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partial view of large scale oil

Relation d'un voyage du Levant :.

Lyon :Chez Anisson et Posuel,1717..

biodiversitylibrary.org/page/40370181

This is the last picture in a series of four, related to the suit symbols of cards. This week: hearts.

 

The relation between the picture and the symbol is purely based on shape. And as in all my pictures in the series, it contains a body part.

 

52 weeks of 2017 - Week 47: Hearts

{WARNING: The following text has little relation to the above photo, bar the geographical location. Currently no other platform for story writing so dumping this 3-4 part piece of travel writing here for the time being. Anyone reading, much appreciated and criticism, lavish praise welcome. Info on the shot contained in tags}

 

How I Learned to Stop Worrying and Love Hamam - Part 1:

 

There are moments during my solo travels when a great enlightenment occurs. A glorious vista, a personal achievement or a cultural insight bring forth a calming sun of sanity that shines forth glorious rays of sense which pierce the obfuscating cloud of nerves that lingers in my mind. During those elusive moments my thoughts rise weightlessly. They ascend with grace through my elevated, enervated psychological state. Unhindered by doubt and untouched by fear. My life, both that of the present moment and as a holistic entirety unfolds before me and I can view my joys, my foibles and regrets with a calm, wise disposition. It is within these blissful times that I make decisions that shift the direction and tone of my entire life. With nary a blink or a hesitation I discard the past and embrace a new, improved future. Neuroses are shed, bad habits discarded and I view this spinning world and all its opportunities anew. It is no exaggeration to say that at these times I am flirting with the Ubermensch. I am the master and everyone of my own domain and no asinine reality can perturb my meditative state.

 

Sitting all alone in a sweaty Turkish sauna clad in no more than a skimpy loin cloth and a mud facemask was not one of those times. There in that sodden chamber there was no past, no future: only a startling, sweat soaked present. In that ever heating chamber the niggling cloud of nerves swirled mercilessly behind my eyes, cursing me to ponder many an unanswerable question like 'what is this stuff on my face actually doing?', 'How long am I supposed to stay in here?', 'is it really, really hot in here or is it just me?' and 'Why on earth am I in a Hammam, in the middle of Turkey, alone?' There was however one question that soared above and beyond all others, causing adrenaline to flow through my system in alarming, pulsing surges. That question being:

 

'Should I have kept my pants on?'

 

With that single query my intended immersion into the aged tradition of relaxation and release was transformed into a hellish re-run of the 'running through school naked dreams' that tormented my early teenage years. There I sat, ensconced in the heat and sweat of the sauna. My posterior slowly being grilled as it pressed upon the burning wooden slats, my body visibly shrinking as every last drop of water oozed through my skin while my mind desperately tried to remember how and why this had seemed like a good idea just a few short minutes ago.

 

It was my last day in Turkey before embarking upon what promised to be a unique but tedious day long journey to Georgia. Aware that my imminent arrival in the Caucasus was going to put some level of strain upon me, and aware that if I was to fully embrace all of the opportunities that it would present I would have to be in a mindset that felt no nerves, I had decided to do something that had been making me nervous for the past week. That thing was attend my very first ever Hammam.

 

Writing now with hindsight and an extensive array of Hammam experiences that ranged from fighting publicly onanistic Germans through to being brutally broken at the hands of an Istanbul massage master, my nerves seem inexplicable. But put yourself in my shoes. I was 6 days into a 3 month solo trip that is going to see you trawl your backpack through former war zones and down into the alleged axis of evil. The trip was going to be the longest I have ever been away from home, the longest I have been apart from my home stuck damsel in distress, Hazel. I will readily admit that while I could feel the thrill of adventure, I could also also feel the gentle throb of fear. This was partly based upon the vast swathe of unknown that stretched before and partly based upon a deep mistrust of my own capabilities.

 

You see, I knew that no matter where and when I have travelled, disaster has somehow snuck its way into my backpack, revealing itself at the most inopportune times. In this head of mine there are memories that make me wince even now. The experiences they relate to are as vivid as fresh, painful scars. With consummate ease I can still conjure up the moment when I phoned my work from a Milan train station to inform them that due to a mixture of alcohol and a Railways strike I was going to be late back for work. Not by a few hours nor a day late, but an entire week. If this memory becomes too tame I can swiftly move onto the recollection of being thrown out of a convent in Manhattan for having pre-marital liaisons with my partner. Not so bad you say? No, it wasn't, until I discovered that the only other choice of accommodation in that entire island was a room in a run down brothel, replete with mirrored headboard, mirrored ceiling and porn on every single channel. Cheap porn at that. It is fair to say that I have travelled but I am not a traveller.

 

However, I had decided that this trip was going to be the one where I scratched off any mental scars. This trip would be the one where I embraced fear, stared down uncertainty and took on any challenge life threw my way. I was going to be the man people thought I was: I was going to become a traveller. I thought for a while about how I would put this plan into action, casting around in my mind for what made me nervous about my current location. The locals were friendly, the food served up was mostly dead, bikes could be hired, cars could be rented and everybody spoke perfect English. There seemed so little threat that it was almost tedious.

