ink on paper.

 

vacant mortality and slow realization of contemplation....

  

Midtown Manhattan, New York City, New York, United States

 

The Free Church of Saint Mary-the-Virgin complex, including the church, Clergy House, Mission House, Rectory and Lady Chapel, was designed by Pierre L. LeBrun of Napoleon LeBrun & Sons in 1894. The church, long a center of Anglo-Catholic worship, is a physical realization of the tenets of the Oxford Movement which sought to better the lives of the urban poor through nursing care, inspirational activity and the ritual of the Pre-Reformation Church in England. Built in 1895 to make full use of an irregular site, St. Mary's was designed both to realize the programmatic goals of its trustees and to evoke, in the church and Lady Chapel, the 13th- century French Gothic Style. The Clergy and Mission Houses, and the Rectory were cast in the 14th-century French Gothic style.

 

The result is one of the finest Gothic-inspired designs of New York's late 19th century. The steel frame construction of the church can be said to have made the building the first of its kind and size in the world, thus redefining the conventional methods of church construction. Among the building's several specific Anglo-Catholic characteristics are the subjects selected for the sculptures of J. Massey Rhind whose academic naturalism complements

 

LeBrun's architecture.

 

The Society of the Free Church of Saint Mary-the-Virgin

 

The Society of the Free Church of Saint Mary-the-Virgin has its origins in the growth of Anglo-Catholicism within the Church of England and the Protestant Episcopal Church of North America. In the third decade of the 19th century, a group of theologians - dons of Oxford's College House of Saint Mary-the-Virgin (Oriel College) - initiated a religious movement to enhance the lives of the disaffected of the Industrial Revolution.

 

Reasserting an identity with the Pre-Re format ion Church of England, the founders of the Oxford Movement emphasized the importance of the sacraments, stressing the ideal of the priesthood and the authority of bishops but still rejecting the autocracy of the Pope.

 

This Anglo-Catholicism was characterized by a reintroduction of ritual and its accompanying furnishings, a dedication to mission work, a revival of religious orders, and a development of church architecture and art. Conceived in academe, Anglo-Catholicism, garbed in the mystery, color and richness of ceremonial worship, also manifested itself in the construction of new church buildings in slum neighborhoods.

 

This reassertion of ancient ritual found a sympathetic audience within the Camden Society (1839), subsequently the Ecclesiological Society, which, through its publications, The Ecclesioloqist and a variety of architectural tracts, advocated the restoration of ancient churches and the building of new ones strictly according to the principles which they believed guided the medieval English builders.

 

In the 1860s the Ecclesiologists also had begun to accept certain French architectural elements — apses, in place of the traditional English flat ended chancels, for example.

 

By the 1860s Anglo-Catholicism had found a sympathetic audience among adherents of the American Episcopal Church. St. Mary's early history is inseparable from the life of the founder of the parish, the Reverend Thomas McKee Brown (1841-1898). Born in Philadelphia, the son of James Brown, he attended the Episcopal Academy (Philadelphia) for seven years and then matriculated at Trinity College, Hartford, Connecticut, with the class of 1863.

 

The Civil War interrupted his academic career and he went to work. But soon after he resumed his studies - by arrangement with Trinity College - at the General Theological Seminary in New York. He received his Bachelor's degree from Trinity in 1864 and his Masters from the General Theological Seminary the following year. Before his ordination by Horatio Potter, Bishop of New York, on February 25, 1866, he served as curate at the Church of the Annunciation (then on 14th Street, Manhattan) and at St. John's, in Brooklyn.

 

Following his ordination he was Rector of Trinity Church, East New York, for a year before returning to Manhattan to became curate for the Reverend Ferdinand C. Ewer of Christ Church, New York.6 At both the Church of the Annunciation and Christ Church the exalted ritual characteristic of Anglo-Catholicism was practiced.

 

Concurrently, Brown and a group of interested lay people combined to establish a new parish on a thoroughly Anglo-Catholic foundation. Although at this time such ritual was contrary to canon law, Bishop Potter not only suggested how the group might incorporate, he pointed out t±ie working class neighborhood where their church would be most effective.

 

The Society of the Free Church of Saint Mary-the-Virgin was incorporated on December 5, 1868, under a provision of a New York State law. John Jacob Astor III, learning of the group's objective, gave the Society three lots on West 45th

 

Street (the site of the present Booth Theater).8 Within the month the corner stone of a new church building was laid by Bishop Potter. It is likely that the dedication of the church to Saint Mary-the-Virgin was inspired by the home church of the Oxford Movement.

 

The new church, built to the designs of William T. Hallett (1829-1908) was opened by the Rev. Ferdinand Ewer on December 8, 1870 — the Feast of the Conception (one of the most significant days in the calendar of a church dedicated to the Virgin). From the b^inning the liturgy was highly ritualistic; indeed, it was noted in the Parish Register of a sister church that the first High Mass with incense was celebrated at St. Mary's on Christmas Day, 1877.

 

The building records reflect the dedication of St. Mary's clergy and sisters to the spiritual and physical well-being of this working class neighborhood: a new clergy and choir house to accommodate the men's guilds (the St. Alban's and the St. Joseph's Guilds) and the boys club, as well as the single clergymen, was finished in 1885; and within the next two years a house at 248 West 45th Street to shelter the women's guilds (the Guild of St. Mary of the Cross and the Guild of the Annunciation) and the dispensary run by the new female order founded by Father Brown — the Sisters of the Order of the Visitation of the Blessed Virgin Mary — was given to serve as a Mission House.

 

The Society's trustees, burdened with mortgages, were continually faced with a lack of funds. The congregation included many of limited income, but several individuals were generous, among them, Miss Sara Louie Cooke.

 

On July 21, 1892, Miss Cooke died, leaving St. Mary's nearly $500,000. At the November trustees' meeting there was a lengthy discussion about whether to enlarge the present church or to purchase property for a new church. Subsequently, at a special meeting of the trustees it was resolved that the Treasurer should receive all moneys and property of Miss Cooke's estate.

 

The treasurer of the Society was Haley Fiske (1852-1929), who had been elected to the board of trustees on March 23, 1892 and on motion elected treasurer. Fiske was vice-president (and in 1919 became the fourth president) of the Metropolitan Life Insurance Company. He was the assistant to both his predecessors at Metropolitan Life, Joseph Fairchild Knapp and John Rogers Hegeman, both great builders. It was Knapp who brought Metropolitan Life uptown to Madison Square and for whom Napoleon LeBrun & Sons designed the eleven-story office block at 1 Madison Avenue, (1890-91).

 

It was Hegeman who expanded to the rest of the block and part of the block to the north (1894-1909, a campaign completed by Fiske), and it was Hegeman who commissioned the Metropolitan Life tower (a designated New York City Landmark, 1906-07), all of these built from plans prepared by the LeBrun firm. There can be little doubt that Fiske was involved in all these projects.

 

Fiske took the initiative immediately. One month later an executive committee, consisting of the rector, the secretary and the treasurer, was created. The trustees had had a year to consider the alternatives: enlarging their existing edifice on West 45th Street or moving to a new site.

 

Two months later it was reported that 143 feet along the north side of West 46th Street and possibly one adjacent lot on West 47th Street could be purchased. Accumulating lots for the new church site — seven on West 46th Street (No. 133-No. 145) — continued from January, 1894, until the following August when title was taken to the last of the five lots on West 47th Street (No. 136-No. 144). Both these streets were lined with the narrow rcwhouses of working class people and stables.

 

Concurrently, the Society's property on West 45th Street was sold and an architectural competition was announced. Father Brown had visited Europe in the summer of 1888; certainly he would have seen the great cathedrals as yell as the new English churches built for Anglo-Catholic congregations. The trustees stipulated a program with the following: a church in the French Gothic style of the 13th century; able to seat 800 exclusive of the chancel; the chancel to be apsidal and at least fifty feet in depth with an ambulatory; the building to extend north from West 46th Street with the chancel at the north end; the interior to be lofty; the elaboration of ornamental detail to be confined to the front and to the interior; no towers or spires; at least two chapels and a baptistry; the Rectory and the Sacristy to be on West 47th Street; and the Mission House for the Sisters and the Clergy House to be on West 46th Street — the Mission House on the east side of the site and the Clergy House on the West.

 

Because of the unfavorable reception to the announced competition, 17, the trustees withdrew it, and the commission was given to the LeBrun firm. Pierre LeBrun's plans were accepted on October 11, 1894. It should not be overlooked that Haley Fiske knew the firm well. Indeed, the LeBrun office was located in the new Home Office building they designed for the Metropolitan Life Insurance Company at 1 Madison Avenue.

 

The Architect

 

Pierre La jus LeBrun (1846-1924) has not received the attention that he is due. Because of the name of the firm, Napoleon LeBrun & Sons, both Pierre and his brother Michel have been all but anonymous. That it was Pierre LeBrun who designed St. Mary's is indicated in the Society's minutes. His father, Napoleon LeBrun, represented the firm at the initial stages of the project. Napoleon Eugene Charles LeBrun (1821-1901), was born to French emigrant parents in Riiladelphia. At fifteen years of age he was placed in the office of Thomas Ustick Walter (1804-1887), where he remained for six years. LeBrun began his own practice in 1841 in Philadelphia but moved to New York in 1864 where the choice in 1870 of his Second Empire style Masonic Temple competition submission did much to establish his reputation. In the same year his son Pierre joined him and the firm became Napoleon LeBrun & Son. Father and sons were active members of the new American Institute of Architects.

 

The firm's work can be divided into two periods, an early one spanning the 1870s into the mid-80s and a later one from the later 1880s until the firm's dissolution in 1909. The earlier is robust — the Church of Saint John-the-Baptist, 1872, West 30th Street and the Fire Department Headquarters, 1886, East 67th Street. Ihe later work was significantly different. Building elevations became more planar; ornament, based on historic prototypes, was used more judiciously. The first Metropolitan Life building was an example of a new building type given stylistic character through the application of ornament, as is LeBrun's still-extant Home Insurance Company (1893-94) facade on Broadway above Murray Street.

 

If little is known of Pierre LeBrun's formal architectural education, his three trips abroad in the service of the Willard Architectural Commission are documented. Levi Hale Willard, a wealthy businessman, died in 1883 leaving to the newly founded Metropolitan Museum of Art $100,000 toward the creation of a collection of models and casts illustrative of the art and science of architecture, to be made under the direction of a commission chosen by the New York Chapter of the American Institute of Architects. In his will Willard nominated Napoleon LeBrun as president of this commission; Willard, a friend, had often discussed with LeBrun the need to cultivate a popular taste for architecture. Pierre LeBrun was appointed the commission's purchasing agent. The younger LeBrun visited the significant sites and met with the suppliers of casts in Paris, Munich and Rome.

 

The historical accuracy characterizing the ornament of the Church of Saint-Mary-the-Virgin appears to have been informed by the 13th century French Gothic examples in the Willard Collection. This is true of the firm's other later buildings; regardless of whether they are fire stations or skyscrapers, style is determined by the integrity of the ornament.

 

The Sculptor

 

John Massey Rhind (1860-1936) was born in Edinburgh where both his father and grandfather were architectural sculptors, a profession that his brothers followed as well. He studied in London - with Jules-Aime Dalou -and in Paris. His style can be associated with the academic naturalism of the Ecole des Beaux-Arts. Rhind came to this country in 1889. Credited for his ability to make his sculpture an integral part of a larger design, Rhind's earliest work in this country was for ecclesiastical buildings.

 

His first commission in this country was the bronze tympanum (1891) over the entrance to the Chapel of the Good Shepherd at the General Theological Seminary (for which institution he further worked in bronze and marble). His bronze panel, "Flight to a City of Refuge," won the commission for one of the three pairs of doors (1892) given to Trinity Church in memory of John Jacob Astor III. In a letter to the Society's trustees, dated April 15, 1895, he offered to carve a statue of the virgin and Child for the trumeau (Plate 1), the post between the doors within the main entrance. Two months later he was invited to submit a sketch for the tympanum, the design now over the door (Plate 2).

 

In addition to the trumeau and the tympanum, the following are from the hand of J. Massey Rhind: the two freestanding statues flanking the main entrance, Saints George and Michael (Plate 3); the three freestanding statues that make up the Calvary over the main entrance (Plate 4); the freestanding statue of a seated St. Cecilia in the niche above the Clergy House entrance (Plate 5) ; the tympanum (Plate 6) above the lady Chapel entrance on West 47th Street and the impost heads supporting the drip molding over this entrance.

 

Design of the Saint Mary-the-Virgin Complex

 

As with the other buildings in the LeBrun firm's later period, the clue to historic style of St. Mary's is in the ornament concentrated around doorways and windows (Plate 3). The Willard casts included details from ecclesiastical and domestic Gothic buildings — Chartres, Paris, and Rouen. Thirteenth-century French Gothic ornament defines the major features of the tall limestone facade of the church (Plate 7), the central of the three buildings on West 46th Street. The keyed limestone door and window surrounds, the drip moldings and the tracery of the pierced terra cotta parapets of the flanking, orange brick Clergy and Mission Houses are characteristic of the 14th-century French Gothic style. The contemporary architectural critic, Montgomery Schuyler, found the historically appropriate ornament and the long thin, orange Tiffany bricks pleasing but thought that the treatment of the 46th Street facades lacked "bite."

 

However, to the 20th century observer the functional economy of the flatness of this range and the irregular disposition of the fenestration are also pleasing. All of these elements, as well as the elegant naturalism of Rhind's sculpture are expressive of the late 19th century. The ornament of the Rectory on West 47th Street, confined to the keyed door and windcw surrounds and drip moldings (Plate 8), is characteristic of the 14th-century French Gothic style also. But the ornament of the Lady Chapel and its entrance reverts to the 13th-century French Gothic of the church facade. Although there is more depth to the range of St. Mary's buildings along West 47th Street, their planar aspect — especially the tall apsidal end of the church itself, unccampramised by sham buttresses — reveals their late 19th-century origin.

 

The cornerstone was laid on December 8, 1894. All of the newspaper accounts of the building, shortly before its opening exactly one year later, expressed amazement at the speed with which the church, "one of the purest examples of French Gothic of the 13th century in this country," was erected. But a reporter for the Evening Post explained that an elaborate structure like St. Mary's could not have been built in such a short time with conventional methods; the steel skeleton made St. Mary's "the first of its kind and size to be built in this or any other country." It is this use of a steel frame, a technique then associated only with the construction of tall buildings particularly in Chicago, that gave St. Mary's the nickname "the Chicago Church."22

 

In plan (Plate 9) it is the central, block-through body of the church that dominates St. Mary's irregular site. This arrangement, with the Clergy House (lcwer left) and the Mission House (lower right) flanking the church's main entrance on West 46th Street and the Rectory (upper left) and the Lady Chapel (upper right) girdling the church's apsidal end on West 47th Street, was dictated by the trustees' program. The programmatic goals of spatial flexibility and a lofty interior with a vaulted ceiling would appear to be contradictory aims within such a confined area. LeBrun took advantage of the most advanced construction technique, calling in Purdy & Henderson, the construction engineers, to fabricate a steel frame to support his design (Plate 10). The foundation walls and the steel footings were carried dcwn to rock (Plate 11). large, diagonal compression braces at basement level anchor the bases of the vertical columns.

 

To support the vaults steel transverse and diagonal ribs spring from the eighteen steel columns, nine on each side of the nave (plus the four in the apse), which support the braced saddle-back roof frame above. The upper members of this skeletal imitation of Gothic structure are progressively thinner. The side walls are of brick; the arches of the nave arcade, springing from steel corbels riveted to the columns, are of brick also, as are the the walls above them.

 

St. Mary's had become famous all over the country for the extremely ritualistic character of its services. The requirements of this liturgy were foremost iri the planning of St. Mary's: a long nave and lofty interior, side aisles and ambulatory, a deep chancel and ancillary chapels. But the building's Anglo-Catholic specificity was proclaimed in more subtle ways. The sculptural subjects Rhind was commissioned to carve, the trumeau figure and the tympanum program especially, are specific references to pre-Reformation Catholicism. Ihe contrast between the limestone and the brick of the West 46th Street facade defines the ceremonial entrance. Ihe 13th-century ornament identifies St. Mary's with the new Anglo-Catholic churches being built in England in the 1860s and later. (The 14th-century Gothic detail distinguishes the dependent buildings from the church.) The inspiration for St. Mary's architecture can be found in the tradition of the Oxford Movement itself — the emphasis upon ritual requiring side aisles, deep chancels, ambulatories and lofty ceilings. It can be said that St. Mary's redefined the manner in which churches could be constructed.

 

Description

 

The Church of Saint Mary-the-Virgin is a complex of five interconnected buildings (Plate 9): the church itself which runs north and south through this block between West 46th and 47th Streets; the Clergy House to the left (west) of the church and the Mission House to the right (east) of the church, both on West 46th Street; the Rectory to the right (west) of the church's apsidal end and the Lady Chapel to the left (east), both on West 47th Street. All of these buildings, except the church which is faced with limestone, are of an orange (Schuyler called the color ,,gamboge,l), Tiffany brick. All have granite bases.

 

Church

 

The tall, planar limestone facade (Plate 7), forty-six feet wide and 130 feet high from the curb to the cross on the gable, is framed by thin, faceted buttresses and articulated in three horizontal sections: the lowest containing the main entrance; the middle section with the rose window; and the top, a gable containing a smaller round window flanked by the buttress pinnacles.

 

A great deal of 13th-century Gothic ornament is concentrated within the pointed arch entrance (Plate 4) which contains paired doorways separated by the trumeau and Rhind's canopied statue of the Virgin Mary and Child. Two heavy oak doors with decorative foliated iron work (Plate 12) slide away from the trumeau into the walls to reveal paired, glazed-panel swinging doors with brass fittings below leaded stained-glass transoms. Pendant lamps of iron and glass are fixed to the doorways' lintel and outer posts. The subjects of Rhind's three-tiered tympanum above are familiar Anglo-Catholic subjects.(Plate 2). In niches across the lowest tier are ten worthies flanking a central niche containing a closed door, the five on the left appear to be Old Testament personifications and the five on the right may represent the fathers of the early Christian church. On the middle tier are a seated Virgin and Child attended by adoring shepherds and wise men.

 

At the top the Virgin in an aura ascends between angels disposed upon clouds into the tympanum's foliate border.24 Ihe drip molding of the arch rests on imposts articulated as faces, the one on the left blindfolded to represent Heresy, the one on the right clear-eyed and crowned representing Faith. Flanking the entrance arch, two canopied niches, capped with crocketed and finialed pinnacles, shelter Rhind's statues of

 

Saint George on the left and Saint Michael on the right. Faces, representing differing physiognomies, project from the canopies' pendant tracery.

 

In the middle section a tall, blind pointed arch frames the slightly recessed rose window and Calvary with figures by Phind below it. Gargoyle-adorned pinnacles mark the base of the blind arch; aedicular elements facing the corner buttresses have crockets and finials, reliefs of rosettes and leaves, and gargoyles projecting from above their dosserets.

 

The rose window reverses the conventional direction of the arches and balusters within (except for the inner douzefoil); at Notre-Dame, Paris, and at Chartres the arches radiate out, not in as they do here. The window is filled with leaded stained glass in geometric patterns manufactured by Arnold and Locke. The middle section is capped by a foliated cornice frcan which two gargoyles project (just inside the bases of the corner buttress pinnacles).

