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Last November 26, 2016 the Junior High School students had their recollection activity. The purpose of a recollection activity is to refresh and revitalize the mind and soul of the students for them to be once again in tune and further deepen with their relationship with God. This is achieved through relatable lectures and thought provoking activities that help the students reflect and contemplate on how they are making and breaking the teachings of Jesus in their lives and how they can bring that love back to their families. The activity ends with a confession and a thanks giving mass.
"There's a brick wall in Notting Hill near Portobello Market that I would rather look at for hours than go to Madame Tussaud's and it's totally free and full of history"
- Joe Strummer
Portobello Road, London
28th February 2011
20110228 IMG_8887
1974 Schwinn Continental.
I have no way of knowing whether or not this was the first 10-speed I ever owned — I just don't remember — but this is as close to my recollection of that bike as I can find. The color is the same, and mine definitely had those dangerous "safety" brake-levers.
When I was in sixth grade (?), Huffy released (and heavily promoted) the Aerowind, which soon became the must-have bike. A real 10-speed! (I'm not sure if that's the correct model name or not, but the bike I'm thinking of sold for around $100 and featured Christopher Cross' "Ride Like the Wind" as background music in the television commercial. It just made you want one, SO BAD!) Dave Jones was the first to get one of these bikes — it was sky blue — and I was infinitely envious.
Perhaps it wasn't long after that when Dad took me to this small bike shop in Naperville that no longer exists (it was located in the little strip-mall next to the DuPage river, between Burger King and Prince Castle — also no longer there). He ended up buying me a second-hand 10-speed in "racing brown"; the catalog calls it chestnut, which was also the color of the plastic, translucent bar tape. I'm almost certain this wasn't the bike I wanted, but it was a 10-speed all the same.
(Random memory: while riding down Calumet one day, I was "practicing" stopping short on the front brakes to see how far I could swing up and balance over the front wheel without actually going vertical and flipping over. Sorry to say, I found out the hard way just how much is too much. I never did it again, though...)
Placing this bike on my personal timeline is proving a bit tricky. It seems likely I would have got this bike after the Raleigh BMX, but I can't be certain of that. The only credible memory I have to date this bike is riding it to Wheaton during 8th grade to visit my maybe girlfriend, Kelly Clarke. (I can't verify she was my girlfriend by any standard measure, but we did spend an ungodly number of hours on the phone together.) Kelly lived behind Monroe Junior High, just across the tracks from our school but quite a trek from our house in Warrenville.
(Thinking about it now, that was a strange family — though they were always amazed at how far I'd come to see Kelly. As for me, I remember being so impressed that her brother would regularly jog 4-6 miles and a little freaked out that her mother had achieved a kind of perverse notoriety for dating — was it dating? — a local Elvis impersonator, Rick Saucedo. It's probably good that our "relationship" fizzled when it did. I had things to do.)
In any case, this bike was the first to ferry me beyond the periphery of my known stomping grounds, allowing a taste of the adventure and freedom that most kids don't experience until they start driving.
Sears TLS | Sears (Mamiya Sekor) 55mm | Kodak Gold
May 2000. Vietnam War Memorial. Heck Park. Monroe, Michigan.
1909 postmarked postcard view of the grounds at the French Lick Springs Hotel in French Lick, Indiana. This view was looking southwest toward the east façade.
From the collection of Thomas Keesling.
Copyright 2004-2014 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.
“Portobello ReCollection” is a six month arts project in Notting Hill launching this Autumn 2010. We begin with transforming the 100 metre long Portobello North Wall on the Portobello Road into “Wall of Sound”, a giant shelf of records with the titles reproduced on 2 metre high album cover spines, creating an explosion of colour and type design. The celebration of the rich musical heritage of Notting Hill in this wall of sound, will emphasize the connection between the place, its people and its music; as if the wall was Notting Hill’s own private record collection.
Portobello Road. Chelsea, London.
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
c1910 postcard view of the Freeman Block and store in Osgood, Indiana. The building was located west of the alley between Walnut and Buckeye Streets on the south side of Ripley Street. This view is looking southeast. The 1911 Sanborn fire insurance map set says the store in the Freeman Block sold carpets and pianos on the first floor and furniture on the second floor. Auto repairing was apparently done in the basement. The sign at the top of the building reads, FREEMAN’S FASHIONABLE FURNITURE.