 

Then I thought about the Hammam, that ancient pillar of Turkish life. I thought about what it would be like to enter that mysterious, sweaty world of rigorous rubbing for the first time, alone? The answer was nervous, I would feel very, very nervous. I had heard only half tales and partial words about what to expect. Some men talked happily of glorious chambers of steam and sweat while others whimpered about muscle snapping massages and inappropriately intimate rubbing. Personally my own knowledge about that ancient ritual were limited to an awareness that it involved liberal amounts of water, lots of steam, men vigorously massaging other men and a certain disregard for British boundaries of personal space. Everything about it made me twitch inside. This was the perfect first phase of my transformation into the the Ray Mears for the terminally inadequate. With no hesitation at all I gathered all that I thought I needed and made my way with some haste to the local Hammam.

  

To be continued...

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

 

Some background:

The Vickers Type 287 was a British 1930s light bomber built by Vickers-Armstrongs at Brooklands near Weybridge, Surrey, for the Royal Air Force. The Type 287 was originally built as a private venture and designed as a single-engine monoplane with a very high aspect ratio wing, and a manually operated, retractable undercarriage. It used the same geodetic design principles for both the fuselage and wings that had been derived from that used by Barnes Wallis in the airship R100. As it was not known how the geodetic structure could cope with being disrupted by a bomb bay, the Wellesley's bomb load was carried in two streamlined panniers under the wings.

 

The RAF ultimately ordered a total of 176 of the two-seater aircraft, with a 14-month production run starting in March 1937, and it was introduced into service the same year.

While it was obsolete by the start of the Second World War, and unsuited to the European air war. By the outbreak of the Second World War, the Wellesley had been phased out from home based squadrons, with only four examples remaining in Britain, but remained in service with three squadrons based in the Middle East. The Wellesley Mk. I bomber was successfully used in the desert theatres of East Africa, Egypt and the Middle East, where it was used until 1942.

While the Wellesley was not a significant combat aircraft, the design principles that were tested in its construction were put to good use with the Wellington medium bomber that became one of the main types of RAF Bomber Command in the early years of the European war.

 

The GR Mk. IV (Type 301) was a late special development for the RAF Coastal Command. It was actually a stopgap solution - during the first three years of the Second World War, Coastal Command and the Admiralty fought a continuous battle with the RAF and Air Ministry over the primacy of trade defense in relation to the bomber effort against mainland Germany, a strategic tussle which conceivably could have cost the Western Alliance the Battle of the Atlantic. The Air Staff and Bomber Command enjoyed the backing of Churchill and the maritime air effort struggled to receive the recognition it needed. On the outbreak of war, the Coastal Command’s order of battle listed just 298 aircraft, of which only 171 were operational.

 

Owing to the starvation of resources, even as late as March 1943 the Atlantic supply lines were being threatened. This situation arose as a direct result of the lack of very long-range aircraft. The Wellesley, even though basically outdated, offered a quick and proven basis for a radar-equipped maritime reconnaissance aircraft, especially for the Mediterranean, Middle East and African theatres, as these were regarded as less risky than the battle of the Atlantic or over the North Sea.

 

The Wellesley GR Mk. IV was a heavily modified version of the Mark I, built from existing airframes that were returned to Great Britain for conversion at Weybridge and Chester. A total of 28 aircraft were modified in early 1942.

 

The GR Mk. IV featured an ASV Mark III radar with a radome under the fuselage and additional mast antennae on fuselage and wings. The crew rose to three, as an operator for the ASV radar joined pilot and navigator/gunner, was placed behind the pilot.

In order to improve survivability the aircraft's defensive armament was considerably improved: instead of a single .303 in (7.7 mm) Vickers K machine gun in the Mk. I's rear cockpit, a powered dorsal turret, equipped with four 0.303 in (7.7 mm) Browning machine guns, was installed. The Brownings were electrically fired and insulated cut-off points in the turret ring prevented the guns firing when they were pointing at the propeller disc or tailplane.

The wing-mounted .303 in (7.7 mm) Vickers machine gun was retained, as well as the capability to carry up to 2,000 lb (907 kg) of bomb ordnance in underwing panniers. These were modified to carry up to four 450 lb (200 kg) Mark VII depth charges and an array of flash bombs for night missions, as the GR Mk. IV could not carry a Leigh Light.

 

In order to keep overall performance up despite the additional equipment on board and the extra drag created through radome and gun turret, the original Bristol Pegasus XX 9 cylinder radial piston engine with 925 hp (690 kW) was replaced by a 14 cylinder 1.525 hp (1.121 kW) Hercules VI powerplant.