 

The gable is flanked by the pinnacles terminating the facade's corner buttresses. A round window containing a qua trefoil is in the center of the gable. The gable coping is crocketed. The cross surmounting the gable is of gilded, pressed copper.

 

Above the church's side aisles and ambulatory the exterior walls of the clerestory, partially visible from both West 46th and 47th Streets, are faced with limestone.

 

On both sides of the clerestory (east and west) eight out of nine panelled bays, separated by minimal and token buttressing, contain the tall, two-light windows of plate tracery with drip moldings. The windows are filled with leaded glass in geometric patterns, manufactured by Arnold & Locke. The steep saddleback roof is slate-covered. A fleche of pressed copper rises from the ridge line between bays eight and nine (containing the bell brought from West 45th Street).

 

Though visible from West 46th Street, the fleche is seen best from West 47th Street where it is the terminal feature above the church's five apse windows and steep roof. Only the center three of these five windows contain the glass specifically projected for them and manufactured by C. F. Kempe & Co., Ltd., London.

 

The Clergy House

 

The Clergy House is four stories with a penthouse which is invisible from West 46th Street. Constructed of orange Tiffany brick with a granite base and limestone water table up to the first story sills, the keyed and ornamental door and window surrounds, string courses, sills, drip moldings, and lintels are of limestone and the cornice and pierced balustrade above are of terra cotta. Ihe window and door grilles are iron; (the interior posts and beams are cast iron).

 

There appear to be two entrances, but the more ornamented one on the right with the cross as its terminal feature is the entrance to the left side aisle of the church. One enters the Clergy House itself through the doorway on the left.

 

The paneled-wood doors with wrought-iron grilles are set below transoms of leaded glass which are in a geometric pattern. Individual iron lanterns are suspended on short chains from the lintels of these two doorways. Above the Clergy house entrance is a canopied niche sheltering Rhind's statue of St. Cecilia , a memorial to an admired church organist, Dr. William Prentice.

 

Windows are capped by drip moldings with foliated

 

stops. Three second story window heads carry blind cinquefoil arches. The windows have one-over-one wood sash. The cornice is of richly molded terra cotta in a foliated pattern . Twenty alternating panels of flamboyant tracery make up the pierced terra-cotta parapet. The present coping is of sections of poured concrete slab.

 

The Mission House

 

Except for its width —it is narrower — and certain details, the Mission House is identical to the Clergy House. The hanging lantern at the Mission House entrance has been replaced with a more modern fixture .

 

Because the Mission House is narrower than the Clergy House there are fewer windows and only thirteen alternating terra cotta panels make up the parapet.

 

The Rectory

 

Like the Clergy and Mission Houses on West 46th Street, the Rectory at 144 West 47th Street is of orange Tiffany brick on a granite base with a limestone water table. The keyed and ornamental door and window surrounds, sills, stringcourses, and drip moldings are limestone.

 

The Rectory entrance has its original bluestone stoop and basement areaway. The double doors with their brass fittings are of paneled oak, two over two, with a transom of plate glass above. The Rectory shelters the sacristy and vestry rooms, as well as the living quarters of the rector and his family.

 

Windows containing one-over-one wood sash some with leaded glass in a geometric pattern, are capped by drip moldings with foliate stops. Of special interest is the bow window at the second story set within splayed reveals.

 

The lintel is an iron "I" beam decorated with five iron rosettes, while the casing is of wood as are the two narrow shafts at the angles of the bcw, and the drip molding carries an ornamental finial. The gable coping, chimney and chimney pots are terra cotta. The eastern end of the slate covered roof is broached, its hip adorned with a pressed copper finial.

 

The Lady Chapel

 

In a letter to his fellow trustees dated Dec. 15, 1894, Haley Fiske offered to build the Lady Chapel. He indicated that he would like to move the west windows from the West 45th Street church to this chapel. Like the Rectory, the Clergy and the Mission Houses, the chapel is built of the orange Tiffany brick; the water table, the chapel's elaborately carved entrance, the keyed window surrounds, string courses, drip moldings, imbricated pinnacles, keyed and crocketed gable coping and crowning cross are all of limestone.

 

The entrance screens the recessed area between the chapel and the Rectory. Rhind's tympanum, above the oak entrance doors, depicts the Annunciation and is framed by an archivolt, intricately carved as a rose vine, supported on colonnettes.

 

The crocketed drip molding springs from two imposts, given the form of portrait heads carved by Rhind of Fiske's son and daughter, which resolves into an ogee that breaks through the top of the screening spandrel course to support a cross, now missing. Three lancets, the taller in the center, light the chapel; the drip moldings spring from foliated imposts.

 

The round window in the gable contains a quatrefoil filled with leaded stained glass.

 

Exterior Changes

 

In the ninety-five years since the opening of St. Mary's on West 46th Street, little of the church's exterior aspect has changed. Drawings indicate that there was once a balustrade fronting the Calvary above the main entrance, and another across the facade at the foot of the gable.

 

The Rectory gable is missing its crowning finial and the cross atop the Lady Chapel entrance is missing. Drawings indicate — and coping fragments corroborate — that there were basement areaways in front of the Clergy and Mission Houses. Only one basement areaway exists today, that of the Rectory. An unsympathetic composite material has been clumsily used to repair tracery and foliated ornament. In 1962 repair and repointing the church's stone facade was carried out.

 

- From the 1989 NYCLPC Landmark Designation Report

Towards the end of the Korean War, the USAF came to the realization that their transport fleet was becoming obsolete. The C-46 Commandos and C-47 Skytrains in service were no longer adequate, while the C-119 Flying Boxcar was having difficulties. In 1951, the USAF issued a requirement for a new tactical transport, an aircraft that would need to carry at least 72 passengers, be capable of dropping paratroopers, and have a ramp for loading vehicles directly into the cargo compartment. Moreover, it must be a “clean sheet” design, not a conversion from an existing airliner, and the USAF preferred it be a turboprop design. Five companies submitted designs, and six months later the USAF chose Lockheed’s L-402 design—over the misgivings of Lockheed’s chief designer, Clarence “Kelly” Johnson, who warned that the L-402 would destroy the company. Little was Johnson to know that, fifty years later, the L-402—designated C-130 Hercules by the USAF—would still be in production, and one out of only five aircraft to have over 50 years of service with the original purchaser.

 

The C-130 was designed to give mostly unfettered access to a large cargo compartment—the ramp forms an integral part of the rear fuselage, the wing is mounted above the fuselage, and the landing gear is carried in sponsons attached to the fuselage itself, while the fuselage has a circular design to maximize loading potential. The high wing also gives the C-130 good lift, especially in “high and hot” situations. The Allison T56 turboprop was designed specifically for the Hercules, and has gone on to become one of the most successful turboprop designs in history.

 

After two YC-130 prototypes, the Hercules went into production as the C-130A in 1956, to be superseded by the improved C-130B in 1959. The latter became the baseline Hercules variant: C-130As had three-blade propellers and a rounded “Roman” nose, while the B introduced the more familiar, longer radar nose and four-blade propellers. (Virtually all A models were later retrofitted to the long nose, though they kept the three-blade propellers.) In the 50 years hence, the basic C-130 design has not changed much: the C-130E introduced underwing external fuel tanks, while the C-130H has a slightly different wing. Even the new C-130J variant only introduced new engines with more fuel efficient six-bladed propellers: the basic design remains the same. Lockheed also offers stretched versions of the Hercules, initially as a civilian-only option (the L-100-30); the British Royal Air Force bought this version as the C-130K and it was later adopted by other nations, including the United States.

 

The basic C-130 is strictly a transport aircraft, but the versatility of the aircraft has meant it has been modified into a dizzying number of variants. These include the AC-130 Spectre gunship, the HC-130 rescue aircraft and WC-130 weather reconnaissance version. Other versions include several dozen EC-130 electronic warfare/Elint variants, KC-130 tankers, and DC-130 drone aircraft controllers. The USAF, the US Navy, and the US Marine Corps are all C-130 operators as well. Besides the United States, there are 67 other operators of C-130s, making it one of the world’s most prolific aircraft, with its only rivals the Bell UH-1 Iroquois family and the Antonov An-2 Colt biplane transport. C-130s are also used extensively by civilian operators as well as the L-100 series.

 

The “Herky Bird,” as it is often nicknamed, has participated in every military campaign fought by the United States since 1960 in one variation or the other. During Vietnam, it was used in almost every role imaginable, from standard transport to emergency bomber: as the latter, it dropped M121 10,000 pound mass-focus bombs to clear jungle away for helicopter landing zones, and it was even attempted to use C-130s with these bombs against the infamous Thanh Hoa Bridge in North Vietnam. (Later this capability was added as standard to MC-130 Combat Talon special forces support aircraft; the MC-130 is the only aircraft cleared to carry the GBU-43 MOAB.) It was also instrumental in resupplying the Khe Sanh garrison during its three-month siege. Hercules crews paid the price as well: nearly 70 C-130s were lost during the Vietnam War. In foreign service, C-130s have also been used heavily, the most famous instance of which was likely the Israeli Entebbe Raid of 1976, one of the longest-ranged C-130 missions in history. C-130s are often in the forefront of humanitarian missions to trouble spots around the world, most recently in the 2011 Sendai earthquake disaster in Japan.

 

As of this writing, over 2300 C-130s have been built, and most are still in service. It remains the backbone of the USAF’s tactical transport service; attempts to replace it with the Advanced Tactical Transport Program (ATTP) in the 1980s and to supplement it with the C-27J Spartan in the 2000s both failed, as the USAF realized that the only real replacement for a C-130 is another C-130.

 

74-1670 was delivered to the USAF in 1975 and spent much of its career with the 463rd Tactical Airlift Group and 317th Airlift Group, both stationed at Dyess AFB, Texas. In 2014, it was reassigned to the 120th Airlift Wing (Montana ANG) at Great Falls International Airport.

 

Though I already have a C-130H of the 120th AW in my collection, I wanted to get a picture of 74-1670 when it was on display at the Wings Over the Falls Airshow in July 2017. It is the only C-130 I know of the 120th that has a black nose; the other C-130s have AMC Gray noses along with the rest of the aircraft. 1670 also has "City of Billings" prominently painted on the port crew door, so this may be the commander's aircraft for the Wing, which accounts for the black nose. (Or it could just be a replacement nose from another C-130.) Either way, this is a pleasant study of a C-130 and the 120th's rather impressive tail art--the mountains represent Montana, while the buffalo skull is a reference to Great Falls' most famous citizen, western painter Charles M. Russell.

n. the realization that each random passerby is living a life as vivid and complex as your own—populated with their own ambitions, friends, routines, worries and inherited craziness—an epic story that continues invisibly around you like an anthill sprawling deep underground, with elaborate passageways to thousands of other lives that you’ll never know existed, in which you might appear only once, as an extra sipping coffee in the background, as a blur of traffic passing on the highway, as a lighted window at dusk.

 

Singapore 2013

I took almost the exact same photo from almost the exact same spot 4 years before this photo was taken. putanginacupnstir.deviantart.com/art/View-from-the-garden...

 

It was such a strange feeling revisiting this place. The first time I came to the meditation gardens, I was not even aware that I was in Encinitas. So before I came to the meditation gardens this time around, I thought it was my first time in Encinitas. It was not, apparently. It felt almost as if my life came full circle. But not really.

"The only limit to our realization of tomorrow will be our doubts of today. Let us move forward with strong and active faith."

 

Looking south-southwest at an inscription in the fourth "room" of the Franklin D. Roosevelt Memorial in Washington, D.C., on March 15, 2012. This quotation is from Roosevelt's undelivered Jefferson Day Address, scheduled for a nationwide radio address on April 14, 1945. Roosevelt wrote the speech on the night of April 11. He he died from a cerebral hemorrhage the following day.

 

The memorial was designed landscape architect Lawrence Halprin and dedicated on on May 2, 1997, by President Bill Clinton. It's spread over 7.5 acres (3.0 hectares) of West Potomac Park. (Roosevelt was an avid conservationist. Fittingly, West Potomac Park is made up of silt dredged from the bottom of the Potomac River from 1880 to 1911.) The main entrance is at the north end, although just as many people enter from the south end (walking along the Tidal Basin from the Jefferson Memorial).

 

The memorial consists of four roofless, outdoor "rooms" created by gigantic blocks of rough red South Dakota granite. Each "room" represents one of Roosevelt's terms in office, and each room has a waterfall, inscriptions, and sculpture. The first room's walls are more smoothed and the blocks of stone aligned, and the waterfall is small, smooth, and quiet. The subsequent rooms express the increasing complexity of Roosevelt's presidency as depression and war intruded. The stone becomes less smooth, some blocks of stone are misaligned or jut from the walls; in the third room, massive stones actually lie in the center of the space, tumbled on top of one another. The waterfalls become larger, more complex, more chaotic.

 

Interestingly, the waterfalls were designed to be played in. But the National Park Service, deeply worried that someone would slip and fall on the algae-covered rocks, quickly banned people from doing so.

 

Out of respect for Roosevelt's own disability, the entire memorial is wheelchair accessible. All the sculptures are meant to be touched, and the second "room" contains a huge wall "quilt" of images -- an artwork known as "Social Programs" -- that depicts the people Roosevelt helped (with Braille inscriptions describing each one next to the panels).

 

Stonecarver John Benson did the granite inscriptions seen throughout the memorial. Here's a list of the sculptures in the memorial, along with their creators:

 

* "Prologue" - By Robert Graham, this is the life-size sculpture of Roosevelt in his wheelchair which stands in front of the main entrance to the memorial.

 

* "Presidential Seal, 1932" - By Tom Hardy, this is in the "first room" and depicts the Great Seal of the President of the United States as it existed in 1932 at the time of Roosevelt's first inauguration.

 

* "First Inaugural" - By Robert Graham, this bas-relief panel in the "first room" depicts an image inspired by film footage taken during the first inaugural parade.

 

* "The Fireside Chat" - By George C. Segal, this sculpture in the "first room" depicts a man seated in a chair, listening to one of Roosevelt's radio addresses (the "fireside chats").

 

* "Farm Couple" - By George C. Segal, this life-size sculpture in the "second room" depicts a farmer standing next to his wife (seated in a chair) in front of a barn door (with the upper half of the door open). It symbolizes Roosevelt's commitment to saving American agriculture.

 

* "Depression Bread Line" - By George C. Segal, this sculpture in the "second room" depicts six life-size male figures stand in a line to get free bread. The men face west, and it is just a few feet west of "Farm Couple."

 

* "Social Programs" - By Robert Graham, these 54 bronze panels on a wall and four pillars in the "second room" depict the social programs Roosevelt enacted.

 

* "Funeral Cortege" - By Leonard Baskin, this bas-relief bronze panel in the "fourth room" depicts the funeral of Roosevelt in 1945.

 

* "Eleanor Roosevelt" - By Neil Estern, this life-size statue of the First Lady stands between the "third" and "fourth" rooms. Placed in a niche, it depicts her later in life in a cloth coat, the Seal of the United Nations behind her and to her left. It is the only depiction of a First Lady at a national memorial.

 

* "Fala and Franklin D. Roosevelt" - By Neil Estern, this slightly larger-than-life statue in the "fourth room" is based on depictions of an aging, sick Roosevelt at the Yalta Conference. His cloak masks the chair in which he sits. (If you look closely at the back of the statue, you can see that the chair has wheels, although it is not a wheelchair.) Roosevelt's faithful Scottish Terrier dog, Fala, stands beside him.

 

In the "third room" -- the room dedicated to the war years -- is a massive tumble of granite blocks. Inscribed on a block tilted against another are the words "I Hate"; the block on which this is tilted contains the word "War." This sculpture (for that is what it is) is the "I Hate War" piece. Its placement and design was by Halprin, and Benson carved the words. It was inspired by Roosevelt's 1936 "I Hate War" speech, given in Chautauqua, New York. A longer inscription from the speech is on the stone wall next to the waterfall.

 

It should be noted that the Estern sculpture, as originally planned, more prominently featured Roosevelt in a wheelchair. But this was changed because various project overseers said Roosevelt had not been depicted in a wheelchair in public.

 

Disability advocates strongly criticized this decision when the memorial opened and there was no image of Roosevelt in a wheelchair. The National Park Service permitted disability advocates to add a sculpture near the memorial's entrance, which is the "Prologue" statue by Robert Graham.

 

Memorial designer Lawrence Halprin applauded the move. He said that Roosevelt loved debate and discussion, and rarely made decisions himself but rather ordered his subordinates to "hash it out" and come to a decision. Halprin said adding the sculpture is a true memorial to Roosevelt, for it exemplified people of good will coming together in disagreement but forging a compromise that will allow everyone to move ahead.

Park Avenue, Midtown Manhattan, New York City, New York, United States

 

Prior to the construction of Grand Central Terminal and the electrification and submergence of its tracks (1903-1913) Park Avenue between 42nd and 52nd Streets blighted New York as an exposed rail yard. Noisy, grimy and dangerous, its locomotives tirelessly belched their waste into the air as crosstown traffic was stranded on either side of the maze-like rails. By 1929, however, in a spectacular application of skyscraper technology both above and below ground, revenue producing structures were erected on steel stilts over the yard, transforming the area into Terminal City, a prestigious mixed-use, multi-level enclave, integrated in its architectural expression and modes of transportation

- the finest realization of the City Beautiful Movement in New York.

 

The New York Central Building provided the Terminal City complex with a dramatic linchpin as well as a bridge to the rest of Manhattan. Through special negotiations with city officials it was constructed in 1927-29 astride Park Avenue, allowing for a continuation of the boulevard's sidewalk- and street traffic via pedestrian corridors and vehicular tunnels burrowed through the building's base.

 

The New York Central Building is the skyscraping counterpart of Grand Central Terminal. It was designed by the same architects in the same materials and Beaux-Arts style, simultaneously developing some of the depot's most - innovative circulation systems- Swallowing Park Avenue traffic and thereby, relieving congestion around the terminal the building functions as an open gate to the "Gateway to a Continent."

 

With a distinction all but unique in grid- patterned Manhattan, it has a double focus, as powerful by day as it is dramatic , by night. Unobstructed by surrounding buildings, the New York Central's" honeycombed base and slender tower dominate the street corridor while its glowing and wonderfully ornate roof, visible for miles, enriches New York's constellation of illuminated peaks.

 

For its superb engineering, innovative, circulation systems and the consequent relief of traffic, the structure is exceptional. As a conspicuous and experiential urban monument it is unsurpassed. Identified by railroad officials as the "crowning achievement" of their urban redevelopment program, the New York Central Building, now the Helmsley Building, ranks easily among the finest and best known office towers in New York.

In 1863-67 Commodore Cornelius Vanderbilt acquired control of the New York & Harlem, the Hudson River and the New York Centra 1 Railroads (consolidated in 1869 as the New York Central & Hudson River Railroad), Rerouting the trains along a single line (the Harlem) for five miles south from the Bronx, Vanderbilt determined to build a new terminal at 42nd Street- He acquired most of the property between 42nd and 48th Streets (subsequently extended to 52nd Street), Madison and Lexington Avenues, and commissioned John B. Snook to design the depot (1871), with an impressive glass and metal shed by R. G. Hatfield immediately behind.

 

The land north of the new facility was used as a train yard: an exposed, noisy, cinder- and smoke-belching sprawl which made neighboring real estate uninhabitable to all but squatters. The paddle-shaped track network interrupted crosstown streets', leaving then dead ends on either side of the yard.