At the extreme left edge of this view is part of a BANK sign. That bank was on the southwest corner at Buckeye Street according to the Sanborn map set. The Osgood Post Office was located west of the bank, occupying the center of that brick building. A FURNISHING STORE, advertising HATS and SHOES, was in the west end of that building. The top of that business sign may contain the owner's name, but I can't read it. The Sanborn map set shows a wallpaper business on the second floor of that building above the post office and clothing store.
This image was created by Thomas Keesling from a postcard courtesy of the Indiana Postal History Society.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/6963362745/in...
c1910 postcard view of Main Street Bridge over Whitewater River in Richmond, Indiana. This view was looking northeast from the vicinity of the Old National Road at the west edge of the river. According to the postcard book Richmond, this iron bridge was completed in 1897, two years after the Old National Road Covered Bridge had closed.¹ The new bridge was located a very short distance north of the original bridge. A mere 20 years later, the County Commissioners were taking bids for a new concrete Main Street Bridge. The structure in the river below the bridge must have been the dam that diverted water to be a dam that diverted river water to an old mill race that was shown on the 1891 and 1896 Sanborn™ key maps, but not on later maps.
This scene included three chimneys beyond the bridge on the east side of the river. The 1901 Sanborn™ fire insurance map set for Richmond shows these three chimneys and includes a note showing the future site of the Municipal Electric Light plant in the valley about 150 yards north of the bridge. The 1909 map set shows that plant with a 125-foot iron chimney and a 45-foot square brick chimney. Those chimneys aren’t in this postcard scene. So, this scene predates 1909.
The tallest chimney beyond the bridge belonged to the coal-fired electric light and power plant operated by the Richmond Light, Heat and Power Company, located below the bridge on the east side of the river. It had a 90-foot square brick chimney. Next door to the east (but not down in the valley) was the company’s coal- and coke-fired gas plant. It had either a 30-foot (per the 1901 map set) or a 50-foot (per the 1909 map set) iron (round) chimney. In the valley north of the gas plant was the City Garbage Creamatory. It had a 45-foot square brick chimney.
The structure with the square brick chimney at the right edge of this scene sat in the valley immediately south of the bridge. The 1909 map set shows this as the T. H. I. & E. (Terre Haute, Indianapolis & Eastern) Traction Company power station. Notes in the map set say the chimney was 150 feet tall and the valley wall was 50 feet high at this location.
1. Susan E. King, Richmond (Charleston SC, Chicago IL, Portsmouth NH, San Francisco CA: Arcadia Publishing, 2005).
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/16433831581/
Copyright 2003-2014 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.
Recollection of the Indian Freedom Struggle and formation of the Indian National Army by Netaji Subhash Chandra Bose
Marsden Hartley's New Mexico Recollection #6, an oil paint on canvas, was executed in 1922. Hartley strove to capture what he called the "solidity" of the landscape aroound Taos and Santa Fe. "The country of the Southwest is essentially a sculptural country," he wrote.
The Denver Art Museum, a private, non-profit museum, is known for its collection of American Indian art. Its impressive collection of more than 68,000 works includes pieces from around the world including modern and contemporary art, European and American painting and sculpture, and pre-Columbian and Spanish Colonial art. The museum was originally founded in 1893 as the Denver Artists Club. In 1918, it moved into galleries in the Denver City and County Building, and became the Denver Art Museum.
In 1971, the museum opened what is now known as the North Building, designed by Italian architect Gio Ponti and Denver-based James Sudler Associates. The seven-story structure, 210,000-square-foot building allowed the museum to display its collections under one roof for the first time. The Frederic C. Hamilton Building, designed by Studio Daniel Libeskind and Denver firm Davis Partnership Architects, opened on October 7, 2006 to accommodate the Denver Art Museum's growing collections and programs.
notecard: memory box
cardstock: bazzill marshmallow, ranger watercolor, recollections black
stamps: jane's doodles cactus/hello friend
ink: memento tuxedo, copics
other: mft circles/peek a boo polka dots
I made some snippet backgrounds last month. This one uses all cuts from thesome papers I received as a prize.