The complete front of the engine had to be modified in order to take the heavier and much more powerful engine, similar to the Type 289 and 292 long range conversions of the basic Wellesley. As a further means of keeping the performance up, parts of the original steel fuselage structure were replaced by light alloy elements.

 

All GR Mk. IV's were sent to the Mediterranean theatre in summer 1942, primarily for defensive tasks, e. g. defending supply lines. The aircraft also took part in Operation Torch (initially called Operation Gymnast), the British-American invasion of French North Africa in World War II during the North African Campaign, which started on 8 November 1942.

 

By 1943 Coastal Command finally received the recognition it needed and its operations proved decisive in the victory over the U-Boats, and when more powerful Vickers Wellington aircraft became available, the Wellesleys of Coastal Command were withdrawn or deployed to Greece, and performed various support duties during the RAF interference in the Greek Civil War. By 1944, the last aircraft had been retired.

  

General characteristics:

Crew: 3

Length: 39 ft 3 in (11.96 m)

Wingspan: 74 ft 7 in (22.73 m)

Height: 15 ft 3½ in (4.67 m)

Wing area: 630 ft² [11] (58.5 m²)

Empty weight: 6,760 lb (3,066 kg)

Loaded weight: 11,048 lb (5,011 kg)

Max. takeoff weight: 12,500 lb (5,670 kg)

 

Powerplant:

1× Bristol Hercules VI, rated at 1,675 hp (1,250 kW)

 

Performance:

Maximum speed: 228 mph (198 kn, 369 km/h) at 19,700 ft (6,000 m)

Cruise speed: 180 mph (157 kn, 290 km/h) at 15,000 ft (4,600 m) (57% power)

Range: 1,220 mi (1,963 km)

Service ceiling: 25,500 ft (7,772 m)

Wing loading: 18 lb/ft² (86 kg/m²)

Power/mass: 0.08 hp/lb (0.14 kW/kg)

Climb to 15,000 ft (4,600 m): 17.8 min

 

Armament:

5× .303 in (7.7 mm) Vickers machine guns, one fixed forward in the right wing, four in a dorsal powered turret

Up to 2.000 lb (907 kg) of bombs in underwing panniers

  

The kit and its assembly:

Honestly, this kit conversion was inspired by an idea from fellow users (NARSES2 and pyro-manic) at whatifmodelers.com, who suggested a Wellesley in Coastal Command service. I have always liked these aircraft's elegant livery with a dark top side, white undersides and a very high waterline - and using THIS on a Wellesley, which traditionally carried Dark Green/Dark Earth uppers and Night (Black) undersides, would certainly look cool.

 

But it would certainly not remain a standard Mk. I bomber for sure, and as I cooked up a story I found the idea of a re-engined, radar-equipped reconnaissance aircraft pretty convincing - the Wellesley's long range and payload (the thing could carry more than it weighed itself!) made it an excellent choice.

 

The basis is the vintage Matchbox kit, which actually has some nice features. The geodetic surface is fine and not over-emphasized, just the landing gear is rather poor - I decided to drill open the landing gear wells and add some interior, as the kit offers OOB offer neither a well nor any detail. Inside, I glued parts from a plastic cookie box - not intended to be realistic, I just wanted to have some depth and structure.

As further means to enhance the overall look I also lowered the flaps, which was easy to realize.

 

Engine conversion to a Hercules (from a Matchbox Wellington bomber) was straightforward, as the Wellesley kit not only offers the original Jupiter engine of the Mk. I. bomber, but also an alternative, streamlined engine cowling for the Type 292 Long Range Development Aircraft. This offers a nice adapter for the Hercules – and with the bigger propeller and a spinner, this changes the look of the Wellesley a lot.

 

In order to beef up rearward defense I decided to implant a powered gun turret - a quadruple .303 turret from a Boulton Paul Defiant. The turret was taken from a Pavla kit and consists of styrene and resin parts, plus a vacu canopy. The gunner is a personal addition, I think it comes from a Matchbox Privateer, from one of the optional dorsal turrets.

Mounting the Defiant turret in the fuselage was tricky, as the turret is relatively wide, almost the same diameter as the Wellesley’s. I placed it where the original navigator cockpit with the rearwards-facing Vicker K is located. I carefully opened up the fuselage around that opening until the turret would fit, and then added covers made from styrene strips so that the whole thing would look a bit organic and streamlined. Inside, the turret sits on a styrene axis, so that it can be inserted/taken out at will. Very handy during painting, and the construction makes the turret 360° turnable.

 

Otherwise, the interior was taken OOB, as there’s hardly anything to identify once the canopy is fitted. The latter would remain closed, anyway.

 

The radome under the fuselage was a late addition: originally I had planned to add antenna masts for an ASV Mk. II radar, but then found the ASV Mk. III radome from the aforementioned Matchbox Wellington kit. As the Wellesley did not have a bomb bay, that space between the landing gear was just perfect. And while it would not be necessary I still added some antenna masts (scratched from heated sprues) under the wings and on the fuselage flanks - it just looks cool... ;)

  

Painting and markings:

The interior (cockpit, turret, landing gear) was painted in classic Interior Green (Humbrol 78).