 

Subsequent improvements lowered the rails several feet below grade and opened crosstown traffic with periodic elevated bridges. But by the turn of the century increased suburban and commuter traffic proved these palliative measures inadequate: the polluting locomotives thwarted seminal attempts at urban renewal while the still only — partially submerged tracks created an intolerable obstacle to the street traffic which the terminal inevitably generated.

 

Solutions to these and a panoply of related-problems came in 1903 when William J. Wilgus, the visionary chief engineer of the New-York Central, presented the railroad with a grand scheme — ultimately proved epochal — for the replacement of the existing Grand Central Terminal with a new, more technologically advanced facility. Key to the project was the electrification of rail lines.

 

Unlike steam locomotives, which required open air or ventilated tunnels for release of their combusted waste, electrified trains could be submerged below ground. The acreage thus reclaimed at ground level and above could be used, Wilgus foresaw, for revenue-producing structures. High profit buildings were erected on skeletal steel supports over the tracks: "And thus from the air [was] taken wealth." The alchemous plan repaid the enormous cost of the new terminal and the electrification many times over.

 

Realization of Wilgus' scheme involved a design competition to which four firms were invited. Per requirements, each submitted a proposal for a skyscraping terminal in the center of Park Avenue but so arranged as to connect both north and south segments of the boulevard. The contest was won by Reed & Stem who had worked with Wilgus on previous railroad commissions (and to whom Reed was related by marriage). Their proposal called for a neo-Renaissance terminal surmounted by a 22-story hotel or office tower. Preceded on the north by a grand "Court of Honor," the depot was, in a stroke of genius, to be girdled by an "exterior circumferential elevated driveway" along which Park Avenue "would flow in divided north- and southbound streams. Architects Warren & Wetmore subsequently transformed the design into the current low, monumental mass, but many of its essential features survived.

 

Indeed, Reed & Stem's tower proposal (together with that of unsuccessful competitors McKim, Mead & White) may be seen as the germ of the New York Central Building which Warren & Wetmore constructed to the north of the terminal some two decades later.

 

In 1903 plans were submitted to the Board of Estimate for the new train station as well as for the revenue-producers that Wilgus had imagined. In addition to the head house, the proposal included mail and express terminals, a post office, and hotels. Several of the structures were undertaken concurrently with the new terminal, but not until the 1920s (after the post-World War I depression) did the precinct assume the distinctive character of the planned enclave known as "Terminal City."

 

Building efforts initially focused on the construction of new hotels whose development, like most luxury buildings, had been stemmed by the war, and whose need near the depot was critical. Between the completion of the terminal in 1913 and the New York Central Building in 1927-29, more than a score of hotels and apartment buildings were added to the precinct, all of roughly the same height and classicizing style.

 

These were followed, after 1922, by the erection of new office buildings, which, although taller than the hotels, were nonetheless related in style, and frequently designed by -the same architects. In each case the new buildings marched north, perched on steel stilts over the rail yard. They transformed Park Avenue into a grand and cohesive urban corridor with a ribbon of spinal plantings. In the process they earned for this boulevard the Park Avenue name which, although official since 1888, had previously been little deserved.

 

The 34-story New York Central Building was the final addition to Terminal—City. Taller, more dramatic and conspicuously sited than any other unit in the complex, it became the riveting linchpin of "one of the most urbane groups, of commercial buildings in the world."

 

The creation of Terminal City was a direct outgrowth of the ,"City Beautiful Movement." Fostered by the World's Columbian Exposition of 1893, this movement sought to transform the haphazard development of American metropolises into clean, symmetrical urban centers, beautified by parks, public monuments and axial roadways, and guided in their future growth by a comprehensive plan for transportation and architectural integration.

 

Like other cities (most notably Washington, D.C. with its MacMillan Plan of 1902-03), New York attempted implementation. In a little-known effort beginning in 1902 and culminating five years later, the New York Public Improvement Commission submitted a comprehensive scheme for the city's development "so designed that all its parts shall be consistent, the one with the other, and form a homogeneous whole."

 

This was the first time since the establishment of Manhattan's street grid in 1811 that a general urban plan had been proposed for New York; it met with unmitigated failure. Calling for parkways, subsidiary streets, pedestrian arcades and imposing vistas (all aspects of Terminal City), the municipal scheme was undermined by an over-emphasis of aesthetic concerns. It suffered from an unrealistic exclusion of economic and social forces and, perhaps most damagingly, from the inability of democratic government to consolidate its widely-diffused powers for urban renewal on such an imperial scale.

 

The degree to which city bureaucracy was incapable of action' contrasted starkly with the position of the railroad at the turn of the century: a multi-million dollar private enterprise whose capital, organization and vast real estate holdings permitted — indeed, encouraged — a coordinated development policy. Moreover, the railroad's massive physical needs, and its cultivated civic and philanthropic self-image found appropriate architectural models in the ancient. Renaissance and Beaux-Arts

 

public buildings which so inspired the City Beautiful Movement. Wilgus, Reed & Stem, and Warren & Wetmore, among others, were nurtured on Utopian urban visions. Their creation of the mixed-use, multi-level Terminal City, integrated in its architectural expression and modes of transportation, is one of the best, if not the greatest, legacy of the City Beautiful Movement in New York- The achievement was challenged — arguably equalled — only by Rockefeller Center which, built in the 1930s, followed the Terminal City prototype.

 

Architects of the New York Central Building

 

Charles Delevan Wetmore (1866-1941) received an A.B. degree from Harvard in 1889 and three years later, in 1892, graduated from its Law , School. He had also studied architecture, and before joining the legal firm of Carter, Ledyard & Milburn, designed for his alma mater the Claverly, Westmorly and Apley Court dormitories.

 

It was during a consultation about the design of his own house that Wetmore met his future partner, Whitney Warren (1864-1943), a graduate of Columbia College (1886), of the Ecole des Beaux-Arts in Paris (1887-94) and subsequently, a member of the New York office of McKim, Mead & White. Warren, impressed by his client's architectural ability,, suggested that Wetmore leave the practice of law. The two men formed a partnership in 1898. Wetmore specialized in the firm's legal and financial Affairs; Warren emerged as the principal designer.

 

Warren & Wetmore's first major commission came just one year later when they prevailed in a contest for the design of the New York Yacht Club (1899). An enormously auspicious beginning, this celebrated project was nonetheless succeeded only "by lesser residential works and modest office buildings. Not until 1903 did the firm emerge on the forefront of New York architecture and then under suspect terms: despite the victory of Reed & Stem in the competition for Grand Central Terminal, and indeed, without the knowledge of that premier firm.

 

Warren & Wetmore submitted another scheme for the depot to William K. Vanderbilt, then chairman of the board of the New York Central (and a cousin and close friend of Whitney Warren). The strength of nepotism was proven, as were Wetmore's skills as an attorney. In a (doubtlessly strained) compromise, Warren & Wetmore became associated with Reed & Stem on the terminal, but later assumed total control of design.

 

Over the course of a decade they combined their low-lying Beaux-Arts proposal with essential elements from Reed & Stem's more innovative scheme. - _ * •

 

In the end, the eminently gifted, if opportunistic, Warren & Wetmore achieved the greater fame, and it was they who became the preferred architects of the New York Central. Engaged by the railroad almost continuously for a quarter-century, the firm was responsible for much of the development of Terminal City. Beginning with the Biltmore Hotel in 1911-13 (designed in association with Reed & Stem; demolished). Warren & Wetmore executed sere ox the most prestigious hotels in the zone, including the Belmont {1905; demolished), the Ritz-Carlton (1910; demolished), the Vanderbilt 1912), Commodore (1916), Linnard (1919; demolished), and the Ambassador (1921), as will as the post office adjacent to Grand Central, several service : • • , for the railroad, nearly a dozen Park Avenue apartment buildings, office buildings and numerous shops. Together with such notable (non-railroad sponsored) commissions as the Heckscher Building of 1920, the award-winning Aeolian Building of five years later, and the former Bonwit Teller department store of 1928 (all on Fifth Avenue), as well as Steinway Hall on West 57th Street (1925), Warren & Wetmore executed at least 92 buildings and building additions in New York, with more than a score of additional commissions elsewhere in the continent.

 

The New York Central Building was their final undertaking for the railroad and the last major project executed by the firm in New York. Completed in 1929, it preceded Warren's retirement by only two years. The office closed a decade later upon Wetmore's death in 1941.

 

The, New York Central Building

 

Between the completion of Grand Central Terminal in 1913 and the 100th anniversary of the New York Central Railroad in 1926, the number of passengers annually served by the depot nearly doubled, rising prodigiously from 23 million to 43 million in just over a dozen years.

 

During the same short period, in a historically unparalleled feat, the most formidable engineering problems had been solved, and Terminal City had risen triumphantly above the tireless rail yard. By 1926 the only open cuts in the precinct lay oh either side of Park Avenue between 45th and 46th Streets. Work on the combined sites began later in the same centennial year and in March 1929 — just seven months before the stock market crashed — New York Central's executives relocated from their corporate offices in 466 Lexington Avenue into the top three floors of their new namesake building across the street.

 

Towering above its neighbors, the 34-story structure literally provided "the crowning achievement" to the railroad's urban development plan. * So skilled were its design and execution and so magnificent its siting, that the railroad's trade journal confidently predicted that the New York Central Building was "destined to become one of New York City's landmarks."

 

Traffic

 

Hardly less spectacular — and to the mind of city officials, Relief far more important — was the solution to a major source of New York traffic congestion. Although elevated drives around Grand, Central had been proposed by Reed & Stem and subsequently incorporated into the design of Warren & Wetmore, their construction did not begin until 1917, four years after the terminal's completion. Not until 1919 (by which time negotiations for the New York Central Building had already commenced) did the road system open to the public, and then with only short-term and partial resolve.

 

Ascending/descending the Pershing Square Viaduct at 40th Street, both north- and southbound traffic continued along the west side of the terminal atop an elevated drive, superimposed like a second story over Vanderbilt Avenue. .(Depew Place, flanking the terminal on the east, also had an elevated level but this was a private way, reserved for baggage and freight deliveries). The western viaduct allowed vehicles to travel along busy 42nd Street without interruption by a north-south artery." Within a few short years, however, increased traffic created the most vexatious bottleneck three blocks north, at 45th Street, where the ramp descended to grade: 13 lanes of bi-directional traffic converged - from Park and Vanderbilt Avenues, 45th Street and the elevated drive, spilling into adjacent streets and Strangling the essentia I flow of this midtown commercial hub. Construction permits for the New York Central Building were withheld until a scheme to relieve this insufferable congestion had been submitted.

 

Roadways

 

An agreement was reached in 1924 after five years of & Tunnels negotiation, during which time the railroad totally revised its plans. Instead of following through with its original intention to erect "one building on the west side of Park Avenue, the same size as the Postum Building [21 stories] and another on the east side of Park Avenue similar to the Park Lexington Building [also 21 stories]," the New York Central proposed to construct one large building astride the boulevard. - In exchange for the required variances, city officials requested, and received from the railroad, the extension of Vanderbilt Avenue two blocks north of its former terminus at 45th Street.

 

The New York Central also agreed to improve the elevated drive along the west side of the terminal and to construct a companion drive on its east (a transformation of the private delivery platform atop Depew Place) so that public traffic could flow around the depot as originally planned, in bifurcated one-way lanes (southbound on the west; northbound on the east). Instead of descending to grade amid the confusion of 45th Street, the elevated drives were to span that street on bridges and, through specially granted easements, continue north on ramps through the base of the proposed' New York Central Building.

 

Cars emerging from its vehicular tunnels at 46th Street would proceed uptown along Park Avenue's newly widened traffic lanes. A corollary of the same agreement provided for "a permanent and perpetual easement of passage on foot," namely the continuation of Park Avenue's sidewalks through two open (shop-lined) corridors on either side of the tunnels.

 

Manhattan Borough President Julius Miller hailed the ingenious circulation system as "the biggest thing in traffic relief in twenty years." The masterminds behind the project were George A. Harwood, Ira A. Place and Amos Schaeffer, all of whom are memorialized by bronze plaques on the New York Central Building's main facade. Execution of the tunnels required reinforcement by special girders and trusses for superstructure support, and, as a protect ion against vibration, their ' erection independent of the building's frame. In addition, the two road-ways — both curved and banked — had to be supported on stanchions installed at a slope so that cars could climb to the elevated 45th Street bridges.

 

The innovative design allowed Park Avenue traffic to continue unimpeded between 46th and 40th Streets — a flow which, to this day, is still an exhilarating experience: one burrows through the New York Central Building negotiating its sharp turns, only to emerge above the city and descend, in roller coaster fashion, down the Pershing Square Viaduct (and, if one chooses, further south, through the subterranean Belmont tunnel — originally a locomotive cut — all the way to 33rd Street).

 

There was, in all of it, a comforting urban justice: the railroad supplied the brilliant remedy to the traffic jams which for so many years it had created. No less germane was the solution's reliance on tunnels, particularly as the New York Central had achieved its mighty prowess by blasting and tunneling through so much craggy terrain, both along Park Avenue, and beyond.

 

Design Inspiration for the design drew obviously from the four Influences competitive proposals submitted for Grand Central Terminal in 1903. Excluding Reed & Stem's preferred scheme with its circumferential viaducts, both Samuel Huckel and McKim, Mead & White provided for the continuation of Park Avenue via tunnels through the depot (as presumably did Daniel Burnham in his now lost entry).

 

McKim's firm executed a version of its unsuccessful terminal proposal for the 26—story Municipal Building at the head of Chambers Street. Designed in 1908. and completed in 1916., this City Beautiful skyscraper, like the New York Central Building of a decade later, includes a monumental arcade through which vehicular traffic originally flowed. Also similar are the projecting side wings which give the Municipal Building (and the more graceful 46th Street facade of the New York Central Building) a depressed U-shaped plan.

 

One can also perceive correspondences between Warren & Wetmore's tower and the chaste classicism of Reed & Stem's 22-story terminal proposal, but most conspicuous is Warren & Wetmore's effort to complement their own earlier work on Grand Central. Like the terminal, the New York Central Building was constructed of. limestone with bronze grilles, ornamented by symbols of industrial progress, and crowned by a heroic clock. Bridging Park Avenue with imposing Beaux-Arts arches, both structures are enlivened at ground level by carefully integrated shops.

 

The correspondences are as binding and intentional as they were clearly stated in the New York. Central Building's specifications. Similarly, and despite the almost exclusive priority of Art Deco design for contemporaneous skyscrapers, the New York. Central was articulated "along strictly classical lines."

 

The decision - to so thoroughly incorporate it with the depot and, by extension, with the rest of Terminal City reinforced the urbane cohesiveness of this "first planned precinct in New York."

 

Construction History

 

Contrary to the normal (and usually ineffective) course of development whereby the railroad erected its buildings and the city, in an independent effort, the surrounding streets, the New York Central assumed physical responsibility for every aspect of construction.

 

The arrangement proved particularly judicious because the entire campaign took place over double-level live trackage. In turn, city officials made every effort to aid and expedite the undertaking.

 

So successfully did the two parties interact that the enterprise was publicly hailed as a model of private and municipal cooperation.

 

Foundation preparations began in December 1926. Final plans for the structure were submitted on February 11, 1927, and three months later, on May 19th, 350 men from the James Stewart Construction Company anchored the last of the New York Central Building's steel piers 50 feet into the ground.

 

The task of providing adequate support for the superstructure had been particularly demanding: the entire campaign took place amid double level tracks which serviced more than 700 trains daily (a locomotive passed through operations approximately every 1-1/2 minutes of each working day).

 

The problem was further compounded because the rails (now electrified) prevented any possibility of continuous foundation walls and even more perplexing, because the frequent non-alignment of upper and lower tracks prohibited the use of through-columns.

 

A solution was achieved through a cleverly staggered skeletal steel frame in which upper level supports were carried on girders spanning the lower tracks. The lower piers, in turn, were irregularly spaced and anchored into the ground as the maze of rails would allow. The building was insulated against vibrations from the rumbling trains with lead and asbestos mats, and further protected by the 4-inch compressed cork tubes which encased those piers adjacent to rails.

 

More than 9,000 tons of steel were used in the foundations and ground floor alone. The entire structure required some 26,000-tons, a "good deal of which went into construction of the vehicular roadways.

 

Work continued at a rapid pace and on April 5, 1928 — just hours after the death of Chauncey Depew, chairman of New York Central's board of directors — the last rivet was driven into the 34-story steel frame. A temporary certificate of occupancy (# 11979) was issued in late December, and on September 25, 1929, building operations were brought to a close. Three years later the New York Central Building was acclaimed "the most remarkable office building in the world...even the wonderful Hudson Bridge [George Washington, 1931] required no greater engineering skill to construct.

 

Urban However brilliant, the New York Central Building's engineering did Impact not fully account for its singular popularity. Even before completion, and continuing unstemmed until the present day, this "absolutely glorious structure has captivated New York like few others. Regarded by many as "the most beautiful and imposing tower" in midtown, it enjoys a distinction all but unique in grid-patterned Manhattan: the building has a double focus.

 

Unlike most New York skyscrapers whose ground floors are visible only at close range and which consequently depend upon distinctive crowns for recognition, the New York Central Building plays a commanding role at both street level and on the skyline. Spanning Park Avenue, its great triumphal arches not only complement and give passage to Grand Central, but echo one of the finest aspects of its original City Beautiful design.

 

Projecting from either side of the apse-like recess in the center of the 46th Street facade, the building's 15—story wings embrace the Park Avenue corridor and realize — in however vestigial terms — the "Court of Honor" which Reed & Stem had intended to locate at the north of the terminal.

 

The impression was particularly imposing in the 1930s and 1940s when the nearly uniform base-, cornice- and roof lines of Park Avenue's midrise buildings acted like powerful orthogonals, leading irresistibly to the focal New York Central Building.

 

Although the streetscape was radically altered in the 1950s and 1960s, convincing elements of this once truly imperial vista survive in the wealth of scrolls, fasces, flags and military insignia which decorate the New York Central Building's (recently illuminated) triumphal arch in (now gilded) bas-relief.

 

Most compelling is the heroic clock which Edward McCartan framed with reposing gods four times life size. The sculptural composition provides the dramatic focus of the 46th Street facade, just as the entire building does for all of Park Avenue.

 

The Tower

 

In erecting the tower, a conspicuous symbol of the railroad's might, New York Central officials made proud comparisons with the Washington Monument, noting with considerable pleasure that their building was 5-6 feet taller.

 

They might also have compared it to the obelisks of baroque Rome which, planted in open piazzas and visible from afar, served as exclamatory urban focuses.

 

At 567 feet the New York Central Building was tall enough to control Park Avenue's 140 foot width, but sufficiently slender to allow the sky to slide by on either side of its shaft — just as it permitted the boulevard's street traffic to flow through its base.

 

The building functioned as a bridge, not a barrier. And while this wonderfully urbane spatial flow was fatally smothered in 1963 when the much taller and wider Pan Am Building stole the sky the New York Central maintains a dignity and monumentality independent of size. For this, a good deal of credit belongs to its exuberant cupola-crowned roof, glistening by day with gold leaf, and illuminated like a fiery constellation by night.

 

The New York Central first appeared on the evening skyline on January 21, 1929. Batteries of flood lights illuminated all four sides of its tower "from base to top." Most of the building's 100,000 candlepower lights, however, accentuated the intricately detailed roof, maximizing the reflective glow of its gold and copper sheathing (nearly 300,000 pounds of which were applied).