Using Bo Bunny & Recollections sentiment stamp
Entered into:
BYSHC Christmas in July
byshcardmakers.blogspot.com/2023/07/christmas-in-july-202...
BYSHC FB Card a Day
www.facebook.com/media/set/?set=oa.288933073595339&ty...
SSW2 using sketch 259
sweetsketchwednesday2.blogspot.com/2023/07/july-sketches-...
Double Trouble 143
doubletroublechallenge.blogspot.com/2023/07/Challenge-143...
Thing 1 Christmas
Thing 3 Santa Hat
Thing 2 - Jingle Belles
jinglebellesrock.blogspot.com/2023/07/santas-hat.html
DL.ART July
dianamlarson.blogspot.com/2023/07/dlart-july-2023-linky-c...
'Portobello ReCollection' is the fourth commission of the Portobello Road Arts Project.
This artwork transforms the 100-metre long wall at the northern end of Portobello Road into W11's own private record collection - a giant shelf of records representing the defining songs of Notting Hill, as identified through collaboration with DJs, musicians, record labels, stall holders and local historians.
c1915 postcard view of the Biology Building at Indiana University in Bloomington, Indiana. The building is still located on the north side of Third Street east of the Fess Avenue intersection. This view was looking south toward the building’s north façade. The IU chronology says the building was constructed in 1910 and renamed Swain Hall East in 1957.
From the collection of Thomas Keesling.
Copyright 2003-2017 Hoosier Recollections. All rights reserved. This creative JPG file package is an original compilation of materials and data. The package is unique, consisting of a wide variety of related and integrated components. 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.
Memoirs of a Gaysaya by Mike Dumlao
tandang tanda ko pa...bagyo sa amin sa San Pablo, Laguna. wala pa kaming telepono nuon. nakikitawag lang kami kay Tito Charles, yung Chinese na neighbor namin na baklang mayaman na may furniture at hardware business. may long distance daw. sumugod ako sa rumaragasang ulan. isang tawag mula sa aking Nanay. asa Manila sya. sa mga Tito ko. na stranded sya. ala nang bus papuntang Laguna dahil sa bagyo. ala rin kaming pagkain. ala rin ang Tatay ko noon, kasi naka destino sya sa San Fernando, Pampanga.
isa akong basang sisiw, baklang basang sisiw na may apat pang inakay sa aming bahay. ako ang panganay, ako ang may responsibilidad na pakainin ang aking apat na nakababatang kapatid. sa pagkakataong yuon, ako ang Ina, ako rin and Ama ng aming tahanan sa Medex Subdivision.
ang sabi ng Nanay ko, maliwanag na maliwanag, kunin ko raw ang mga barya sa aming Santo Nino. bumili daw ako ng sardinas, para sa aming magkakapatid. akala ko naman ay kasya ang perang andun sa altar. di pala. naghalo ang aking luha at ang ulan mula sa langit. pero di ko ininda ang aking dalamhati. may umaasa sa akin. hawak ko ang Ligo sardines, mahigpit na mahigpit habang ako ay halos maligo na sa lakas ng ulan.
pang dalawang lata lang ng sardinas ang kasya duon sa mga baryang natipon ko. paubos na rin ang aming bigas, pero pinaghati hatian naming limang magkakapatid ang dalawang lata ng Ligo at ang tatlong tasa ng kanin. brownout pa naman. naawa ako sa aming kalagayan. akala ko, pag nakatira sa Subdivision, mayaman na. akala ko, pag Manager ang Tatay mo, di ka makakaranas ng gutom.
sa murang edad, nalaman ko ang ibig sabihin ng gutom. nakaraos kami ng gabing yun. kinabukasan, dumating na ang Nanay ko. may dalang longganisa atsaka isang latang Tang. tapos na ang bagyo. may kuryente na rin. nasabi ko sa aking sarili, ang sarap kumain ng almusal, lalo na kung ang kinagabihang hapunan ay kulang.
salamat sa alaala, kapatid!
[photo: unprocessed, taken at a convenience store somewhere in Chicago]
Romare Bearden created the 1984 Pittsburgh Recollections mural for the underground Gateway Center light rail station. Bearden went to high school in Pittsburgh, and the mural depicts the history of the region.
