STONE CO., M. OBRIEN REAL ESTATE LOANS and INSURANCE, and the NORTON BLUESTONE CO. All of these were presumably located upstairs. The name C. S. NORTON BLUE STONE DARK ______ was painted on a window above the drug store.
From a private collection.
The full postcard image can be seen here.
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c1910 postcard view of the Grant Bros. Company in Marion, Indiana. The advertising on the side of the building identified their business as WHOLESALE PRODUCE, including BUTTER, EGGS and POULTRY. Their building was located north of East 8th Street between McClure Street on the west and the C. C. C. & St. L. (Cleveland, Cincinnati, Chicago & St. Louis) Railroad and the T. St. L. & W. (Toledo, St. Louis & Western) Railroad on the east. This view was looking south along McClure Street. The photographer was probably standing near Seventh Street when the photograph was taken.
The three-story building in the background with the water tower was the Marion Insulated Wire and Rubber Co. according to the 1911 Sanborn™ fire insurance map set for Marion. The single-story building east (left in this view) of that factory was an office. These buildings were on the south side of Eighth Street and on the east side of the railroad tracks that ran parallel to McClure Street.
The small building south of the main Grant Bros. building was a warehouse on the northeast corner at McClure and Eighth Streets. The next building south, according to the map set, housed the J. Savesky Sons & Co. They were sellers oil and gas well supplies.gas well supplies.
From a private collection.
The full postcard image can be seen here.
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Copyright 2011-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
...and reflections. Title is a song by From Autumn to Ashes.
Photo was taken on a beautiful morning at Packwood Lake in the Gifford Pinchot/Goat Rocks National Forest in Washington State.
Canonet QL-17 GIII, Kodak Tri-X (@800)
Going through past stuff to put up on the blog (thus the circle-b - theatreofthemundane.tumblr.com/) and came across this, which I overlooked back in January. For whatever reason I didn't care for it at the time.