 

The building's crowning feature, a marvellously ornate cupola, was literally designed as a beacon. Blazing with "32-marine-type fixtures," it housed a great glass ball (a 6,000 watt lantern) which, "amplified and "projected by a special system of reflectors," had the force of a coastal lighthouse.

 

Eight supplementary projectors threw flame-tinted light through the cupola's oval openings, additional "flaming torches" burning on each corner of the tower's octagonal roof. To the distinct pleasure of New York Central's officials, their building had made a conspicuous mark on the land, visible "for miles up Park Avenue, and also from lower Manhattan, New Jersey and Brooklyn.

 

Recent Like other-skyscrapers in New York, "the New York Central Building History was blacked-out during the war, only to suffer a dark future with the failing finances, and finally the bankruptcy, of the New York Central Railroad. The structure was sold in the late 1950s / at which point it was rechristened the "New York General Building" — an economic change of name which required only two letters to be re-cut on the cornice.

 

Real estate magnate Harry Helmsley purchased the building in 1977 and conferred on it his name. In the following year, an extensive renovation program was undertaken, restoring and refurbishing the building from top to bottom, interior and out.

 

And if the gilding program was somewhat too ambitiously executed, it is to the great credit of the new owner that the New. York Central Building, now the Helmsley Building, has once again become' a vibrant component of New York's street and skyline.

 

- From the 1987 NYCLPC Landmark Designation Report

The realization that l33tspeak could be applied to hex values in Photoshop led to a few minutes of frivolity.

 

UPDATE: the sequel, based on some of your suggestions and a few of my own.

Kristen realizing whats about to happen. and maybe hamming it up a bit. maybe.

blog.jeremypoland.com/ :)

My yoga. Vrischikasana. My own realization.

Miguel Angel Guzman

Direction & Choreography

 

María Cecilia Cuesta, Marianna Escobedo, Lucía González, Cinthia Pérez Navarro, Amira Ramírez, Carolina Tabares & Jimena Villegas

Performers

 

Angelina Del Buey

Costume Design

 

Gonzalo Aguilar

Photography

Realization and imagination co star : Sky Sone, Mom, Bro.

 

The use of this photo is allowed only with written authorization of Svante Oldenburg

My realization from a holy visit-

 

1. I have never seen such a simple living room with so much richness.

2. Religion makes a man, not the sectarian creed.

3. Simple living is a prerequisite for true creative pursuits.

4. Bismillah Khan was not mere a spiritually gifted person. He was a spiritually submitted person.

5. I could apprehend his soul whom I was familiar to, since my early childhood... I grew-up listening his master creations of 'Ragas'-the melodic framework for improvisation akin to a melodic mode in Indian classical music.

  

Awards received by Bismillah Khan

Bharat Ratna (2001)- the highest civilian award of the Republic of India.

Fellow of Sangeet Natak Akademi (1994).

Talar Mausique from Republic of Iran (1992).

Padma Vibhushan (1980)[15]

Padma Bhushan (1968)[15]

Padma Shri (1961)[15]

Sangeet Natak Akademi Award (1956)

Tansen Award by Govt. of Madhya Pradesh.

Three medals in All India Music Conference, Calcutta (1937)

"Best Performer" in All India Music Conference, Allahabad (1930)

  

Recognitions

Bismillah Khan had honorary doctorates from

Banaras Hindu University, Varanasi

Visva Bharati University, Santiniketan

Others include16]

Was invited by the then Prime Minister of India Pandit Jawaharlal Nehru to play shehnai on the first Independence Day (15 August 1947) in Delhi's Red Fort.

Participated in World Exposition in Montreal

Participated in Cannes Art Festival

Participated in Osaka Trade Fair

India Post issued a commemorative Postage stamps of Rs. 5.00 on 21 August 2008.

  

Varanasi- The city known as the ‘Spiritual Capital’ of India and a seat of ‘Hindustani Classical Music’.

 

Varanasi is a remarkable educational and musical center in India, where many musical maestros, prominent Indian philosophers, poets, and writers, live or have lived, and it was the place where the Banaras form (gharana) of Hindustani classical music was developed. ‘Bharat Ratna’ (Jewel of India’ the highest civilian award of the Republic of India) Ustad Bishmillah Khan (en.wikipedia.org/wiki/Bismillah_Khan), 'Queen of Thumri'- Girija Devi (‘Padma Vibhushan’, the second-highest civilian award of the Republic of India) , Pandit Kishan Maharaj of Tabla (‘Padma Vibhushan’) , Hindusthani vocalist Pandit Rajan and Sajan brothers (‘Padma Bhushan’ is the third-highest civilian award in the Republic of India) and many others live or lived in the holy city of Varanasi.

  

Bharat Ratna

The ‘Bharat Ratna’ (Jewel of India) is the highest civilian award of the Republic of India. Instituted in 1954, the award is conferred "in recognition of exceptional service/performance of the highest order", without distinction of race, occupation, position, or sex. The award was originally limited to achievements in the arts, literature, science, and public services, but the government expanded the criteria to include "any field of human endeavour" in December 2011. The recommendations for the Bharat Ratna are made by the Prime Minister to the President, with a maximum of three nominees being awarded per year. Recipients receive a Sanad (certificate) signed by the President and a peepal-leaf–shaped medallion; there is no monetary grant associated with the award. Bharat Ratna recipients rank seventh in the Indian order of precedence.

 

With the realization that I would be joining some world class photographers in Banff, one of the most spectacular places on Earth, a realistic photography plan would be most helpful! Landscape photography is not a forte of mine but the opportunity to try and capture my impressions on such a big scale was very exciting!

 

So the idea of 'intimate landscapes' took form and mixed with my artistic nature, this image is what I had envisioned. Little magical scenes that were scattered throughout the region to taste. Nibble. My goodness, the Canadian Rockies landscape was beyond powerful, it took my breath away! And then I watched Anne Strickland and Paul Bruin set up their tripods and face these most staggering scenes that they appeared to me to be in a battle of epic proportions. Is it even possible that such raw beauty be captured by man/woman and camera?

 

Oh, and they did! Masterfully! But for mere mortals such as myself, it was too humbling! Shooting the Rockies is a little like love at first sight! The impossible becomes possible and slowly one gets more and more assured, falling deeper under it's spell. I'm still in the state of dazzling breathlessness where all is overwhelming. Perhaps a few more return trips will settle me down. But right now I'm intoxicated! And those little kisses of small scenes are all I can handle! :-)

Towards the end of the Korean War, the USAF came to the realization that their transport fleet was becoming obsolete. The C-46 Commandos and C-47 Skytrains in service were no longer adequate, while the C-119 Flying Boxcar was having difficulties. In 1951, the USAF issued a requirement for a new tactical transport, an aircraft that would need to carry at least 72 passengers, be capable of dropping paratroopers, and have a ramp for loading vehicles directly into the cargo compartment. Moreover, it must be a “clean sheet” design, not a conversion from an existing airliner, and the USAF preferred it be a turboprop design. Five companies submitted designs, and six months later the USAF chose Lockheed’s L-402 design—over the misgivings of Lockheed’s chief designer, Clarence “Kelly” Johnson, who warned that the L-402 would destroy the company. Little was Johnson to know that, fifty years later, the L-402—designated C-130 Hercules by the USAF—would still be in production, and one out of only five aircraft to have over 50 years of service with the original purchaser.

 

The C-130 was designed to give mostly unfettered access to a large cargo compartment—the ramp forms an integral part of the rear fuselage, the wing is mounted above the fuselage, and the landing gear is carried in sponsons attached to the fuselage itself, while the fuselage has a circular design to maximize loading potential. The high wing also gives the C-130 good lift, especially in “high and hot” situations. The Allison T56 turboprop was designed specifically for the Hercules, and has gone on to become one of the most successful turboprop designs in history.

 

After two YC-130 prototypes, the Hercules went into production as the C-130A in 1956, to be superseded by the improved C-130B in 1959. The latter became the baseline Hercules variant: C-130As had three-blade propellers and a rounded “Roman” nose, while the B introduced the more familiar, longer radar nose and four-blade propellers. In the 50 years hence, the basic C-130 design has not changed much: the C-130E introduced underwing external fuel tanks, while the C-130H has a slightly different wing. Even the new C-130J variant only introduced new engines with more fuel efficient six-bladed propellers: the basic design remains the same. Lockheed also offers stretched versions of the Hercules, initially as a civilian-only option (the L-100-30); the British Royal Air Force bought this version as the C-130K and it was later adopted by other nations, including the United States.

 

The basic C-130 is strictly a transport aircraft, but the versatility of the aircraft has meant it has been modified into a dizzying number of variants. These include the AC-130 Spectre gunship, the HC-130 rescue aircraft and WC-130 weather reconnaissance version. Other versions include several dozen EC-130 electronic warfare/Elint variants, KC-130 tankers, and DC-130 drone aircraft controllers. The USAF, the US Navy, and the US Marine Corps are all C-130 operators as well. Besides the United States, there are 67 other operators of C-130s, making it one of the world’s most prolific aircraft. C-130s are also used extensively by civilian operators as well as the L-100 series.

 

The “Herky Bird,” as it is often nicknamed, has participated in every military campaign fought by the United States since 1960 in one variation or the other. During Vietnam, it was used in almost every role imaginable, from standard transport to emergency bomber. It was also instrumental in resupplying the Khe Sanh garrison during its three-month siege. Hercules crews paid the price as well: nearly 70 C-130s were lost during the Vietnam War. In foreign service, C-130s have also been used heavily, the most famous instance of which was likely the Israeli Entebbe Raid of 1976, one of the longest-ranged C-130 missions in history. C-130s are often in the forefront of humanitarian missions to trouble spots around the world.

 

As of this writing, over 2300 C-130s have been built, and most are still in service. It remains the backbone of the USAF’s tactical transport service; attempts to replace it with the Advanced Tactical Transport Program (ATTP) in the 1980s and to supplement it with the C-27J Spartan in the 2000s both failed, as the USAF realized that the only real replacement for a C-130 is another C-130.

 

Though I don't have a tail number on this model, this 1/72 scale Italeri kit represents an EC-130E Airborne Command and Control Center (ABCCC), as they appeared during the Vietnam War. As the designation hints at, the job of the ABCCC was to coordinate airstrikes around Southeast Asia--by operating in the air, its radios were not limited by the curvature of the earth, and at altitude, it could not be shut down by enemy attack. It also cut down on response time for USAF aircraft moving to help troops in contact on the ground, as the ABCCC could quickly shift assets where they were needed the most. ABCCCs worked closely with forward air control (FAC) aircraft in this role. They were still subject to rules of engagement, and targets were subject to approval from 7th Air Force headquarters in Saigon. This more than occasionally negated the ABCCC's effectiveness. Nonetheless, using the codenames Hillsboro, Alleycat, Moonbeam, Trump and Cricket, ABCCCs were invaluable to the air war over South Vietnam, Cambodia and Laos, and one was usually in the air at all times.

 

Dad built this EC-130 for Capt. Ron Dallenger, his former boss at 24th NORAD at Malmstrom AFB. During Vietnam, Dallenger flew 93 missions in ABCCCs, assigned to the 7th Expeditionary Airborne Command and Control Squadron (ACCS) at Korat RTAFB, Thailand. It required some conversion work: the two air vents on the forward fuselage of the EC-130E are one of the hallmarks of an ABCCC aircraft. The wheeled "box" below the model is the actual ABCCC trailer--it could be towed out of one EC-130 and placed in another quickly if needed, and kept the system self-contained. Dad scratchbuilt the trailer out of sheet styrene and airliner wheels.

 

This is the centerpiece of Dallenger's career shadowbox, and contains mementos, medals, pictures and other models showing off a 30-year career in the USAF. Because it's mounted vertically behind glass, it's not the easiest model to photograph.

Taken at the Self-Realization Fellowship Gardens in Enciniitas, CA. Very peaceful place that truly felt separated from being in Southern California. Free entry so check it out sometime if you're in the the area.

 

Set the camera on the ground, dialed settings, propped with a rock and went for the long exposure. This one was 25 seconds. Bit of a breeze so some of the plants have motion. Used the Hoya ND400 and I think a Hoya HD CPL on top of that.

www.flickr.com/photos/wonderlane/2045933474/

 

www.flickr.com/photos/wonderlane/2045918506/

 

www.flickr.com/photos/wonderlane/2045138559/

 

Self-arising Tara - I am sorry I did not remove the offerings to get a better photo, but it just did not seem respectful at that time. Next time I will ask permission. Just being there is a bit overwhelming,,,

 

Interestingly when I visited Lady Tara here in 1990 this was all outside, and there was no building here, and nothing covering her from the elements. Now there is a lovely shrine, a Monastery next door, and several other Monasterys in the area - not aware of any Nunneries sorry. The town has certainly grown and no doubt there are practioners of every tradition all over this village.

 

Lady Tara is definately becoming clearer and more well pronounced from the rock. Her face does not have a lot of defination. The color of the rock is white - grey.

 

"Yangleshod: Locally known in Nepali as Pharping. This sacred place is known for three things. First, there is a Tara statue that is said to be self-arising. It was not carved by humans and slowly over the years becomes larger and more apparent from the rock. Second, above the statue on the top of a hill is a small cave in which Guru Rinpoche is said to have realized Vajra Kilaya. Third, in lower Yangleshod, there is another cave that Guru Rinpoche meditated in, in which there is the imprint of his head in the top of the rock."

 

Not as well known is the tantric Vajrayogini (Naro Khachoma, Kha Chö Ma) statue of realization is housed in Pharping as well. It is very holy to the Tibetan Buddhist (Sakya) Tradition in particular, as the Pamtingpa brothers, Jigme Dragpa and his younger brother Ngawang Dragpa had much enlightened realization from mediating on that very statue. Even the Dharmakara drawn on the ceiling in front of the statue is very holy. It is easy not to notice it, unless someone points it out to you.

 

As I understand it, Nepalese town of Yangleshod was called 'Pamting' after those two brothers last name, but the name changed in sound over time to 'Pharping'.

 

The spred of the Buddha's Dharma out of Tibet to the West has increasingly helped both the Western and Eastern people. No doubt.

 

Science Rules! but Compassion Rocks! Together we Roll on the Dharma Wheel for the benefit of all who live!

"The only limit to our realization of tomorrow will be our doubts of today. Let us move together with strong and active faith."

 

The Franklin Delano Roosevelt Memorial, dedicated on May 2, 1997, is spread out over 7.5 elaborate landscaped acre along the Cherry Tree Walk on the Western edge of the Tidal Basin as part of the National Mall. Designed by Lawrence Halprin, it traces 12 years of the history of the United States through a sequence of four outdoor gallery rooms--one for each of FDR's terms of office-- defined by walls of red South Dakota granite.

 

The idea for a memorial originated in 1946. In 1955, the Franklin Delano Roosevelt Memorial Commission was established by Congress. The current plot of land was secured in 1959 with design competitions following in 1960 and 1966. It wasn't until 1978 that the committee finally approved a design by Halprin and authorized construction in 1982. Ground was broken in September of 1991.

 

Running water is an important physical and metaphoric component of the memorial. Each of the four "rooms" representing Roosevelt's respective terms in office contains a waterfall. As one moves from room to room, the waterfalls become larger and more complex, reflecting the increasing complexity of a presidency marked by the vast upheavals of economic depression and world war.

 

The first room introduces Roosevelt's first term as President (1932-1936). Robert Graham's relief sculpture depicts his first inauguration. Tom Hardy's a bronze sculpture depicts The Presidential Seal and a Roman-American eagle. In this room, the single large drop of water symbolizes the crash of the economy that led to the Great Depression.

 

The second room, Social Policy, details Roosevelt's second term from 1936-1940 and the impact of the New Deal, which created social security, worker's compensation, unemployment insurance, welfare, and fair labor standards. Three sculptural groups by George Segal--Breadline, The Rural Couple, and The Fireside Chat--represent Americans during the Great Depression. The wall opens to an open area with five tall pillars and a large mural, created by Robert Graham, representing the New Deal. The five-panelled mural is a collage of various scenes and objects, including initials, faces, and hands; the images on the mural are inverted on the five columns. In this room, the multiple stairstep drops symbolize the Tennessee Valley Authority dam-building project.

 

The third room, The War Years, covering the period from 1940-1944 and World War II, explodes to a destructive presence, as giant granite blocks line the path, and a chaotic waterfall rushes down. On the wall, one of 21 inscriptions carved by John Benson, is Roosevelt's famous "I have seen war" quote. To the left of the waterfall sits a Neil Estern's 10-foot tall sculpture of Roosevelt, seated in a dining room chair with roller casters and wearing a floor-length cape, with his dog Fala seated nearby.

 

The fourth room, Seeds of Peace, covers the period from 1945 to 1955, including Rosevelt's final term, his passing and beyond. It includes Leonard Baskin's Funeral Relief and Neil Estern's sculpture of Eleanor Roosevelt, standing next to the United Nations emblem. In this room, the still pool represents Roosevelt's death.

 

In the forecourt is Robert Graham's life-size bronze portrait statue of Roosevelt, seated in a wheel chair, facing the Washington Monument. This statue was added in January, 2001, after advocates objected to Estern's depiction which concealed Roosevelt's disability. Though Roosevelt suffered from paralysis as a result of polio, he went through great pains to hide his ailment from the public.

 

National Register #01000271 (1997)

In 1960, the US Army came to the realization that it had no real scout helicopter: the OH-13 Sioux could operate effectively in the role, but it was aging and its slow speed made it vulnerable to ground fire. The O-1/L-19 Birddog was a good scout aircraft, but it did not have the mobility of a helicopter. With this in mind, the Army issued a requirement for a Light Observation Helicopter (LOH). The new helicopter needed reasonably high speed, good visibility from the cockpit, and be not too expensive. Bell, Hiller and Hughes all developed prototypes; in 1965, the Army chose Hughes' Model 369 as the OH-6A Cayuse, and placed an order for 1300 helicopters.

 

The Army was then presented with a problem. Hughes did not have a large factory, and was run by the mercurial and unpredictable Howard Hughes: there was a real concern that Hughes could not deliver the order. Moreover, the Army learned that Hughes had deliberately undercut Bell's and Hiller's bids to win the contract, and as such was taking massive losses on the OH-6. The Army then reopened the competition, and Bell's OH-58A Kiowa won this time: the Army would use both helicopters. As for Hughes, the company would later make up the losses by marketing the OH-6 as the Model 369 and later the Model 500.

 

The OH-6A entered service in 1966, and was sent to Vietnam soon thereafter. Though given the name Cayuse (as part of the US Army's tradition of naming helicopters after native tribes), this name never stuck: instead, the helicopter was nicknamed Loach, after the LOH project name and its buglike appearance. Loaches were quickly armed with field modification kits to carry machine guns, and were usually paired with the also newly-arrived AH-1 Cobra as a "Pink Team." The job of the Pink Team was to scout ahead of the UH-1 "slicks" carrying troops: the OH-6 would come over at low level to see if it drew ground fire. If it did, it would then call in the AH-1s to attack the enemy position and clear the landing zone. This hunter-killer team proved very effective, if dangerous to the OH-6 crews: of 1420 OH-6s built, 842 were shot down over Vietnam.