 

On the outside, rather simple, classic Coastal Command colors were used: Dark Sea Grey and Dark Slate Grey on the upper side, with the pattern taken from the RAF Wellesley, and white undersides with a very high waterline and white leading edges on the wings.

 

Painting started with the lower sides – I used spray paint from the rattle can, since the large areas are hard to paint, esp. with white. Consequently I rather used a very light grey (RAL 7047, Telegrau 4), since pure white would be too bright/ by tendency. The color pictures I consulted for reference suggest that these machines would easily tend to become dirty, much room for weathering! After basic spray painting, the “white” areas received a counter-shading and dry-brushing with Humbrol 196 (RAL 7035, Lichtgrau), which is slightly more yellow-ish and lighter than RAL 7047.

 

After that had dried up, waterlines and leading edges were masked with Tamiya Tape, for the upper colors. Humbrol 27 and 224 were used as basic enamel colors, as they are the darkest tones for the job. Later, these were treated with Modelmasters’ 2056 and 2059, in order to weather the upper surfaces and work out the geodetic structure – similar procedure as for the lower surfaces.

 

The kit received a wash with black ink and serious dry-brushing in order to work out the wonderful surface structure - basically with some Humbrol 64 (Light Sea Grey) all around - no pure white has been used on the kit at all. Dirt, soot and stains were added with grinded graphite and thinned Humbrol 224.

 

Decals were puzzled together from the scrap box, from various RAF aircraft. Even though I took 179th Squadron Wellingtons as benchmark, I decided to add a full three-digit code with dull red letters – it adds an eye-catcher to the aircraft’s flanks, and the letters come from a MIcroscale aftermarket sheet.

The respective Wellingtons only had scarce markings and just single-letter codes (the full squadron code, "OZ", had obviously been omitted?).

  

In the end, not a major conversion, but the different paint scheme and the more massive nose change the overall look of the Wellesley considerably. I am quite happy with the result.

via Giftsmate bit.ly/Z2SdP8

 

The purest relation in world is between a child and his mother. A mother nurtures her child in the best possible way, loving him for what he is, making him feel special in her eyes. The same goes for kids! Shouldn’t they make their mother feel special and do something for her to make her feel as the most special person on the Earth? The Mother’s Day falls on the second Sunday of May. It is one occasion which is very close to heart. No matter what your age is, you still a kid for your mother! Everyone plans for a Mother’s Day gift to express their love and concern for her and to deepen the eternal bond of the beautiful relation of a mother and a child. Thanks to the internet, that now people living far away from their mothers can also show their love through direct gift deliveries. Here are some tips to express your unconditional love to your mother.

   

Gifts Heart World’s Best Mom Mug Price: INR 349

 

Express your love and concern to your mom by gifting her World’s Greatest Mom Mug. It is the perfect gift for Mother’s day. If you like to do some styling to give a more personalised touch, then you can customize it also by adding a slogan. Your mom will simply love the mug as it will be a part of her favourite morning beverage and late night coffee. Send it your mum after customizing it, beautifully wrapped and filled with decorative candles!

     

Gifts Bunch of mix colour roses Price: INR 599

     

Gift your mother a bunch of mix colour roses with giftsmate! Give her some beautiful roses to enlighten the charm of her face. Choose any number of flowers you would like to send and enjoy free shipping. The flowers will not only surprise her but also deliver your message to her that you want her also to keep blushing like these flowers forever!

   

Handmade Sari Cover Notebooks Price: INR 599

 

These are beautifully designed notebooks with handmade paper covers enclosing 100 sheets. It is a marvellous gift for your mother to carry along and pen down things she often tends to save in her day to day life. The Sari cover notebook is the best gift for her to serve the purpose of a personal diary. She can writer her experience of life, her experience with you and maybe sometime share it with you.

   

Family Photo frame Price: INR 3225

   

He astounding Black Wood Family Photo frame is the ideal way to keep your family in one frame. Carrying 10 slots, the photo frame has the capability to display pictures in landscape as well as portrait mode. Truly, it adds life to your wall and makes your mother remember the best moments of her life. A great personalised gift idea to gift her this Mother’s day.

   

Chef Mom Aprons Price: INR 599

   

If you think your mother is truly a kitchen queen and you love the love filled food cooked by her hands, then this Chef Mom Apron is the ideal gift which you can gift your mother this Mother’s Day. You can even customize the apron with your mother’s name and win her heart with this unique. Available in white colour, this apron is the best cook to show her how much you lover handmade food.

   

Personalised Word Art Frame for Your Mom Price: INR 999

 

The Art Frame for mom is a record of all the important events, occasions and people of your mom’s life in one single frame. It is truly an ideal gift this mother’s day. Personalize the word art frame with the beautiful words which are important in your mother’s life. You can add a custom text like “Designed for the best Mom of this World from Your Name”.