Recollections Twenty-Five Gold Tooled Bookbindings, Tribute to Bernard C. Middleton. Exhibition at UW Libraries Special Collection on loan from Frank Buxton
cardstock: recollections
stamps: Jane's Doodles/Life is Good, Paper Smooches/Pretty Phrases
ink: Memento Tuxedo, Fresh Inks
tsurutadesigns.blogspot.com/2013/08/thanks-ever-so-much.html
1910 postmarked postcard view of a boy on his bicycle posing in Etna Green, Indiana. A newspaper bag from THE JOURNAL-GAZETTE newspaper in Fort Wayne hung from the bicycle handlebar. Etna Green is about 50 miles from Fort Wayne. The backdrop for this photograph was the G. H. BURGH MEAT MARKET in Etna Green. George H. Burgh was the proprietor of that shop. One of the metal cans behind the right-hand display window was labeled LAR_. This was probably lard and the label included the G. H. Burgh name and his location in Etna Green.
The location of the shop wasn’t identified, but the reflection of a two-story brick building in the shop windows offers a clue. The second-story windows in that brick building are different from those in the two-story brick building that dominates the corner today at Walnut and Broadway streets. The windows are reflecting another brick building that is no longer standing.
The Journal-Gazette was the product of a merger of two Fort Wayne newspapers that began publishing in the 1860s. A 1910 newspaper directory¹ didn’t list any Etna Green newspapers, but did list six newspapers published in Fort Wayne. Two of the Fort Wayne newspapers were German language and another was a weekly. The Journal-Gazette had the largest circulation with 15,950; the News had 10,883; and the Sentinel had 8,437.
The 1910 directory identified The Journal-Gazette as a Democratic newspaper published every morning with 10-30 pages on 17” x 22” paper. The subscription rate was $4.80. A separate listing for a Thursday (evening?) edition with 12 pages had a subscription rate of $1.00, but had only 900 subscribers. A. J. Moynihan was listed as editor.
1. N. W. Ayer & Son's American Newspaper Annual and Directory (Philadelphia, PA: N. W. Ayer & Son, 1910), page 219. Available online at books.google.com/books?id=Oog7AQAAMAAJ&printsec=front....
From a private collection.
A close-up section of this postcard can be seen here.
www.flickr.com/photos/hoosier_recollections/5324704696/in...
Copyright 2010-2017 Hoosier Recollections. All rights reserved. This creative JPG file package is an original compilation of materials and data. The package is unique, consisting of a wide variety of related and integrated components. 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.
Circa 1910 postcard view of the post office at Auburn, Indiana. The 1914 Sanborn™ fire insurance map set for Auburn shows this post office on the northeast corner at the intersection of East Seventh and North Cedar streets. This view was looking east-northeast along Seventh Street. A mailbox stood beside the steps to the post office. The business sign east of the post office advertised MARBLE WORKS. The 1907 and 1914 Sanborn™ map sets show the marble works business s block east on the northeast corner at East 7th and North East streets.
The large INTERURBAN sign at the left edge of the scene was on the northwest corner of the intersection. That was the K. of P. (Knights of Pythias) Building. The T. & C. I. (Toledo & Chicago Interurban) Railway Company began operations in 1906.¹ The 1907 Sanborn™ map set didn’t show the T. & C. I. station in Auburn. It showed a furniture and undertaking business in the K. of P. Building on the corner at East Seventh Street and the U. S. Express Telegraph office next door. However, a circa 1910 postcard view of the K. of P. Building shows a trolley car and passengers at the back of the building near East Eighth Street. The station was probably in that back part of the building.
The 1914 map set did show a stand-alone Fort Wayne & Northwestern Railroad station that had been built on the northeast corner of South Cedar and East 12th streets. T. & C. I. financial problems led to receivership and eventual sale of the assets on April 14, 1913. The Fort Wayne & Northwestern Railroad purchased those assets and soon thereafter announced they would be building a new passenger and freight station at Cedar and Twelfth streets in Auburn.²
This postcard scene included a horse-drawn buggy and an automobile. One of them probably belonged to the gentleman in the hat at the post office entrance and the other may have belonged to the photographer. A child was sitting in the front seat of the automobile and a woman was sitting in the buggy. The following individuals were postmasters at Auburn in the period following the initiation of interurban service in 1906. If the man in the vest at the post office entrance was the postmaster, he was probably one of the men in this list of Auburn postmasters from that period.