 

Because of the heavy losses over Vietnam, the scout role after the war was gradually taken over by the OH-58A, which was cheaper to buy and easier to maintain. OH-6s began to be passed on to Reserve and National Guard units, but got a new lease on life after 1980: the Army still needed a small helicopter that could land in places the OH-58 or UH-1 could not. The OH-6 was the only aircraft that fit the bill, and several dozen were seconded to Task Force 158 in preparation for an operation to free the American hostages in Tehran, Iran. The hostages were freed by the Iranians themselves in 1980, but the Army recognized the need for an elite force trained in night operations, and renamed the unit Task Force 160--known to its crews as the "Nightstalkers."

 

TF 160 proved its worth during Operation Prime Chance, the United States' undeclared naval and air war against Iran in 1988, and the OH-6s were redesignated MH-6 (for transport OH-6s) and AH-6 (for armed versions). Nicknamed "Little Birds" by their crews, TF 160 worked closely with the elite and secretive Delta Force, most notably in the Battle of Mogadishu in 1993, where they were the only gunships available to the beleaguered Army forces in the Somalian city. The standard OH-6 has been retired from Army units, but the MH-6 and AH-6 remain in service. The Cayuse also remains operational with Spain and Japan, though in both cases it is being replaced.

 

Tracking helicopters can sometimes be an exercise in futility, and unfortunately OH-6A 67-16301 is one of those. It is known to have served in Vietnam, and suffered damage from ground fire on three separate occasions, from 1969 to 1970, after arriving in-country in late 1968. 67-16301 left Vietnam in 1970 and was stationed at Fort Benning, Georgia and Fort Rucker, Alabama until 1975, when it was relegated to Army National Guard units. It was likely retired in the 1980s, after making its last stop with the 140th Aviation Regiment (New Mexico National Guard). It was then dismantled, but 67-16301 was obtained by the War Eagles Air Museum in Santa Teresa, and completely restored by 2013.

 

The museum certainly did a fine job with 67-16301. It is shown in Vietnam-era camouflage and colors, with the crossed sabers of US Army air cavalry prominently displayed, along with the shield of the famous 11th Armored Cavalry Regiment "Blackhorses." It is equipped with a M134 Minigun 7.62mm gatling gun on the port side, slightly depressed for ground strafing.

i rarely smile a full smile in my outfit pics! hmm.

 

pink cropped blouse - grlfrndz

high-waisted jeans - topshop

two-tone brogues - vintage

 

more at the blog (:

Hey everyone, I have come to the realization that I truly truly truly have waaaaaaay too many projects and mannequins in my attic that I will never get around to. Sooooo, if there are any in my photo stream with the tag availble that you have your heart set on, please let me know! I will be hanging onto Lord Lichfield, Miss Sliwka (unless you have deep pockets...) Mr. sitting Super and Cher... Although that may change if there are any Cher crazy folks out there (that would be you Bruce) you never know money talks! Unfortunately I think shipping to Europe is out of the question unless you really feel like paying through the nose. I get a pretty good rate through work with UPS but please don't waste either my time or yours, it will be at least $150 to ship anything that size overseas. Miss Simone pictured is long gone but I never posted this picture. Hit me up through the messages and we'll talk! And yes, I will ship to the US, but only if you have an account already with a shipping company. I will take them across the border myself and drop them in Pembina ND ready for Fedex or UPS to pick up.

• Small Realizations •

When the sun caught the leaves just right, I realized how small I was in the middle of the woods. 1 person among thousands of trees. 1 person among millions of leaves.

Towards the end of the Korean War, the USAF came to the realization that their transport fleet was becoming obsolete. The C-46 Commandos and C-47 Skytrains in service were no longer adequate, while the C-119 Flying Boxcar was having difficulties. In 1951, the USAF issued a requirement for a new tactical transport, an aircraft that would need to carry at least 72 passengers, be capable of dropping paratroopers, and have a ramp for loading vehicles directly into the cargo compartment. Moreover, it must be a “clean sheet” design, not a conversion from an existing airliner, and the USAF preferred it be a turboprop design. Five companies submitted designs, and six months later the USAF chose Lockheed’s L-402 design—over the misgivings of Lockheed’s chief designer, Clarence “Kelly” Johnson, who warned that the L-402 would destroy the company. Little was Johnson to know that, fifty years later, the L-402—designated C-130 Hercules by the USAF—would still be in production, and one out of only five aircraft to have over 50 years of service with the original purchaser.

 

The C-130 was designed to give mostly unfettered access to a large cargo compartment—the ramp forms an integral part of the rear fuselage, the wing is mounted above the fuselage, and the landing gear is carried in sponsons attached to the fuselage itself, while the fuselage has a circular design to maximize loading potential. The high wing also gives the C-130 good lift, especially in “high and hot” situations. The Allison T56 turboprop was designed specifically for the Hercules, and has gone on to become one of the most successful turboprop designs in history.

 

After two YC-130 prototypes, the Hercules went into production as the C-130A in 1956, to be superseded by the improved C-130B in 1959. The latter became the baseline Hercules variant: C-130As had three-blade propellers and a rounded “Roman” nose, while the B introduced the more familiar, longer radar nose and four-blade propellers. (Virtually all A models were later retrofitted to the long nose, though they kept the three-blade propellers.) In the 50 years hence, the basic C-130 design has not changed much: the C-130E introduced underwing external fuel tanks, while the C-130H has a slightly different wing. Even the new C-130J variant only introduced new engines with more fuel efficient six-bladed propellers: the basic design remains the same. Lockheed also offers stretched versions of the Hercules, initially as a civilian-only option (the L-100-30); the British Royal Air Force bought this version as the C-130K and it was later adopted by other nations, including the United States.

 

The basic C-130 is strictly a transport aircraft, but the versatility of the aircraft has meant it has been modified into a dizzying number of variants. These include the AC-130 Spectre gunship, the HC-130 rescue aircraft and WC-130 weather reconnaissance version. Other versions include several dozen EC-130 electronic warfare/Elint variants, KC-130 tankers, and DC-130 drone aircraft controllers. The USAF, the US Navy, and the US Marine Corps are all C-130 operators as well. Besides the United States, there are 67 other operators of C-130s, making it one of the world’s most prolific aircraft, with its only rivals the Bell UH-1 Iroquois family and the Antonov An-2 Colt biplane transport. C-130s are also used extensively by civilian operators as well as the L-100 series.

 

The “Herky Bird,” as it is often nicknamed, has participated in every military campaign fought by the United States since 1960 in one variation or the other. During Vietnam, it was used in almost every role imaginable, from standard transport to emergency bomber: as the latter, it dropped M121 10,000 pound mass-focus bombs to clear jungle away for helicopter landing zones, and it was even attempted to use C-130s with these bombs against the infamous Thanh Hoa Bridge in North Vietnam. (Later this capability was added as standard to MC-130 Combat Talon special forces support aircraft; the MC-130 is the only aircraft cleared to carry the GBU-43 MOAB.) It was also instrumental in resupplying the Khe Sanh garrison during its three-month siege. Hercules crews paid the price as well: nearly 70 C-130s were lost during the Vietnam War. In foreign service, C-130s have also been used heavily, the most famous instance of which was likely the Israeli Entebbe Raid of 1976, one of the longest-ranged C-130 missions in history. C-130s are often in the forefront of humanitarian missions to trouble spots around the world, most recently in the 2011 Sendai earthquake disaster in Japan.

 

As of this writing, over 2300 C-130s have been built, and most are still in service. It remains the backbone of the USAF’s tactical transport service; attempts to replace it with the Advanced Tactical Transport Program (ATTP) in the 1980s and to supplement it with the C-27J Spartan in the 2000s both failed, as the USAF realized that the only real replacement for a C-130 is another C-130.

 

Though listed in the Pueblo Weisbrod Museum's directory as a C-130B, this is actually C-130E 70-1259. Unlike many "Herky Birds," 70-1259 was to remain with one unit for its entire career: it joined the 317th Tactical Airlift Group at Pope AFB, North Carolina, in 1971, and remained with the unit until it was retired in 2005. In between, it may have served in Panama, Operation Desert Shield/Storm, and over Bosnia. After the 9/11 attacks, 70-1259 was selected to carry the "Let's Roll" memorial emblem. It was scrapped in 2010, but the nose section was saved and donated to the Weisbrod collection.

 

Obviously 70-1259 has seen some better days, and its AMC Gray scheme has faded considerably after years in the Arizona sun. It will be restored, and already carries "302 AW" on the nose--the 302nd Airlift Wing (Reserve), stationed at Peterson AFB, Colorado--though 70-1259 never served with that unit. The small AACF number on the nose was a temporary designation given when it was stored at AMARG.

Série limitée et numérotée, avec certificat joint, pour chaque modèle de cadre.

PHOTO & TIRAGE en VENTE directe. DEVIS personnalisé SUR DEMANDE relevez la référence sous la photo

Me contacter : comlaphoto@gmail.com

 

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Contact me: comlaphoto@gmail.com

 

The photos, for a faster reading, are here in low resolution.

All these clichés are available in high resolution for prints of superior quality on all types of media.

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Realization of proboscis eye.

Except the works of artists protected intellectual property (sculptors, architects, painters, designers etc.)

Parish History

A History of St. Stephen Church

 

St. Stephen Parish is the realization of a dream of about six couples who felt that they needed a place of worship and gathering in the Bentonville area. Going to outlying churches, they just couldn't feel the closeness, warmth and unity of a parish family. Also, it was difficult getting to church in inclement weather.

 

These people rallied the Catholics in the Bentonville area and began positive steps toward building a parish family. Toward the end of 1987 the request was presented to the Most Reverend Andrew J. McDonald, Bishop of the Diocese of Little Rock.

 

The Bishop approved the project and thus the first Catholic Community in Bentonville was taking shape. The embryonic Catholic Church of Bentonville was designated a mission of St. Vincent de Paul Church of Rogers with the Pastor, Rev. Richard Oswald with Rev. John Marconi, Associate Pastor, in charge. As a result, the first Mass of the Bentonville Catholic Church was celebrated on March 5, 1988 in a public building. About 150 souls comprised the new parish.

 

The name of St. Stephen was chosen for the parish. A building committee was formed. A Pastoral Council was elected. A building fund was underway and enthusiastic parishioner pledges were received. Financing was arranged through the Diocese. Building contractors, H.W. Roper, Inc., with architect, Rex Morris, were engaged. Good progress was soon apparent.

 

The initial plan called for a multi-purpose building with facilities to serve a growing parish. Today a permanent church building is attached just west of the present structure. This multi-purpose building is now our Parish Life Center.

 

After two moves to public school buildings and the necessary planning and construction of the new building at 1300 NE “J” Street, the first Mass in the new facility was happily celebrated on October 6, 1991 at 10:00 AM.

 

The rapid rate of construction and final completion was certainly the result of the fine supervision of the building superintendent and the cooperation of our enthusiastic pastors and lay people involved. During all the moving and shifting, a number of other positive things were happening. The PSR program with about 50 children registered was started. First Communion was held, as were Confirmation readiness classes. The CYO (later changed to Catholic Youth Ministry) was formed. The Ladies Altar Society was organized. Our choir was established. The Sunday bulletins were published and church dinners on special occasions were started.

 

The formal dedication by the Most Reverend Andrew J. McDonald was held on November 9, 1991. Assisting clergy were Rev. Richard Oswald, Pastor; Rev. Laval Coutre, Associate Pastor; Rev. John Marconi, former Assoc. Pastor and Rev. Mr. Leslie Vendl, Deacon.

 

A number of changes have since taken place. Father John Marconi was transferred and Father Laval Coutre was assigned as temporary Associate Pastor. Father Laval was later transferred, and Father Michael Sinkler was sent to us. He is still with us.

 

Besides the Eucharist on Saturday at 5:00 PM and Sunday at 7:45 AM & 10:00 AM, Communion Service and/or Mass is celebrated on Thursdays at 8:30 AM in the Chapel with Fr. Mike, or Carol Patterson officiating.

 

Our new worship space was dedicated on March 28, 2004. Seating 950 people immediately, and expandable to 1400 as we continue to grow.

 

To further note the progress, St. Stephen has baptisms, marriages, funerals, First Communions and Confirmations. Our Religious Education programs have grown to over 425 students. We have Wednesday Evening Scripture Study, and Monday morning women’s Scripture Study programs, Sunday Morning Catholic Café Adult Formation and RCIA (Rite of Christian Initiation). We also have dinners and various other activities. Very important to the administration of the church is a Pastoral Administrator/Director of Religious Education, Administrative Assistants, Accountant/Liturgist, Youth Ministers, teachers, bookkeepers, choir, musicians and choral leaders, altar servers, sacristans, lectors, Eucharist ministers, ushers, greeters, social committee, welcoming committee, groundskeeper, church clean-up crews, and volunteers for any task or program which arises.

 

We dedicated our new Columbarium February 19, 2006. The current capacity is 144. Its stone façade is similar to the Baptism Font in the worship space.

 

The facility now provides us the dedicated worship space we have needed for so long. The environment of this area is simplistic but beautiful in its angles and colors. The stained glass that adorns the tower and Eucharistic Chapel, Baptistery, sculpture of the Risen Christ and Liturgical décor all reflect the vision of who we are as a parish and brings into full focus a setting of holiness to be in communion with our Lord.

 

In addition, our worship space has many wonderful areas that are attached for our use.

 

The Narthex that you enter from is for gathering before and after Mass, for parents to take their children to calm them and then return to Mass. This area also houses the Parish office, Accounting/Liturgy office and Elementary Education office. We have three Chapels, one Eucharistic Devotional Chapel and St. Francis of Assisi Day Chapel and Reconciliation Chapel. Three large meeting rooms, Library/Conference room, work sacristy and liturgical environment store room, choir practice room, dressing sacristy for priest, deacon and altar servers surround the perimeter of the worship space.

  

Parish Life Center

 

We are now fortunate to be able to use our old worship space as our new Parish Life Center. This will give us so many opportunities to gather in fellowship for our parish dinners, social gathering on Sundays, youth retreats, etc. When this building was originally built it was designed to be both an area of fellowship for the Eucharistic celebration and parish social events. We now have both dedicated buildings to experience all aspects of parish life.

 

The icon of very American culture Iron Man is now Japanese Samurai, the very soul of Japanese culture! He will eat sushi instead of cheeseburger! It is amazing to see Japanese culture almost in every aspect of our life scenes. They did not win the last war but won the hearts of people over the years with their culture…

 

Manufactured by Bandai in 2017. About 7 inches tall.

銀河界的侍道！名將 MOVIE REALIZATION 黑武士 達斯維德

 

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Midtown Manhattan, New York City, New York, United States

 

The Free Church of Saint Mary-the-Virgin complex, including the church, Clergy House, Mission House, Rectory and Lady Chapel, was designed by Pierre L. LeBrun of Napoleon LeBrun & Sons in 1894. The church, long a center of Anglo-Catholic worship, is a physical realization of the tenets of the Oxford Movement which sought to better the lives of the urban poor through nursing care, inspirational activity and the ritual of the Pre-Reformation Church in England. Built in 1895 to make full use of an irregular site, St. Mary's was designed both to realize the programmatic goals of its trustees and to evoke, in the church and Lady Chapel, the 13th- century French Gothic Style. The Clergy and Mission Houses, and the Rectory were cast in the 14th-century French Gothic style.

 

The result is one of the finest Gothic-inspired designs of New York's late 19th century. The steel frame construction of the church can be said to have made the building the first of its kind and size in the world, thus redefining the conventional methods of church construction. Among the building's several specific Anglo-Catholic characteristics are the subjects selected for the sculptures of J. Massey Rhind whose academic naturalism complements

 

LeBrun's architecture.

 

The Society of the Free Church of Saint Mary-the-Virgin

 

The Society of the Free Church of Saint Mary-the-Virgin has its origins in the growth of Anglo-Catholicism within the Church of England and the Protestant Episcopal Church of North America. In the third decade of the 19th century, a group of theologians - dons of Oxford's College House of Saint Mary-the-Virgin (Oriel College) - initiated a religious movement to enhance the lives of the disaffected of the Industrial Revolution.

 

Reasserting an identity with the Pre-Re format ion Church of England, the founders of the Oxford Movement emphasized the importance of the sacraments, stressing the ideal of the priesthood and the authority of bishops but still rejecting the autocracy of the Pope.

 

This Anglo-Catholicism was characterized by a reintroduction of ritual and its accompanying furnishings, a dedication to mission work, a revival of religious orders, and a development of church architecture and art. Conceived in academe, Anglo-Catholicism, garbed in the mystery, color and richness of ceremonial worship, also manifested itself in the construction of new church buildings in slum neighborhoods.

 

This reassertion of ancient ritual found a sympathetic audience within the Camden Society (1839), subsequently the Ecclesiological Society, which, through its publications, The Ecclesioloqist and a variety of architectural tracts, advocated the restoration of ancient churches and the building of new ones strictly according to the principles which they believed guided the medieval English builders.

 

In the 1860s the Ecclesiologists also had begun to accept certain French architectural elements — apses, in place of the traditional English flat ended chancels, for example.

 

By the 1860s Anglo-Catholicism had found a sympathetic audience among adherents of the American Episcopal Church. St. Mary's early history is inseparable from the life of the founder of the parish, the Reverend Thomas McKee Brown (1841-1898). Born in Philadelphia, the son of James Brown, he attended the Episcopal Academy (Philadelphia) for seven years and then matriculated at Trinity College, Hartford, Connecticut, with the class of 1863.

 

The Civil War interrupted his academic career and he went to work. But soon after he resumed his studies - by arrangement with Trinity College - at the General Theological Seminary in New York. He received his Bachelor's degree from Trinity in 1864 and his Masters from the General Theological Seminary the following year. Before his ordination by Horatio Potter, Bishop of New York, on February 25, 1866, he served as curate at the Church of the Annunciation (then on 14th Street, Manhattan) and at St. John's, in Brooklyn.

 

Following his ordination he was Rector of Trinity Church, East New York, for a year before returning to Manhattan to became curate for the Reverend Ferdinand C. Ewer of Christ Church, New York.6 At both the Church of the Annunciation and Christ Church the exalted ritual characteristic of Anglo-Catholicism was practiced.

 

Concurrently, Brown and a group of interested lay people combined to establish a new parish on a thoroughly Anglo-Catholic foundation. Although at this time such ritual was contrary to canon law, Bishop Potter not only suggested how the group might incorporate, he pointed out t±ie working class neighborhood where their church would be most effective.

 

The Society of the Free Church of Saint Mary-the-Virgin was incorporated on December 5, 1868, under a provision of a New York State law. John Jacob Astor III, learning of the group's objective, gave the Society three lots on West 45th

 

Street (the site of the present Booth Theater).8 Within the month the corner stone of a new church building was laid by Bishop Potter. It is likely that the dedication of the church to Saint Mary-the-Virgin was inspired by the home church of the Oxford Movement.

 

The new church, built to the designs of William T. Hallett (1829-1908) was opened by the Rev. Ferdinand Ewer on December 8, 1870 — the Feast of the Conception (one of the most significant days in the calendar of a church dedicated to the Virgin). From the b^inning the liturgy was highly ritualistic; indeed, it was noted in the Parish Register of a sister church that the first High Mass with incense was celebrated at St. Mary's on Christmas Day, 1877.

 

The building records reflect the dedication of St. Mary's clergy and sisters to the spiritual and physical well-being of this working class neighborhood: a new clergy and choir house to accommodate the men's guilds (the St. Alban's and the St. Joseph's Guilds) and the boys club, as well as the single clergymen, was finished in 1885; and within the next two years a house at 248 West 45th Street to shelter the women's guilds (the Guild of St. Mary of the Cross and the Guild of the Annunciation) and the dispensary run by the new female order founded by Father Brown — the Sisters of the Order of the Visitation of the Blessed Virgin Mary — was given to serve as a Mission House.