     

Photo Greeting Card Price: INR 249

   

Wish your dearest mother, Happy Mother’s Day with a cutely designed Mother’s Day Greeting Card. All you need to do is add a recipient’s name and a sender’s name along with an image to be pictured inside the card. This simply means you can personalize the card with your custom messages and photos.

   

Cotton Silk Sari Price: INR 4840

   

Gift your mom a cotton Silk fabric sari with shades of blue with the lustre of silk and comfort of pure cotton. The borders have wide designs of olden Zari with distinctions in Red and Green. A classic design carrying the perfect contemporary look for your mother! An ideal gift for her this summer during the occasion of Mother’s day!

   

Gift Glass Bottle T-Light Candle Holders Price: INR 595

   

Though quite unusual, but yet an exciting gift for your lovely mum this Mother’s day would be the colourful fruity soap baskets. An elegant masterpiece with the handmade fruits and soap which add more to the beauty of your mother’s life. Truly it would be a treat for her eyes every time she sees it.

   

World’s Greatest Mom T-Shirt Price: INR 599

 

This Mother’s Day, gift your mom the greatest mom in the world T- Shirt. It will be a great gift for your mother. Select the colour, size you need and just order the T- Shirt. Excite your mother with an extraordinary gift and make her this Mother’s day special for her.

   

With so many options, surprise your mother with the gift item she will love the most. You can purchase all these gifts from bit.ly/157fjv0. Purchase these gifts at the most affordable rates with best quality and quick delivery.

 

So go ahead and take a peek into our Mothers Day Gifts collection for your mother in India!

   

Happy Gifting & Happy Mommy!

 

Amit Sharma

                     

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Go to the Book with image in the Internet Archive

Title: United States Naval Medical Bulletin Vol. 6, Nos. 1-4, 1912

Creator: U.S. Navy. Bureau of Medicine and Surgery

Publisher:

Sponsor:

Contributor:

Date: 1912

Language: eng

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Table of Contents</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;"> </p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Number 1</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;"> </p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Preface v</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Special articles:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">The medical man and vital statistics, by J. D. Gatewood 1</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A plea for more liberal nomenclature for the Naval Medical Service, by A.

W. Dunbar 22</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Acid fast bacilli in the circulating blood of lepers, by G. B. Crow 26</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">The tenth convention of the second Hague conference of 1907, and its

relation to the evacuation of the wounded in naval warfare, by F. L. Pleadwell (second

paper) 34</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A study of 3,268 venereal prophylactic treatments, by R. C. Holcomb and

D. C. Gather 52</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A year's experience in venereal prophylaxis on board the U. S. S.

Georgia, July 1, 1910-June 30, 1911, by C. L. Moran 60</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">The recent advances in the prophylaxis and treatment of typhoid fever, by

M. W. Baker 62</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">United States Medical School laboratories:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">The Naval Medical School collections, by P. E. Garrison 69</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Additions to the helminthological collection, United States Naval

Medical School, September-November, 1911 72</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Additions to the pathological collection, United States Naval Medical School,

September-November, 1911 72</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Suggested devices:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Modification in shoe for prevention of blisters on the heel, by W. S.

Sims. . 73</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">An improved cot for hospital ships and sick bays aboard ship, by E. M. Blackwell

73</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Clinical notes:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Umbilical hernia, by H. F. Strine 76</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Report of a case resembling gangosa in which treponema pertenuis was present,

by P. S. Rossiter 78</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Bunion operations, by A. M. Fauntleroy 79</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Late positive Wassermann in syphilis and tuberculosis, by W. B. Grove.

... 81</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Salvarsan in frambcesia, by G. F. Cottle<span>  </span><span> </span>82</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Salvarsan in filariasis, by G. F. Cottle 84</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Current comment:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">The twentieth annual meeting of the Association of Military Surgeons.

... 89</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">The ninth international Red Cross conference 90</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Typhoid fever 91</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Yellow fever at Honolulu 92</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Opening of the Naval Hospital, Great Lakes training station, <span> </span><span> </span>92</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Progress in medical sciences: </p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">General medicine. —Pulmonary tuberculosis, experiences with, during

last year; possible infectious origin of pernicious anemia; differential diagnosis

in albuminuria; observations on urine of marathon runners; alcohol in dermal

therapeutics; baldness and its cures; relationship of syphilis and

tuberculosis; present status of salvarsan therapeutics; effect of salvarsan upon

the heart; utilization of Wassermann reaction in the Navy; possible specific

treatment of diabetes mellitus; bromidrosis and hyperidrosis</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">of the feet; by A. W. Dunbar and J. L. Neilson 93</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Surgery. —Open treatment of transverse fracture of femoral shaft; cure

of prostatic obstruction; organization at main battle dressing station; by R.