Aubrey L. Kuhlman appointed January 23, 1906
Eva Fell appointed December 26, 1906
Henry J. Harris appointed September 23, 1907
Isaac M. Zent appointed April 4, 1910
The 1907 map set showed the former post office half a block west at 126 East Seventh Street. The post office building in this scene had been demolished and replaced by a business by 2015, but the K. of P. Building across the street was still there.
1. Electric Railway Review , (Chicago, IL: The Wilson Company, 1906), page 589. Available online at books.google.com/books?id=ckQ_AQAAMAAJ&printsec=front....
2. The Electric Railway Journal, Volume XLI (New York, NY: McGraw Publishing Company, 1913) page 1043. Available online at books.google.com/books?id=Mo5OAQAAMAAJ&printsec=front....
From a private collection.
Selected close-up sections of this postcard can be seen here, from left to right in the image.
www.flickr.com/photos/hoosier_recollections/5736979226/in...
www.flickr.com/photos/hoosier_recollections/5736427131/in...
www.flickr.com/photos/hoosier_recollections/5736978942/in...
www.flickr.com/photos/hoosier_recollections/5736978822/in...
Copyright 2005-2018 Hoosier Recollections. All rights reserved. This creative JPG file package is an original compilation of materials and data. The package is unique, consisting of a wide variety of related and integrated components. 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.
Commissioned to mark the 25th anniversary of the founding of the convent. It also commemorates all those who died in World War 1. Kelvingrove Art Gallery and Museum Glasgow, Scotland- taken by my daughter.
"The large and intricate and important stained glass window, named The Coronation of the Blessed Virgin, created by Irish artist Harry Clarke (1889-1931) is over 4.5 metres in height and is comprised of twenty panels. It was commissioned in 1923 by the Sisters of Notre Dame de Namur for the convent chapel in Dowanhill, Glasgow. It was installed in 1924 and remained in place until 1981. After a period on loan to St Andrew’s College, Bearsden Glasgow Museums purchased the window with assistance from the Art Fund and the Heritage Lottery Fund in 2002.
The window, which depicts the Coronation of the Blessed Virgin as Queen of Heaven by Christ surrounded by angels and saints, was the first of four windows made by the artist for the chapel. It was commissioned to mark the 25th anniversary of the founding of the convent and as a memorial to those who died in World War I. The commission was possible thanks to the generosity of the post-1918 students, past and present, who wished to have a war memorial window installed to commemorate loved ones they had lost. It is widely recognised as one of his most important works. When the piece was first exhibited in Dublin, before it was dispatched to Glasgow, it made such an impact that an article in the Irish Independent called for a halt on the export of such ‘native treasures’.
The Coronation of the Blessed Virgin is mounted on the wall, backlit by light boxes, in the Study Centre on the first floor of Kelvingrove Museum. The display is accompanied by a detailed digital interpretation that allows visitors to explore the fascinating story contained within the window and the history of Notre Dame Chapel. This has been enhanced by first-person interviews with Sisters and former pupils of the teaching convent. They were amongst the first people to view the window, alongside Glasgow Museums stained glass conservator Marie Stumpff who worked on the conservation.
Sister Maire Gallagher who was a student and sister of Notre Dame said: 'It’s truly wonderful to see the window again, it looks stunning. I left school and went on to college and in those days it was residential so you stayed all the time and went to Mass with the sisters every morning. The sisters sat in the front so if you were a student you were behind the area where you could actually see the stained glass.
'I don’t think I actually ever saw it apart from being conscious that it was a fantastic colour of blue until I went back as a Sister of Notre Dame. I went back to that community in 1961 and then of course as a sister I could go right down to the front and I could walk round the side aisles and look at everything.'
I have a recollection of being struck by a marvellous story. I was also struck by the number of women saints in the picture. That was unusual.
'I think Kelvingrove is a fitting home for such an important piece of art, connecting the city of the past with the people who live here today. The display will also allow those who come to see the window to understand all that Harry Clarke was trying to convey when he created this beautiful stained glass window all those years ago.' History Scotland website