 

The Society's trustees, burdened with mortgages, were continually faced with a lack of funds. The congregation included many of limited income, but several individuals were generous, among them, Miss Sara Louie Cooke.

 

On July 21, 1892, Miss Cooke died, leaving St. Mary's nearly $500,000. At the November trustees' meeting there was a lengthy discussion about whether to enlarge the present church or to purchase property for a new church. Subsequently, at a special meeting of the trustees it was resolved that the Treasurer should receive all moneys and property of Miss Cooke's estate.

 

The treasurer of the Society was Haley Fiske (1852-1929), who had been elected to the board of trustees on March 23, 1892 and on motion elected treasurer. Fiske was vice-president (and in 1919 became the fourth president) of the Metropolitan Life Insurance Company. He was the assistant to both his predecessors at Metropolitan Life, Joseph Fairchild Knapp and John Rogers Hegeman, both great builders. It was Knapp who brought Metropolitan Life uptown to Madison Square and for whom Napoleon LeBrun & Sons designed the eleven-story office block at 1 Madison Avenue, (1890-91).

 

It was Hegeman who expanded to the rest of the block and part of the block to the north (1894-1909, a campaign completed by Fiske), and it was Hegeman who commissioned the Metropolitan Life tower (a designated New York City Landmark, 1906-07), all of these built from plans prepared by the LeBrun firm. There can be little doubt that Fiske was involved in all these projects.

 

Fiske took the initiative immediately. One month later an executive committee, consisting of the rector, the secretary and the treasurer, was created. The trustees had had a year to consider the alternatives: enlarging their existing edifice on West 45th Street or moving to a new site.

 

Two months later it was reported that 143 feet along the north side of West 46th Street and possibly one adjacent lot on West 47th Street could be purchased. Accumulating lots for the new church site — seven on West 46th Street (No. 133-No. 145) — continued from January, 1894, until the following August when title was taken to the last of the five lots on West 47th Street (No. 136-No. 144). Both these streets were lined with the narrow rcwhouses of working class people and stables.

 

Concurrently, the Society's property on West 45th Street was sold and an architectural competition was announced. Father Brown had visited Europe in the summer of 1888; certainly he would have seen the great cathedrals as yell as the new English churches built for Anglo-Catholic congregations. The trustees stipulated a program with the following: a church in the French Gothic style of the 13th century; able to seat 800 exclusive of the chancel; the chancel to be apsidal and at least fifty feet in depth with an ambulatory; the building to extend north from West 46th Street with the chancel at the north end; the interior to be lofty; the elaboration of ornamental detail to be confined to the front and to the interior; no towers or spires; at least two chapels and a baptistry; the Rectory and the Sacristy to be on West 47th Street; and the Mission House for the Sisters and the Clergy House to be on West 46th Street — the Mission House on the east side of the site and the Clergy House on the West.

 

Because of the unfavorable reception to the announced competition, 17, the trustees withdrew it, and the commission was given to the LeBrun firm. Pierre LeBrun's plans were accepted on October 11, 1894. It should not be overlooked that Haley Fiske knew the firm well. Indeed, the LeBrun office was located in the new Home Office building they designed for the Metropolitan Life Insurance Company at 1 Madison Avenue.

 

The Architect

 

Pierre La jus LeBrun (1846-1924) has not received the attention that he is due. Because of the name of the firm, Napoleon LeBrun & Sons, both Pierre and his brother Michel have been all but anonymous. That it was Pierre LeBrun who designed St. Mary's is indicated in the Society's minutes. His father, Napoleon LeBrun, represented the firm at the initial stages of the project. Napoleon Eugene Charles LeBrun (1821-1901), was born to French emigrant parents in Riiladelphia. At fifteen years of age he was placed in the office of Thomas Ustick Walter (1804-1887), where he remained for six years. LeBrun began his own practice in 1841 in Philadelphia but moved to New York in 1864 where the choice in 1870 of his Second Empire style Masonic Temple competition submission did much to establish his reputation. In the same year his son Pierre joined him and the firm became Napoleon LeBrun & Son. Father and sons were active members of the new American Institute of Architects.

 

The firm's work can be divided into two periods, an early one spanning the 1870s into the mid-80s and a later one from the later 1880s until the firm's dissolution in 1909. The earlier is robust — the Church of Saint John-the-Baptist, 1872, West 30th Street and the Fire Department Headquarters, 1886, East 67th Street. Ihe later work was significantly different. Building elevations became more planar; ornament, based on historic prototypes, was used more judiciously. The first Metropolitan Life building was an example of a new building type given stylistic character through the application of ornament, as is LeBrun's still-extant Home Insurance Company (1893-94) facade on Broadway above Murray Street.

 

If little is known of Pierre LeBrun's formal architectural education, his three trips abroad in the service of the Willard Architectural Commission are documented. Levi Hale Willard, a wealthy businessman, died in 1883 leaving to the newly founded Metropolitan Museum of Art $100,000 toward the creation of a collection of models and casts illustrative of the art and science of architecture, to be made under the direction of a commission chosen by the New York Chapter of the American Institute of Architects. In his will Willard nominated Napoleon LeBrun as president of this commission; Willard, a friend, had often discussed with LeBrun the need to cultivate a popular taste for architecture. Pierre LeBrun was appointed the commission's purchasing agent. The younger LeBrun visited the significant sites and met with the suppliers of casts in Paris, Munich and Rome.

 

The historical accuracy characterizing the ornament of the Church of Saint-Mary-the-Virgin appears to have been informed by the 13th century French Gothic examples in the Willard Collection. This is true of the firm's other later buildings; regardless of whether they are fire stations or skyscrapers, style is determined by the integrity of the ornament.

 

The Sculptor

 

John Massey Rhind (1860-1936) was born in Edinburgh where both his father and grandfather were architectural sculptors, a profession that his brothers followed as well. He studied in London - with Jules-Aime Dalou -and in Paris. His style can be associated with the academic naturalism of the Ecole des Beaux-Arts. Rhind came to this country in 1889. Credited for his ability to make his sculpture an integral part of a larger design, Rhind's earliest work in this country was for ecclesiastical buildings.

 

His first commission in this country was the bronze tympanum (1891) over the entrance to the Chapel of the Good Shepherd at the General Theological Seminary (for which institution he further worked in bronze and marble). His bronze panel, "Flight to a City of Refuge," won the commission for one of the three pairs of doors (1892) given to Trinity Church in memory of John Jacob Astor III. In a letter to the Society's trustees, dated April 15, 1895, he offered to carve a statue of the virgin and Child for the trumeau (Plate 1), the post between the doors within the main entrance. Two months later he was invited to submit a sketch for the tympanum, the design now over the door (Plate 2).

 

In addition to the trumeau and the tympanum, the following are from the hand of J. Massey Rhind: the two freestanding statues flanking the main entrance, Saints George and Michael (Plate 3); the three freestanding statues that make up the Calvary over the main entrance (Plate 4); the freestanding statue of a seated St. Cecilia in the niche above the Clergy House entrance (Plate 5) ; the tympanum (Plate 6) above the lady Chapel entrance on West 47th Street and the impost heads supporting the drip molding over this entrance.

 

Design of the Saint Mary-the-Virgin Complex

 

As with the other buildings in the LeBrun firm's later period, the clue to historic style of St. Mary's is in the ornament concentrated around doorways and windows (Plate 3). The Willard casts included details from ecclesiastical and domestic Gothic buildings — Chartres, Paris, and Rouen. Thirteenth-century French Gothic ornament defines the major features of the tall limestone facade of the church (Plate 7), the central of the three buildings on West 46th Street. The keyed limestone door and window surrounds, the drip moldings and the tracery of the pierced terra cotta parapets of the flanking, orange brick Clergy and Mission Houses are characteristic of the 14th-century French Gothic style. The contemporary architectural critic, Montgomery Schuyler, found the historically appropriate ornament and the long thin, orange Tiffany bricks pleasing but thought that the treatment of the 46th Street facades lacked "bite."

 

However, to the 20th century observer the functional economy of the flatness of this range and the irregular disposition of the fenestration are also pleasing. All of these elements, as well as the elegant naturalism of Rhind's sculpture are expressive of the late 19th century. The ornament of the Rectory on West 47th Street, confined to the keyed door and windcw surrounds and drip moldings (Plate 8), is characteristic of the 14th-century French Gothic style also. But the ornament of the Lady Chapel and its entrance reverts to the 13th-century French Gothic of the church facade. Although there is more depth to the range of St. Mary's buildings along West 47th Street, their planar aspect — especially the tall apsidal end of the church itself, unccampramised by sham buttresses — reveals their late 19th-century origin.

 

The cornerstone was laid on December 8, 1894. All of the newspaper accounts of the building, shortly before its opening exactly one year later, expressed amazement at the speed with which the church, "one of the purest examples of French Gothic of the 13th century in this country," was erected. But a reporter for the Evening Post explained that an elaborate structure like St. Mary's could not have been built in such a short time with conventional methods; the steel skeleton made St. Mary's "the first of its kind and size to be built in this or any other country." It is this use of a steel frame, a technique then associated only with the construction of tall buildings particularly in Chicago, that gave St. Mary's the nickname "the Chicago Church."22

 

In plan (Plate 9) it is the central, block-through body of the church that dominates St. Mary's irregular site. This arrangement, with the Clergy House (lcwer left) and the Mission House (lower right) flanking the church's main entrance on West 46th Street and the Rectory (upper left) and the Lady Chapel (upper right) girdling the church's apsidal end on West 47th Street, was dictated by the trustees' program. The programmatic goals of spatial flexibility and a lofty interior with a vaulted ceiling would appear to be contradictory aims within such a confined area. LeBrun took advantage of the most advanced construction technique, calling in Purdy & Henderson, the construction engineers, to fabricate a steel frame to support his design (Plate 10). The foundation walls and the steel footings were carried dcwn to rock (Plate 11). large, diagonal compression braces at basement level anchor the bases of the vertical columns.

 

To support the vaults steel transverse and diagonal ribs spring from the eighteen steel columns, nine on each side of the nave (plus the four in the apse), which support the braced saddle-back roof frame above. The upper members of this skeletal imitation of Gothic structure are progressively thinner. The side walls are of brick; the arches of the nave arcade, springing from steel corbels riveted to the columns, are of brick also, as are the the walls above them.

 

St. Mary's had become famous all over the country for the extremely ritualistic character of its services. The requirements of this liturgy were foremost iri the planning of St. Mary's: a long nave and lofty interior, side aisles and ambulatory, a deep chancel and ancillary chapels. But the building's Anglo-Catholic specificity was proclaimed in more subtle ways. The sculptural subjects Rhind was commissioned to carve, the trumeau figure and the tympanum program especially, are specific references to pre-Reformation Catholicism. Ihe contrast between the limestone and the brick of the West 46th Street facade defines the ceremonial entrance. Ihe 13th-century ornament identifies St. Mary's with the new Anglo-Catholic churches being built in England in the 1860s and later. (The 14th-century Gothic detail distinguishes the dependent buildings from the church.) The inspiration for St. Mary's architecture can be found in the tradition of the Oxford Movement itself — the emphasis upon ritual requiring side aisles, deep chancels, ambulatories and lofty ceilings. It can be said that St. Mary's redefined the manner in which churches could be constructed.

 

Description

 

The Church of Saint Mary-the-Virgin is a complex of five interconnected buildings (Plate 9): the church itself which runs north and south through this block between West 46th and 47th Streets; the Clergy House to the left (west) of the church and the Mission House to the right (east) of the church, both on West 46th Street; the Rectory to the right (west) of the church's apsidal end and the Lady Chapel to the left (east), both on West 47th Street. All of these buildings, except the church which is faced with limestone, are of an orange (Schuyler called the color ,,gamboge,l), Tiffany brick. All have granite bases.

 

Church

 

The tall, planar limestone facade (Plate 7), forty-six feet wide and 130 feet high from the curb to the cross on the gable, is framed by thin, faceted buttresses and articulated in three horizontal sections: the lowest containing the main entrance; the middle section with the rose window; and the top, a gable containing a smaller round window flanked by the buttress pinnacles.

 

A great deal of 13th-century Gothic ornament is concentrated within the pointed arch entrance (Plate 4) which contains paired doorways separated by the trumeau and Rhind's canopied statue of the Virgin Mary and Child. Two heavy oak doors with decorative foliated iron work (Plate 12) slide away from the trumeau into the walls to reveal paired, glazed-panel swinging doors with brass fittings below leaded stained-glass transoms. Pendant lamps of iron and glass are fixed to the doorways' lintel and outer posts. The subjects of Rhind's three-tiered tympanum above are familiar Anglo-Catholic subjects.(Plate 2). In niches across the lowest tier are ten worthies flanking a central niche containing a closed door, the five on the left appear to be Old Testament personifications and the five on the right may represent the fathers of the early Christian church. On the middle tier are a seated Virgin and Child attended by adoring shepherds and wise men.

 

At the top the Virgin in an aura ascends between angels disposed upon clouds into the tympanum's foliate border.24 Ihe drip molding of the arch rests on imposts articulated as faces, the one on the left blindfolded to represent Heresy, the one on the right clear-eyed and crowned representing Faith. Flanking the entrance arch, two canopied niches, capped with crocketed and finialed pinnacles, shelter Rhind's statues of

 

Saint George on the left and Saint Michael on the right. Faces, representing differing physiognomies, project from the canopies' pendant tracery.

 

In the middle section a tall, blind pointed arch frames the slightly recessed rose window and Calvary with figures by Phind below it. Gargoyle-adorned pinnacles mark the base of the blind arch; aedicular elements facing the corner buttresses have crockets and finials, reliefs of rosettes and leaves, and gargoyles projecting from above their dosserets.

 

The rose window reverses the conventional direction of the arches and balusters within (except for the inner douzefoil); at Notre-Dame, Paris, and at Chartres the arches radiate out, not in as they do here. The window is filled with leaded stained glass in geometric patterns manufactured by Arnold and Locke. The middle section is capped by a foliated cornice frcan which two gargoyles project (just inside the bases of the corner buttress pinnacles).

 

The gable is flanked by the pinnacles terminating the facade's corner buttresses. A round window containing a qua trefoil is in the center of the gable. The gable coping is crocketed. The cross surmounting the gable is of gilded, pressed copper.

 

Above the church's side aisles and ambulatory the exterior walls of the clerestory, partially visible from both West 46th and 47th Streets, are faced with limestone.

 

On both sides of the clerestory (east and west) eight out of nine panelled bays, separated by minimal and token buttressing, contain the tall, two-light windows of plate tracery with drip moldings. The windows are filled with leaded glass in geometric patterns, manufactured by Arnold & Locke. The steep saddleback roof is slate-covered. A fleche of pressed copper rises from the ridge line between bays eight and nine (containing the bell brought from West 45th Street).

 

Though visible from West 46th Street, the fleche is seen best from West 47th Street where it is the terminal feature above the church's five apse windows and steep roof. Only the center three of these five windows contain the glass specifically projected for them and manufactured by C. F. Kempe & Co., Ltd., London.

 

The Clergy House

 

The Clergy House is four stories with a penthouse which is invisible from West 46th Street. Constructed of orange Tiffany brick with a granite base and limestone water table up to the first story sills, the keyed and ornamental door and window surrounds, string courses, sills, drip moldings, and lintels are of limestone and the cornice and pierced balustrade above are of terra cotta. Ihe window and door grilles are iron; (the interior posts and beams are cast iron).

 

There appear to be two entrances, but the more ornamented one on the right with the cross as its terminal feature is the entrance to the left side aisle of the church. One enters the Clergy House itself through the doorway on the left.

 

The paneled-wood doors with wrought-iron grilles are set below transoms of leaded glass which are in a geometric pattern. Individual iron lanterns are suspended on short chains from the lintels of these two doorways. Above the Clergy house entrance is a canopied niche sheltering Rhind's statue of St. Cecilia , a memorial to an admired church organist, Dr. William Prentice.

 

Windows are capped by drip moldings with foliated

 

stops. Three second story window heads carry blind cinquefoil arches. The windows have one-over-one wood sash. The cornice is of richly molded terra cotta in a foliated pattern . Twenty alternating panels of flamboyant tracery make up the pierced terra-cotta parapet. The present coping is of sections of poured concrete slab.

 

The Mission House

 

Except for its width —it is narrower — and certain details, the Mission House is identical to the Clergy House. The hanging lantern at the Mission House entrance has been replaced with a more modern fixture .

 

Because the Mission House is narrower than the Clergy House there are fewer windows and only thirteen alternating terra cotta panels make up the parapet.

 

The Rectory

 

Like the Clergy and Mission Houses on West 46th Street, the Rectory at 144 West 47th Street is of orange Tiffany brick on a granite base with a limestone water table. The keyed and ornamental door and window surrounds, sills, stringcourses, and drip moldings are limestone.

 

The Rectory entrance has its original bluestone stoop and basement areaway. The double doors with their brass fittings are of paneled oak, two over two, with a transom of plate glass above. The Rectory shelters the sacristy and vestry rooms, as well as the living quarters of the rector and his family.

 

Windows containing one-over-one wood sash some with leaded glass in a geometric pattern, are capped by drip moldings with foliate stops. Of special interest is the bow window at the second story set within splayed reveals.

 

The lintel is an iron "I" beam decorated with five iron rosettes, while the casing is of wood as are the two narrow shafts at the angles of the bcw, and the drip molding carries an ornamental finial. The gable coping, chimney and chimney pots are terra cotta. The eastern end of the slate covered roof is broached, its hip adorned with a pressed copper finial.

 

The Lady Chapel

 

In a letter to his fellow trustees dated Dec. 15, 1894, Haley Fiske offered to build the Lady Chapel. He indicated that he would like to move the west windows from the West 45th Street church to this chapel. Like the Rectory, the Clergy and the Mission Houses, the chapel is built of the orange Tiffany brick; the water table, the chapel's elaborately carved entrance, the keyed window surrounds, string courses, drip moldings, imbricated pinnacles, keyed and crocketed gable coping and crowning cross are all of limestone.

 

The entrance screens the recessed area between the chapel and the Rectory. Rhind's tympanum, above the oak entrance doors, depicts the Annunciation and is framed by an archivolt, intricately carved as a rose vine, supported on colonnettes.

 

The crocketed drip molding springs from two imposts, given the form of portrait heads carved by Rhind of Fiske's son and daughter, which resolves into an ogee that breaks through the top of the screening spandrel course to support a cross, now missing. Three lancets, the taller in the center, light the chapel; the drip moldings spring from foliated imposts.

 

The round window in the gable contains a quatrefoil filled with leaded stained glass.

 

Exterior Changes

 

In the ninety-five years since the opening of St. Mary's on West 46th Street, little of the church's exterior aspect has changed. Drawings indicate that there was once a balustrade fronting the Calvary above the main entrance, and another across the facade at the foot of the gable.

 

The Rectory gable is missing its crowning finial and the cross atop the Lady Chapel entrance is missing. Drawings indicate — and coping fragments corroborate — that there were basement areaways in front of the Clergy and Mission Houses. Only one basement areaway exists today, that of the Rectory. An unsympathetic composite material has been clumsily used to repair tracery and foliated ornament. In 1962 repair and repointing the church's stone facade was carried out.