Spear 107</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Hygiene and sanitation. — A strength and endurance test; dangers to

health from automobile engine gases; decomposing power of bacteria in water; epidemic

due to Gartner bacillus; bacteriological investigation of ice cream in Boston;

emergency rations; accidents of decompression; merits of low protein diet;

concerning particles of albuminous substance in exhaled air; influence of

storage and preservatives upon dissolved oxygen in waters; bacteriological

examinations of oysters; by H. G.</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Beyer and C.N. Fiske 113</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Tropical medicine. — Preliminary report on method of preventing pernicious

malaria; recent advances in knowledge of sleeping sickness; experiments on the

cause of beriberi; action of quinine, salvarsan and atoxyl on Plasmodium

prrecox in canary birds; relationship between Gl. Morsitans and sleeping

sickness; by E. R. Stitt 124</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Pathology and bacteriology. —Detection of tubercle bacilli in sputum; method

of infection in pneumonic plague; study of arteritis of syphilitic origin;

isolation of typhoid, paratyphoid and dysentery bacilli; bacteriological

examination of stools in quarantine protection against cholera; local

production of antibodies; by M. E. Higgins 130</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Medical zoology.—Etiology of pellagra, by P. E. Garrison 136</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Chemistry and pharmacy. —Determination of arsenic in urine after administering

salvarsan; method for detection of salvarsan; method for estimation of gastric

acidity; absorption of chloroform and other chlorinated hydrocarbons by men and

animals; by E. W. Brown and O. G. Ruge... 136</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Eye, ear, nose, and throat. —Acute nephritis following acute tonsillitis;

when to remove tonsils and what operation to be used; recent contributions to

knowledge of sympathetic ophthalmia; protest against indiscriminate use of

organic compounds of silver in ophthalmic practice; two cases of iritis treated

with salvarsan ; a quick and easy method for removal of eyeball; by E. M. Shipp

138</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Reports and letters:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Sanitary report on Hampton Roads, Norfolk, and vicinity, by G. A. Lung.

149</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Recent pellagra clinic at Columbia, S. C, by P. E. Garrison 152</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A visit to the Finsen Institute, by R. B. Williams 157</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;"> </p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Number 2</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;"> </p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Preface vi</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Special articles:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Lead poisoning from inhalation of red-lead laden dust. The possible frequency

of lead encephalopathy in such cases, by E. R. Stitt 161</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Loss of life by drowning in naval warfare, by T. W. Richards 166</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Etiology of gangosa, based upon complement fixation, by E. P. Halton. .

. 190</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Further observations on the insane of the Navy, by Heber Butts 193</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Roaches and their extermination by the use of sodium fluorid, by M. F. Gates

212</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">The prophylaxis of boils, by E. W. Phillips 214</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Extract from sanitary report, U. S. S. Washington, by J. H. Iden 215</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Comment, by J. D. Gatewood 216</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Damage table for physical disability in the United States Navy, 1910. International

nomenclature, by C. N. Fiske 217</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Indications for intubation and tracheotomy, by G. B. Trible 219</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Report on methods of administration of and results obtained from

"salvarsan." Based upon the treatment of over 200 cases of syphilis

at the naval hospital, Mare Island, Cal., by J. A. Biello 221</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Method used at naval hospital, Chelsea, Mass., by F. M. Furlong 225</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Method used at naval hospital, Norfolk, Va., by W. M. Garton 225</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Method used at naval hospital, New York, N. Y., by C. M. Oman 226</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Distribution of tubercle bacilli in the sputa of tuberculous patients,

by R. W. King 227</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">United States Naval Medical School laboratories:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Specimens added to the helminthological collection, December, 1911-February,

1912 229</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Specimens added to the pathological collection, December,

1911-February, 1912 231</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Miscellaneous collection, December, 1911-February, 1912 231</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Suggested devices:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">An incubator for gelatine cultures, by F. L. Letts 233</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Clinical notes:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Report of a case of perforation of the sigmoid by an ulcer, in a case

of dysentery (Flexner-Strong), by Raymond Spear and M. E. Higgins 235</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Plastic operation of lip, by R. A. Bachmann 236</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Removal of entire fibula, by J. L. Neilson 236</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Frontal sinusitis, followed by double mastoiditis; operations, by G. B.

Trible 239 </p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">"Salvarsan " in syphilis, leprosy, and yaws, by W. M. Kerr

240</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Two surgical cases occurring on the U. S. S. South Carolina, by R. B. Williams

242</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">1. Abscess of prostate, gangrene of scrotum, pyemia, death.</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">2. Tonsillitis; tonsillectomy, acute nephritis, uremia.</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Surgical cases from the naval hospital, Norfolk, Va., by H. F. Strine

243</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">1. Lacerated kidney, nephrectomy.</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">2. Gastro-enterostomy.</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">3. Cholecystocolostomy; external biliary fistula; stricture of common duct.</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">4. Multiple abscess of liver.</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Editorial comment:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Yellow fever on the Yorktown, by C. F. Stokes 249</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">The Naval Medical Bulletin 260</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Hospital ships 250</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Paresis and "line of duty " 253</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Progress in medical sciences:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">General medicine. — Relation of so-called Brill's disease to typhus

fever. Diagnostic importance of hemoptysis. Acute dilatation of the stomach in

pneumonia. Reaction induced by antityphoid vaccination, by A. W. Dunbar and J.