 

- From the 1989 NYCLPC Landmark Designation Report

By the beginning of the 1970s, the nations of Western Europe had come to the realization that a dedicated strike aircraft was desperately needed. Most of NATO was depending on the F-104G Starfighter as their primary interdiction and strike aircraft, while France had only aging Mysteres and modified Mirage IIIs. The United Kingdom did not even have that: the promising TSR.2 had been cancelled, as had a British version of the F-111 Aardvark. Moreover, the UK also lacked an interceptor, relying on the outdated Lightning F.6. Finally, as the emerging European Common Market (the forerunner of the European Union) sought to distance itself from the United States, Western Europe desired an aircraft designed by Europeans for Europeans, rather than depending on American designs.

 

All parties agreed that the new Multi-Role Combat Aircraft (MRCA) should be a twin-engined dedicated strike aircraft, with variable-sweep wings that would allow it high dash speed at low-level to the target, yet allow it to operate from short runways or semi-improved fields. Political infighting over who would lead the MRCA project led France to withdraw from the program, followed by Canada, Belgium, and the Netherlands, leaving just West Germany, Britain, and Italy by 1971. Production of the MRCA would be divided between Messerschmitt-Bolkow-Bohm (MBB) of Germany, the British Aircraft Company (BAC) of the UK, and Fiat of Italy, under the umbrella of Panavia; the engines would similarly be produced by all three nations, with Britain’s Rolls-Royce in the lead, as Turbo-Union. Though Germany preferred a single-seat aircraft and the UK wanted an interceptor, the nations agreed to a two-seat aircraft to lessen the pressure on the pilot, while the MRCA would also be developed as an interceptor to satisfy the British requirement. The emphasis, however, was on the immediate development of a strike aircraft.

 

With the finalization of the aircraft design, what became the Panavia Tornado came together relatively quickly, with the first prototype flight in August 1974. Testing also went smoothly: the loss of two prototypes to crashes was traced to problems with the variable-flow intakes and the thrust reverser, which had been added to the design to improve its short-field landing performance. The strike version, designated Tornado IDS (Interdiction/Strike) for Germany and Italy, and Tornado GR.1 for Britain, entered service in 1979. Despite the hopes of the Panavia partners, the Tornado was never an export success, with only Saudi Arabia purchasing the aircraft: the F-16 and Mirage F.1 were cheaper alternatives, with more weapons options and less mechanically complex.

 

The Tornado IDS nonetheless proved to be a superb aircraft, with excellent handling in all flight profiles, and open to continual improvement. After the success of the American Wild Weasel program, Germany and Italy opted for a further development of the Tornado IDS to a dedicated anti-SAM aircraft, the Tornado ECR (Electronic Countermeasures/Reconnaissance).

 

The Tornado would never be called on to fight a war in Central Europe against the Soviet Union, which it had been designed to do. Instead, its first combat would come in the deserts of Iraq in the First Gulf War. RAF Tornados were tasked specifically with runway interdiction of Iraqi airfields—tactics that had been practiced often in anticipation of a Third World War. The result was near-disastrous: Iraqi antiaircraft fire accounted for three Tornados in as many days, as RAF pilots had trained to use terrain avoidance in Europe to mask them from ground fire; in Iraq, there was no terrain to hide behind. This forced the Tornado force to medium altitudes and freefall bombs only, as the Tornado IDS/GR.1 lacked the ability to launch precision-guided munitions.

 

The Tornado has since done better. Continually improved to carry a wide variety of weaponry, including the ALARM antiradar missile, Brimstone antitank missile, Kormoran and Sea Eagle antiship missiles, and American-built JDAMs, Tornados from Germany, Italy, and the UK have participated in wars in Bosnia, Kosovo, Iraq, Afghanistan, and Libya. In Afghanistan, German Tornado ECRs have been invaluable using their onboard sensors to detect improvised explosive devices, while Italian Tornado IDS and RAF Tornado GR.4s essentially grounded the Libyan Air Force in the first days of the conflict by hitting runways and hangars; RAF Tornados flew from bases in the UK to Libya in the longest missions since the 1982 Falklands conflict. RAF, Luftwaffe, and AMI Tornado IDS/GR.4s will remain in service until at least 2025, to be replaced by either more Typhoons or the F-35 Lightning II. With 992 Tornados produced, the aircraft has easily been the most successful European aircraft built since World War II.

 

One of four Tornadoes on display in the United States, ZA374 joined the RAF in the early 1980s, and served in both the Tactical Weapons Conversion Unit (TWCU) and 17 Squadron, the latter based with RAF Germany at Bruggen. As part of Operation Granby, the British contribution to the First Gulf War, ZA374 flew combat over Iraq. It returned to Bruggen and was later transferred to 617 Squadron at RAF Lossiemouth when RAF Germany was deactivated in the mid-1990s. When the RAF began upgrading the Tornado GR.1 force to GR.4 standard, ZA374 was not chosen for the upgrade--it was an older aircraft and had suffered damage in a 1993 fire--and instead was donated to the National Museum of the USAF as a gift in 2002.

 

Today it retains its overall desert pink camouflage that the RAF Tornado force wore during the First Gulf War, and is painted as an aircraft from 617's Granby detachment at Dhahran, Saudi Arabia. (Although ZA374 flew with 17 Squadron during the war, 617 was the aircraft's last unit, and the "Dambusters" are a far more famous squadron.) Though it can't be seen from this side of the aircraft, ZA374 carries nose art of a swimsuit-clad woman and the name "Miss Behavin'"; nose art was more common on RAF aircraft during the First Gulf War than on US aircraft, in an inversion of World War II!

 

It is displayed with two underwing drop tanks and a centerline Hunting JP.233 bomblet dispersal system. I was disappointed with how this picture turned out--despite my years in Germany, I never did get to see any Tornadoes, so this was a first for me.

"To commune daily with God in deep meditation, and to carry His love and guidance with you into all your dutiful activities, is the way that leads to permanent peace and happiness."

Paramahansa Yogananda

  

Photographed at the Self-Realization Fellowship retreat center, Encinitas, CA

 

*************************

Featured in Flickr EXPLORE 2012.08.03 #73

By the beginning of the 1970s, the nations of Western Europe had come to the realization that a dedicated strike aircraft was desperately needed. Most of NATO was depending on the F-104G Starfighter as their primary interdiction and strike aircraft, while France had only aging Mysteres and modified Mirage IIIs. The United Kingdom did not even have that: the promising TSR.2 had been cancelled, as had a British version of the F-111 Aardvark. Moreover, the UK also lacked an interceptor, relying on the outdated Lightning F.6. Finally, as the emerging European Common Market (the forerunner of the European Union) sought to distance itself from the United States, Western Europe desired an aircraft designed by Europeans for Europeans, rather than depending on American designs.

 

All parties agreed that the new Multi-Role Combat Aircraft (MRCA) should be a twin-engined dedicated strike aircraft, with variable-sweep wings that would allow it high dash speed at low-level to the target, yet allow it to operate from short runways or semi-improved fields. Political infighting over who would lead the MRCA project led France to withdraw from the program, followed by Canada, Belgium, and the Netherlands, leaving just West Germany, Britain, and Italy by 1971. Production of the MRCA would be divided between Messerschmitt-Bolkow-Bohm (MBB) of Germany, the British Aircraft Company (BAC) of the UK, and Fiat of Italy, under the umbrella of Panavia; the engines would similarly be produced by all three nations, with Britain’s Rolls-Royce in the lead, as Turbo-Union. Though Germany preferred a single-seat aircraft and the UK wanted an interceptor, the nations agreed to a two-seat aircraft to lessen the pressure on the pilot, while the MRCA would also be developed as an interceptor to satisfy the British requirement. The emphasis, however, was on the immediate development of a strike aircraft.

 

With the finalization of the aircraft design, what became the Panavia Tornado came together relatively quickly, with the first prototype flight in August 1974. Testing also went smoothly: the loss of two prototypes to crashes was traced to problems with the variable-flow intakes and the thrust reverser, which had been added to the design to improve its short-field landing performance. The strike version, designated Tornado IDS (Interdiction/Strike) for Germany and Italy, and Tornado GR.1 for Britain, entered service in 1979. Despite the hopes of the Panavia partners, the Tornado was never an export success, with only Saudi Arabia purchasing the aircraft: the F-16 and Mirage F.1 were cheaper alternatives, with more weapons options and less mechanically complex.

 

The Tornado IDS nonetheless proved to be a superb aircraft, with excellent handling in all flight profiles, and open to continual improvement. After the success of the American Wild Weasel program, Germany and Italy opted for a further development of the Tornado IDS to a dedicated anti-SAM aircraft, the Tornado ECR (Electronic Countermeasures/Reconnaissance).

 

The Tornado would never be called on to fight a war in Central Europe against the Soviet Union, which it had been designed to do. Instead, its first combat would come in the deserts of Iraq in the First Gulf War. RAF Tornados were tasked specifically with runway interdiction of Iraqi airfields—tactics that had been practiced often in anticipation of a Third World War. The result was near-disastrous: Iraqi antiaircraft fire accounted for three Tornados in as many days, as RAF pilots had trained to use terrain avoidance in Europe to mask them from ground fire; in Iraq, there was no terrain to hide behind. This forced the Tornado force to medium altitudes and freefall bombs only, as the Tornado IDS/GR.1 lacked the ability to launch precision-guided munitions.

 

The Tornado has since done better. Continually improved to carry a wide variety of weaponry, including the ALARM antiradar missile, Brimstone antitank missile, Kormoran and Sea Eagle antiship missiles, and American-built JDAMs, Tornados from Germany, Italy, and the UK have participated in wars in Bosnia, Kosovo, Iraq, Afghanistan, and Libya. In Afghanistan, German Tornado ECRs have been invaluable using their onboard sensors to detect improvised explosive devices, while Italian Tornado IDS and RAF Tornado GR.4s essentially grounded the Libyan Air Force in the first days of the conflict by hitting runways and hangars; RAF Tornados flew from bases in the UK to Libya in the longest missions since the 1982 Falklands conflict. RAF, Luftwaffe, and AMI Tornado IDS/GR.4s will remain in service until at least 2025, to be replaced by either more Typhoons or the F-35 Lightning II. With 992 Tornados produced, the aircraft has easily been the most successful European aircraft built since World War II.

 

Tornado IDS 45+11 started its career in 1986 as a testbed, flying with ETG 11 at Erding, in then-West Germany; it was then activated as an operational strike aircraft with JBG 33 at Buchel. In 1999, 45+11 made the trip across the Atlantic to Holloman AFB, New Mexico, where it joined the German Air Force Flying Training Center (GAFFTC). Because of limited airspace over Europe, New Mexico was chosen as the training ground for Luftwaffe pilots in the Tornado, and a small number of Tornado IDS were based at Holloman. In 2009, it was retired, and in 2010 45+11 was placed on display as a gate guard for GAFFTC headquarters at Holloman.

 

As GAFFTC was wound down, with the Luftwaffe retiring its Tornados in favor of Eurofighter Typhoons, a number of high-time Tornados were available that the Luftwaffe preferred not to fly back to Germany. One was donated to the Pima Air and Space Museum in Arizona, and another made 45+11 redundant. Reluctant to simply scrap the aircraft, 45+11 was instead donated to the nearby New Mexico Museum of Space History in 2019, allowing another Tornado to take its place at Holloman.

 

While on display at Holloman, 45+11 wore the wraparound green tactical camouflage used by Luftwaffe Tornados in the late 1980s and early 1990s; that, however, had been replaced with an overall light gray camouflage, which was found to be more effective when dealing with ground defenses. 45+11 was repainted in this scheme while still at Holloman, and the small GAFFTC shield was replaced by one that covered the whole tail: the emblem shows two stylized Tornados against the New Mexico flag, with the state bird--a roadrunner. Under the wings are two drop tanks and two ECM pods, the usual configuration for training missions over the Holloman ranges.

 

Most of the sources I use on my travels didn't mention 45+11 being at the museum, but we had intended to go mainly for the space exhibits. This was a big surprise just a few days before arrival, when a friend sent me an article on the aircraft. For now, 45+11 is displayed in the museum parking lot until a more permanent location can be found on the museum grounds. It's good to see that such a striking color scheme has been preserved--and aside from the Tornado at Holloman, getting 45+11 means I have now seen three of the four Tornados in North America!

This five shot sequence begins with the realization by the Great Blue Heron that I am close by and have a long lens pointed at him. As this becomes clear in the heron's mind, the heron (instead of flying off) slowly turns and walks ashore hoping to find a more private place.

Realization Point Sunset, Flagstaff Rd. Boulder, CO

Midtown Manhattan, New York City, New York, United States

 

The Free Church of Saint Mary-the-Virgin complex, including the church, Clergy House, Mission House, Rectory and Lady Chapel, was designed by Pierre L. LeBrun of Napoleon LeBrun & Sons in 1894. The church, long a center of Anglo-Catholic worship, is a physical realization of the tenets of the Oxford Movement which sought to better the lives of the urban poor through nursing care, inspirational activity and the ritual of the Pre-Reformation Church in England. Built in 1895 to make full use of an irregular site, St. Mary's was designed both to realize the programmatic goals of its trustees and to evoke, in the church and Lady Chapel, the 13th- century French Gothic Style. The Clergy and Mission Houses, and the Rectory were cast in the 14th-century French Gothic style.

 

The result is one of the finest Gothic-inspired designs of New York's late 19th century. The steel frame construction of the church can be said to have made the building the first of its kind and size in the world, thus redefining the conventional methods of church construction. Among the building's several specific Anglo-Catholic characteristics are the subjects selected for the sculptures of J. Massey Rhind whose academic naturalism complements

 

LeBrun's architecture.

 

The Society of the Free Church of Saint Mary-the-Virgin

 

The Society of the Free Church of Saint Mary-the-Virgin has its origins in the growth of Anglo-Catholicism within the Church of England and the Protestant Episcopal Church of North America. In the third decade of the 19th century, a group of theologians - dons of Oxford's College House of Saint Mary-the-Virgin (Oriel College) - initiated a religious movement to enhance the lives of the disaffected of the Industrial Revolution.

 

Reasserting an identity with the Pre-Re format ion Church of England, the founders of the Oxford Movement emphasized the importance of the sacraments, stressing the ideal of the priesthood and the authority of bishops but still rejecting the autocracy of the Pope.

 

This Anglo-Catholicism was characterized by a reintroduction of ritual and its accompanying furnishings, a dedication to mission work, a revival of religious orders, and a development of church architecture and art. Conceived in academe, Anglo-Catholicism, garbed in the mystery, color and richness of ceremonial worship, also manifested itself in the construction of new church buildings in slum neighborhoods.

 

This reassertion of ancient ritual found a sympathetic audience within the Camden Society (1839), subsequently the Ecclesiological Society, which, through its publications, The Ecclesioloqist and a variety of architectural tracts, advocated the restoration of ancient churches and the building of new ones strictly according to the principles which they believed guided the medieval English builders.

 

In the 1860s the Ecclesiologists also had begun to accept certain French architectural elements — apses, in place of the traditional English flat ended chancels, for example.

 

By the 1860s Anglo-Catholicism had found a sympathetic audience among adherents of the American Episcopal Church. St. Mary's early history is inseparable from the life of the founder of the parish, the Reverend Thomas McKee Brown (1841-1898). Born in Philadelphia, the son of James Brown, he attended the Episcopal Academy (Philadelphia) for seven years and then matriculated at Trinity College, Hartford, Connecticut, with the class of 1863.

 

The Civil War interrupted his academic career and he went to work. But soon after he resumed his studies - by arrangement with Trinity College - at the General Theological Seminary in New York. He received his Bachelor's degree from Trinity in 1864 and his Masters from the General Theological Seminary the following year. Before his ordination by Horatio Potter, Bishop of New York, on February 25, 1866, he served as curate at the Church of the Annunciation (then on 14th Street, Manhattan) and at St. John's, in Brooklyn.

 

Following his ordination he was Rector of Trinity Church, East New York, for a year before returning to Manhattan to became curate for the Reverend Ferdinand C. Ewer of Christ Church, New York.6 At both the Church of the Annunciation and Christ Church the exalted ritual characteristic of Anglo-Catholicism was practiced.

 

Concurrently, Brown and a group of interested lay people combined to establish a new parish on a thoroughly Anglo-Catholic foundation. Although at this time such ritual was contrary to canon law, Bishop Potter not only suggested how the group might incorporate, he pointed out t±ie working class neighborhood where their church would be most effective.

 

The Society of the Free Church of Saint Mary-the-Virgin was incorporated on December 5, 1868, under a provision of a New York State law. John Jacob Astor III, learning of the group's objective, gave the Society three lots on West 45th

 

Street (the site of the present Booth Theater).8 Within the month the corner stone of a new church building was laid by Bishop Potter. It is likely that the dedication of the church to Saint Mary-the-Virgin was inspired by the home church of the Oxford Movement.

 

The new church, built to the designs of William T. Hallett (1829-1908) was opened by the Rev. Ferdinand Ewer on December 8, 1870 — the Feast of the Conception (one of the most significant days in the calendar of a church dedicated to the Virgin). From the b^inning the liturgy was highly ritualistic; indeed, it was noted in the Parish Register of a sister church that the first High Mass with incense was celebrated at St. Mary's on Christmas Day, 1877.

 

The building records reflect the dedication of St. Mary's clergy and sisters to the spiritual and physical well-being of this working class neighborhood: a new clergy and choir house to accommodate the men's guilds (the St. Alban's and the St. Joseph's Guilds) and the boys club, as well as the single clergymen, was finished in 1885; and within the next two years a house at 248 West 45th Street to shelter the women's guilds (the Guild of St. Mary of the Cross and the Guild of the Annunciation) and the dispensary run by the new female order founded by Father Brown — the Sisters of the Order of the Visitation of the Blessed Virgin Mary — was given to serve as a Mission House.

 

The Society's trustees, burdened with mortgages, were continually faced with a lack of funds. The congregation included many of limited income, but several individuals were generous, among them, Miss Sara Louie Cooke.

 

On July 21, 1892, Miss Cooke died, leaving St. Mary's nearly $500,000. At the November trustees' meeting there was a lengthy discussion about whether to enlarge the present church or to purchase property for a new church. Subsequently, at a special meeting of the trustees it was resolved that the Treasurer should receive all moneys and property of Miss Cooke's estate.

 

The treasurer of the Society was Haley Fiske (1852-1929), who had been elected to the board of trustees on March 23, 1892 and on motion elected treasurer. Fiske was vice-president (and in 1919 became the fourth president) of the Metropolitan Life Insurance Company. He was the assistant to both his predecessors at Metropolitan Life, Joseph Fairchild Knapp and John Rogers Hegeman, both great builders. It was Knapp who brought Metropolitan Life uptown to Madison Square and for whom Napoleon LeBrun & Sons designed the eleven-story office block at 1 Madison Avenue, (1890-91).

 

It was Hegeman who expanded to the rest of the block and part of the block to the north (1894-1909, a campaign completed by Fiske), and it was Hegeman who commissioned the Metropolitan Life tower (a designated New York City Landmark, 1906-07), all of these built from plans prepared by the LeBrun firm. There can be little doubt that Fiske was involved in all these projects.

 

Fiske took the initiative immediately. One month later an executive committee, consisting of the rector, the secretary and the treasurer, was created. The trustees had had a year to consider the alternatives: enlarging their existing edifice on West 45th Street or moving to a new site.

 

Two months later it was reported that 143 feet along the north side of West 46th Street and possibly one adjacent lot on West 47th Street could be purchased. Accumulating lots for the new church site — seven on West 46th Street (No. 133-No. 145) — continued from January, 1894, until the following August when title was taken to the last of the five lots on West 47th Street (No. 136-No. 144). Both these streets were lined with the narrow rcwhouses of working class people and stables.

 

Concurrently, the Society's property on West 45th Street was sold and an architectural competition was announced. Father Brown had visited Europe in the summer of 1888; certainly he would have seen the great cathedrals as yell as the new English churches built for Anglo-Catholic congregations. The trustees stipulated a program with the following: a church in the French Gothic style of the 13th century; able to seat 800 exclusive of the chancel; the chancel to be apsidal and at least fifty feet in depth with an ambulatory; the building to extend north from West 46th Street with the chancel at the north end; the interior to be lofty; the elaboration of ornamental detail to be confined to the front and to the interior; no towers or spires; at least two chapels and a baptistry; the Rectory and the Sacristy to be on West 47th Street; and the Mission House for the Sisters and the Clergy House to be on West 46th Street — the Mission House on the east side of the site and the Clergy House on the West.

 

Because of the unfavorable reception to the announced competition, 17, the trustees withdrew it, and the commission was given to the LeBrun firm. Pierre LeBrun's plans were accepted on October 11, 1894. It should not be overlooked that Haley Fiske knew the firm well. Indeed, the LeBrun office was located in the new Home Office building they designed for the Metropolitan Life Insurance Company at 1 Madison Avenue.

 

The Architect

 

Pierre La jus LeBrun (1846-1924) has not received the attention that he is due. Because of the name of the firm, Napoleon LeBrun & Sons, both Pierre and his brother Michel have been all but anonymous. That it was Pierre LeBrun who designed St. Mary's is indicated in the Society's minutes. His father, Napoleon LeBrun, represented the firm at the initial stages of the project. Napoleon Eugene Charles LeBrun (1821-1901), was born to French emigrant parents in Riiladelphia. At fifteen years of age he was placed in the office of Thomas Ustick Walter (1804-1887), where he remained for six years. LeBrun began his own practice in 1841 in Philadelphia but moved to New York in 1864 where the choice in 1870 of his Second Empire style Masonic Temple competition submission did much to establish his reputation. In the same year his son Pierre joined him and the firm became Napoleon LeBrun & Son. Father and sons were active members of the new American Institute of Architects.

 

The firm's work can be divided into two periods, an early one spanning the 1870s into the mid-80s and a later one from the later 1880s until the firm's dissolution in 1909. The earlier is robust — the Church of Saint John-the-Baptist, 1872, West 30th Street and the Fire Department Headquarters, 1886, East 67th Street. Ihe later work was significantly different. Building elevations became more planar; ornament, based on historic prototypes, was used more judiciously. The first Metropolitan Life building was an example of a new building type given stylistic character through the application of ornament, as is LeBrun's still-extant Home Insurance Company (1893-94) facade on Broadway above Murray Street.

 

If little is known of Pierre LeBrun's formal architectural education, his three trips abroad in the service of the Willard Architectural Commission are documented. Levi Hale Willard, a wealthy businessman, died in 1883 leaving to the newly founded Metropolitan Museum of Art $100,000 toward the creation of a collection of models and casts illustrative of the art and science of architecture, to be made under the direction of a commission chosen by the New York Chapter of the American Institute of Architects. In his will Willard nominated Napoleon LeBrun as president of this commission; Willard, a friend, had often discussed with LeBrun the need to cultivate a popular taste for architecture. Pierre LeBrun was appointed the commission's purchasing agent. The younger LeBrun visited the significant sites and met with the suppliers of casts in Paris, Munich and Rome.

 

The historical accuracy characterizing the ornament of the Church of Saint-Mary-the-Virgin appears to have been informed by the 13th century French Gothic examples in the Willard Collection. This is true of the firm's other later buildings; regardless of whether they are fire stations or skyscrapers, style is determined by the integrity of the ornament.

 

The Sculptor

 

John Massey Rhind (1860-1936) was born in Edinburgh where both his father and grandfather were architectural sculptors, a profession that his brothers followed as well. He studied in London - with Jules-Aime Dalou -and in Paris. His style can be associated with the academic naturalism of the Ecole des Beaux-Arts. Rhind came to this country in 1889. Credited for his ability to make his sculpture an integral part of a larger design, Rhind's earliest work in this country was for ecclesiastical buildings.

 

His first commission in this country was the bronze tympanum (1891) over the entrance to the Chapel of the Good Shepherd at the General Theological Seminary (for which institution he further worked in bronze and marble). His bronze panel, "Flight to a City of Refuge," won the commission for one of the three pairs of doors (1892) given to Trinity Church in memory of John Jacob Astor III. In a letter to the Society's trustees, dated April 15, 1895, he offered to carve a statue of the virgin and Child for the trumeau (Plate 1), the post between the doors within the main entrance. Two months later he was invited to submit a sketch for the tympanum, the design now over the door (Plate 2).

 

In addition to the trumeau and the tympanum, the following are from the hand of J. Massey Rhind: the two freestanding statues flanking the main entrance, Saints George and Michael (Plate 3); the three freestanding statues that make up the Calvary over the main entrance (Plate 4); the freestanding statue of a seated St. Cecilia in the niche above the Clergy House entrance (Plate 5) ; the tympanum (Plate 6) above the lady Chapel entrance on West 47th Street and the impost heads supporting the drip molding over this entrance.

 

Design of the Saint Mary-the-Virgin Complex

 

As with the other buildings in the LeBrun firm's later period, the clue to historic style of St. Mary's is in the ornament concentrated around doorways and windows (Plate 3). The Willard casts included details from ecclesiastical and domestic Gothic buildings — Chartres, Paris, and Rouen. Thirteenth-century French Gothic ornament defines the major features of the tall limestone facade of the church (Plate 7), the central of the three buildings on West 46th Street. The keyed limestone door and window surrounds, the drip moldings and the tracery of the pierced terra cotta parapets of the flanking, orange brick Clergy and Mission Houses are characteristic of the 14th-century French Gothic style. The contemporary architectural critic, Montgomery Schuyler, found the historically appropriate ornament and the long thin, orange Tiffany bricks pleasing but thought that the treatment of the 46th Street facades lacked "bite."

 

However, to the 20th century observer the functional economy of the flatness of this range and the irregular disposition of the fenestration are also pleasing. All of these elements, as well as the elegant naturalism of Rhind's sculpture are expressive of the late 19th century. The ornament of the Rectory on West 47th Street, confined to the keyed door and windcw surrounds and drip moldings (Plate 8), is characteristic of the 14th-century French Gothic style also. But the ornament of the Lady Chapel and its entrance reverts to the 13th-century French Gothic of the church facade. Although there is more depth to the range of St. Mary's buildings along West 47th Street, their planar aspect — especially the tall apsidal end of the church itself, unccampramised by sham buttresses — reveals their late 19th-century origin.

 

The cornerstone was laid on December 8, 1894. All of the newspaper accounts of the building, shortly before its opening exactly one year later, expressed amazement at the speed with which the church, "one of the purest examples of French Gothic of the 13th century in this country," was erected. But a reporter for the Evening Post explained that an elaborate structure like St. Mary's could not have been built in such a short time with conventional methods; the steel skeleton made St. Mary's "the first of its kind and size to be built in this or any other country." It is this use of a steel frame, a technique then associated only with the construction of tall buildings particularly in Chicago, that gave St. Mary's the nickname "the Chicago Church."22

 

In plan (Plate 9) it is the central, block-through body of the church that dominates St. Mary's irregular site. This arrangement, with the Clergy House (lcwer left) and the Mission House (lower right) flanking the church's main entrance on West 46th Street and the Rectory (upper left) and the Lady Chapel (upper right) girdling the church's apsidal end on West 47th Street, was dictated by the trustees' program. The programmatic goals of spatial flexibility and a lofty interior with a vaulted ceiling would appear to be contradictory aims within such a confined area. LeBrun took advantage of the most advanced construction technique, calling in Purdy & Henderson, the construction engineers, to fabricate a steel frame to support his design (Plate 10). The foundation walls and the steel footings were carried dcwn to rock (Plate 11). large, diagonal compression braces at basement level anchor the bases of the vertical columns.

 

To support the vaults steel transverse and diagonal ribs spring from the eighteen steel columns, nine on each side of the nave (plus the four in the apse), which support the braced saddle-back roof frame above. The upper members of this skeletal imitation of Gothic structure are progressively thinner. The side walls are of brick; the arches of the nave arcade, springing from steel corbels riveted to the columns, are of brick also, as are the the walls above them.

 

St. Mary's had become famous all over the country for the extremely ritualistic character of its services. The requirements of this liturgy were foremost iri the planning of St. Mary's: a long nave and lofty interior, side aisles and ambulatory, a deep chancel and ancillary chapels. But the building's Anglo-Catholic specificity was proclaimed in more subtle ways. The sculptural subjects Rhind was commissioned to carve, the trumeau figure and the tympanum program especially, are specific references to pre-Reformation Catholicism. Ihe contrast between the limestone and the brick of the West 46th Street facade defines the ceremonial entrance. Ihe 13th-century ornament identifies St. Mary's with the new Anglo-Catholic churches being built in England in the 1860s and later. (The 14th-century Gothic detail distinguishes the dependent buildings from the church.) The inspiration for St. Mary's architecture can be found in the tradition of the Oxford Movement itself — the emphasis upon ritual requiring side aisles, deep chancels, ambulatories and lofty ceilings. It can be said that St. Mary's redefined the manner in which churches could be constructed.

 

Description

 

The Church of Saint Mary-the-Virgin is a complex of five interconnected buildings (Plate 9): the church itself which runs north and south through this block between West 46th and 47th Streets; the Clergy House to the left (west) of the church and the Mission House to the right (east) of the church, both on West 46th Street; the Rectory to the right (west) of the church's apsidal end and the Lady Chapel to the left (east), both on West 47th Street. All of these buildings, except the church which is faced with limestone, are of an orange (Schuyler called the color ,,gamboge,l), Tiffany brick. All have granite bases.

 

Church

 

The tall, planar limestone facade (Plate 7), forty-six feet wide and 130 feet high from the curb to the cross on the gable, is framed by thin, faceted buttresses and articulated in three horizontal sections: the lowest containing the main entrance; the middle section with the rose window; and the top, a gable containing a smaller round window flanked by the buttress pinnacles.

 

A great deal of 13th-century Gothic ornament is concentrated within the pointed arch entrance (Plate 4) which contains paired doorways separated by the trumeau and Rhind's canopied statue of the Virgin Mary and Child. Two heavy oak doors with decorative foliated iron work (Plate 12) slide away from the trumeau into the walls to reveal paired, glazed-panel swinging doors with brass fittings below leaded stained-glass transoms. Pendant lamps of iron and glass are fixed to the doorways' lintel and outer posts. The subjects of Rhind's three-tiered tympanum above are familiar Anglo-Catholic subjects.(Plate 2). In niches across the lowest tier are ten worthies flanking a central niche containing a closed door, the five on the left appear to be Old Testament personifications and the five on the right may represent the fathers of the early Christian church. On the middle tier are a seated Virgin and Child attended by adoring shepherds and wise men.

 

At the top the Virgin in an aura ascends between angels disposed upon clouds into the tympanum's foliate border.24 Ihe drip molding of the arch rests on imposts articulated as faces, the one on the left blindfolded to represent Heresy, the one on the right clear-eyed and crowned representing Faith. Flanking the entrance arch, two canopied niches, capped with crocketed and finialed pinnacles, shelter Rhind's statues of

 

Saint George on the left and Saint Michael on the right. Faces, representing differing physiognomies, project from the canopies' pendant tracery.

 

In the middle section a tall, blind pointed arch frames the slightly recessed rose window and Calvary with figures by Phind below it. Gargoyle-adorned pinnacles mark the base of the blind arch; aedicular elements facing the corner buttresses have crockets and finials, reliefs of rosettes and leaves, and gargoyles projecting from above their dosserets.

 

The rose window reverses the conventional direction of the arches and balusters within (except for the inner douzefoil); at Notre-Dame, Paris, and at Chartres the arches radiate out, not in as they do here. The window is filled with leaded stained glass in geometric patterns manufactured by Arnold and Locke. The middle section is capped by a foliated cornice frcan which two gargoyles project (just inside the bases of the corner buttress pinnacles).

 

The gable is flanked by the pinnacles terminating the facade's corner buttresses. A round window containing a qua trefoil is in the center of the gable. The gable coping is crocketed. The cross surmounting the gable is of gilded, pressed copper.

 

Above the church's side aisles and ambulatory the exterior walls of the clerestory, partially visible from both West 46th and 47th Streets, are faced with limestone.

 

On both sides of the clerestory (east and west) eight out of nine panelled bays, separated by minimal and token buttressing, contain the tall, two-light windows of plate tracery with drip moldings. The windows are filled with leaded glass in geometric patterns, manufactured by Arnold & Locke. The steep saddleback roof is slate-covered. A fleche of pressed copper rises from the ridge line between bays eight and nine (containing the bell brought from West 45th Street).

 

Though visible from West 46th Street, the fleche is seen best from West 47th Street where it is the terminal feature above the church's five apse windows and steep roof. Only the center three of these five windows contain the glass specifically projected for them and manufactured by C. F. Kempe & Co., Ltd., London.

 

The Clergy House

 

The Clergy House is four stories with a penthouse which is invisible from West 46th Street. Constructed of orange Tiffany brick with a granite base and limestone water table up to the first story sills, the keyed and ornamental door and window surrounds, string courses, sills, drip moldings, and lintels are of limestone and the cornice and pierced balustrade above are of terra cotta. Ihe window and door grilles are iron; (the interior posts and beams are cast iron).

 

There appear to be two entrances, but the more ornamented one on the right with the cross as its terminal feature is the entrance to the left side aisle of the church. One enters the Clergy House itself through the doorway on the left.

 

The paneled-wood doors with wrought-iron grilles are set below transoms of leaded glass which are in a geometric pattern. Individual iron lanterns are suspended on short chains from the lintels of these two doorways. Above the Clergy house entrance is a canopied niche sheltering Rhind's statue of St. Cecilia , a memorial to an admired church organist, Dr. William Prentice.

 

Windows are capped by drip moldings with foliated

 

stops. Three second story window heads carry blind cinquefoil arches. The windows have one-over-one wood sash. The cornice is of richly molded terra cotta in a foliated pattern . Twenty alternating panels of flamboyant tracery make up the pierced terra-cotta parapet. The present coping is of sections of poured concrete slab.

 

The Mission House

 

Except for its width —it is narrower — and certain details, the Mission House is identical to the Clergy House. The hanging lantern at the Mission House entrance has been replaced with a more modern fixture .

 

Because the Mission House is narrower than the Clergy House there are fewer windows and only thirteen alternating terra cotta panels make up the parapet.

 

The Rectory

 

Like the Clergy and Mission Houses on West 46th Street, the Rectory at 144 West 47th Street is of orange Tiffany brick on a granite base with a limestone water table. The keyed and ornamental door and window surrounds, sills, stringcourses, and drip moldings are limestone.

 

The Rectory entrance has its original bluestone stoop and basement areaway. The double doors with their brass fittings are of paneled oak, two over two, with a transom of plate glass above. The Rectory shelters the sacristy and vestry rooms, as well as the living quarters of the rector and his family.

 

Windows containing one-over-one wood sash some with leaded glass in a geometric pattern, are capped by drip moldings with foliate stops. Of special interest is the bow window at the second story set within splayed reveals.

 

The lintel is an iron "I" beam decorated with five iron rosettes, while the casing is of wood as are the two narrow shafts at the angles of the bcw, and the drip molding carries an ornamental finial. The gable coping, chimney and chimney pots are terra cotta. The eastern end of the slate covered roof is broached, its hip adorned with a pressed copper finial.

 

The Lady Chapel

 

In a letter to his fellow trustees dated Dec. 15, 1894, Haley Fiske offered to build the Lady Chapel. He indicated that he would like to move the west windows from the West 45th Street church to this chapel. Like the Rectory, the Clergy and the Mission Houses, the chapel is built of the orange Tiffany brick; the water table, the chapel's elaborately carved entrance, the keyed window surrounds, string courses, drip moldings, imbricated pinnacles, keyed and crocketed gable coping and crowning cross are all of limestone.

 

The entrance screens the recessed area between the chapel and the Rectory. Rhind's tympanum, above the oak entrance doors, depicts the Annunciation and is framed by an archivolt, intricately carved as a rose vine, supported on colonnettes.

 

The crocketed drip molding springs from two imposts, given the form of portrait heads carved by Rhind of Fiske's son and daughter, which resolves into an ogee that breaks through the top of the screening spandrel course to support a cross, now missing. Three lancets, the taller in the center, light the chapel; the drip moldings spring from foliated imposts.

 

The round window in the gable contains a quatrefoil filled with leaded stained glass.

 

Exterior Changes

 

In the ninety-five years since the opening of St. Mary's on West 46th Street, little of the church's exterior aspect has changed. Drawings indicate that there was once a balustrade fronting the Calvary above the main entrance, and another across the facade at the foot of the gable.

 

The Rectory gable is missing its crowning finial and the cross atop the Lady Chapel entrance is missing. Drawings indicate — and coping fragments corroborate — that there were basement areaways in front of the Clergy and Mission Houses. Only one basement areaway exists today, that of the Rectory. An unsympathetic composite material has been clumsily used to repair tracery and foliated ornament. In 1962 repair and repointing the church's stone facade was carried out.

 

- From the 1989 NYCLPC Landmark Designation Report

Yogacharya Dr. Ashoke Kumar Chatterjee was born in 1933 in West Bengal. The sudden demise of his mother when he was away in service intensely agonized him. He grew averse to material pursuits and became spirituality inclined. He received initiation in Kriyayoga in April 1961.

 

Yogacharya ji is the disciple of Shri Satya Charana Lahiree Mahashaya, grandson of Yogiraj Lahiree Mahashaya.

Yogacharya Dr. Ashoke Kumar Chatterjee authored various books on Kriya Yoga, 'Purana Purusha' being one of them. 'Purana Purusha' logically depicts the most subtle Kriya Realizations of Lahiree Mahashaya. The book is directly based on the 26 personal diaries written by yogiraj lahiree Mahashaya Himself.

 

Yogacharya ji's teachings are based on mainly three very basic questions -

"Where have we come from?"

"Where do we have to go?"

"How to reach the destination and attain stillness?"

He teaches kriyayoga adhering to the standards set by Yogiraj Lahiree Mahashaya without any modification in the practice itself, with an experience spanning over more than five decades.

 

People irrespective of caste, creed, color, nation, language, gender are all eligible for Kriya Yoga. He has large following throughout India and abroad like USA, England, France, Spain, Canada, Australia, South Korea, Bangladesh etc.

 

www.kriyayogashyamacharan.org

 

He expounds that all-pervasive Prana is dharma and God. The total creation of man, insects, animals, trees, water, earth, air, fire, sky all have the same dharma and belong to one Master. God is Still State of Prana. If Prana who inheres in the body-temple is nursed Universal Love will prevail and eternal peace be reinstated.

 

He has adhered to the ideals of Yogiraj by juxtaposing total domestic existence with yogic discipline as shown by Yogiraj Lahiree Mahashaya himelf.