L. Neilfon 255</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Surgery. —Organization of the medical service at the main dressing

station in battle, by H. G. Beyer. The error of overlooking ureteral or renal stones

under the diagnosis of appendicitis. The incision for lumbar</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">exposure of the kidney. Iodine as the sole dressing for operation

wounds. A review of recent methods for the radical cure of hernia. Studies in peritoneal

adhesions. The surgical treatment of colitis, by Raymond Spear and C. M. Oman

259</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Hygiene and sanitation. —A symposium on the effects of athletics on

young men, by J. L. Neilson. Mosquito larvicides, by E. R. Stitt. Sur une cause

possible du gout empyreumatique de l'eau de boisson a bord des navires de

guerre, by C. L. Moran. Organic matter in expired air. Tests for freshness of

milk, by E. W. Brown. Experiments in book disinfection. The purification of

water by anhydrous chlorine. Oral hygiene (preliminary contribution on the care

of the mouth). On the survival of specific microorganisms in pupae and imagines

of musca domestica raised from experimentally infected larvae : Experiments

with B. typhosus. On the varieties of B. coli associated with the house fly, by

C. N. Fiske. 271</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Tropical medicine. —A few words on the distribution of smallpox,

tuberculosis, and typhoid in the tropics. Do mosquitoes require blood as

nourishment in the development of their eggs? By E. R. Stitt 279</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Pathology and bacteriology. —An attempt to differentiate the

diphtheroid group of organisms. The period of infectivity of the blood of

measles; an experimental demonstration of the presence of the virus of measles

in the mixed buccal and nasal secretions; the nature of the virus of measles; the

infectivity of the secretions and disquamating scales of measles. A new

conception of immunity. Complement in human serum, by M. E. Higgins 281</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Medical zoology. —A comparative study of the ameba in the Manila water supply,

in the intestinal tract of healthy persons and in amebic dysentery. The Rocky

Mountain spotted fever tick, with special reference to the problems of its

control in Bitter Root Valley, Montana, by P. B. Garrison 283</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Chemistry and pharmacy. —Some considerations on the absorption and excretion

of drugs. Detection of albumoses in urine. Estimation of free HC1 in gastric

contents by capillary method. Detection of albumin in urine by Merck's tablets.

Estimation of acetone in animal liquids. New test for bile in urine. Method for

determining formaldehyde. Indirect method for determining total volume of

gastric contents, by E. W. Brown and O. G. Ruge 286</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Eye, ear, nose, and throat.—Abscess of the nasal septum. Observations upon

the treatment of gonorrheal conjunctivitis in the adult, by E. M. Shipp 291</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Reports and letters: </p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Yellow fever occurring on board the U. S. S. Yorktown at Guayaquil, Ecuador,

extracts from a report on cases of, by C. B. Camerer 295</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Report on military surgery at Foochow, China, by J. G. Omelvena 300</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Notes on Camp Meyer, Guantanamo Bay, Cuba, by L. W. Johnson 303</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Special report on the general surgical department, Naval Hospital,

Norfolk, Va. Anesthesia. Prophylaxis of wound infection. Appendicitis. Post-operative

treatment, by H. F. Strine 305</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">American Public Health Association meeting (abstract of report on), by W.

H. Short 309</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;"> </p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Number 3</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;"> </p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Preface v</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Special articles:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Leprosy, with notes on, and illustrations of the cases as they occurred

in the Tumon Leper Colony, Guam, Marianas, during the months of October and

November, 1911, by W. M. Kerr, assistant surgeon, United States Navy 313</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Photographs of lepers, by G. F. Cottle, passed assistant surgeon,

United States Navy 342</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Vision in relation to marksmanship, by E. J. Grow, surgeon, United States

Navy 344</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Technique of a Wassermann test in which guinea-pig complement is not required;

Emery technique; Noguchi reagents, by E. R. Stitt, medical inspector, United

States Navy 362</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Some minor sanitary defects in modern battleships, and their correction,

by F. L. Pleadwell, surgeon, United States Navy 309</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Additional report of cases with unusual symptoms caused by contact with

some unknown variety of jelly fish, by E. H. Old, passed assistant surgeon,

United States Navy 377</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">The effects of high temperature on the personnel of the fire rooms of

naval vessels with special reference to heat cramps (myalgia thermica), by W.

L. Mann, passed assistant surgeon, United States Navy 380</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Detection of methyl alcohol, by C. Schaffer, hospital steward, United States

Navy 392</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">United States Naval Medical School laboratories:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Additions to the helminthological collection 395</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Additions to the pathological collection 395</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Additions to the miscellaneous collection 396</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Suggested devices: </p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A bunk locker, a tray, and a bracket stool for use in sick bays and

wards of hospital ships, by E. M. Blackwell, surgeon, United States Navy 397</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A method for use in opsonic index work and vaccine standardization, by R.

E. Weaver, hospital steward, United States Navy 398</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Clinical notes:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A note on a case of fish poisoning in Guam, by W. M. Kerr, assistant

surgeon, United States Navy 401</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Two cases of climatic bubo, by E. W. Phillips, assistant surgeon,

United States Navy 402</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Rupture of the left kidney (nephrectomy), by A. M. Fauntleroy, surgeon,

United States Navy 404</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Abscess of the liver in a young infant, by F. E. Sellers, passed

assistant surgeon, United States Navy 405</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Appendectomy on a haemophiliac, by B. F. Jenness, passed assistant surgeon.

United States Navy 407</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Editorial comment: </p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">New accounting system at naval hospitals, by Surg. Gen. C. F. Stokes, United

States Navy 411</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">The relations of the American National Red Cross with the Medical

Department of the Navy in war 413</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Progress in medical sciences:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">General medicine. — Physical exercise and blood pressure. On the

identity of typhus fever and Brill's disease. Studies on the virus of typhus,

by A. W. Dunbar and J. L. Neilson 417</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Surgery.— The prevention and treatment of ventral hernia. Technique and

remote results of vascular anastomoses. Accidents and deaths from exploratory

puncture of the pleura. The control of bleeding in brain operations. Surgical

pathology of the stomach and duodenum, by R. Spear and C. M. Oman 421</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Hygiene and sanitation.— The physiological influence of ozone.

Influence of benzine, toluene, and light and heavy "benzines" on the

organism, by E. W. Brown. Disinfection experiments with perautan and paragan. A

new and rapid method of bacteriological water examination, its applicability to

the testing of filtered and well water. A mosquito larvacide disinfectant and

the methods of its standardization. The sterilization of milk bottles with

calcium hypochlorite. Apyrexial malaria carriers, by H. G. Beyer and O. N.

Kiske 431</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Tropical medicine. — Cell-inclusions in the blood of a case of

blackwater fever. The estimation of the specific gravity of the blood and its

value in the treatment of cholera, by E. R. Stitt 436</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Pathology and bacteriology.— A study of 35 strains of streptococci

isolated from samples of milk, by C. N. Fiske. Method for the quantitative determination

of fecal bacteria, by E. W. Brown. Pure cultivation of</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">spirochieta refringens, by M. E. Higgins 438</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Chemistry and pharmacy. —On the diagnostic value of colloidal nitrogen

in the urine in cases of carcinoma. Determination of the quantity of residual

urine. Clarification of the urine in the estimation of sugar. On the excretion

of formaldehyde, ammonia, and hexamethylenamine. Organic compounds of the

aromatic series as cholagogucs, by E. W. Brown and O. G. Ruge 439</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Eye, ear, nose, and throat. — An operation for glaucoma. Notes from an Indian

eye clinic. In the report from the St. Louis Ophthalmological Society in a

discussion on the antiseptic and germicidal properties of the silver salts.

Notes of three cases illustrating infection of the accessory sinuses by entry

of water into the nose during bathing. Three cases of chronic suppurative

otitis media, by G. B. Trible 441</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Reports and letters:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">An account of the sinking of the Japanese battleship Hatsuse in the

late Russo-Japanese war, by F. L. Pleadwell, surgeon, United States Navy.. 447</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Organization, camp management, and sanitation in effect at the marine barracks,

Camp Elliott, Isthmus Canal Zone, Panama, April 15, 1910, to February 26, 1912,

by S. D. Butler, major, United States Marine Corps.. 458</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Sanitary conditions in Samoa, by R. U. Reed, passed assistant surgeon, United

States Navy 462</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Sanitary conditions in Guam, by C. P. Kindleberger, surgeon, United

States Navy 464</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;"> </p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Number 4</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;"> </p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Preface v</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Special articles</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A description of recent hospital construction in the United States

Navy, by A. W. Dunbar, surgeon, United States Navy 473</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A few general principles of hospital construction, by F. W. Southworth,

S. B., architect 523</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Ventilation of warships, by R. H. Robinson, naval constructor, United States

Navy 529</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Plans and description of a hospital ship for the United States Navy, by

E. M. Blackwell, surgeon, United States Navy 539</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A report on the prevalence of framboesia (yaws) in Guam, and its

connection with the etiology of gangosa, by W. M. Kerr, assistant surgeon,

United States Navy 549</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Diagnosis and dosage in hookworm cases in the Navy, by J. F. Leys,

surgeon, United States Navy 552</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Nitrous oxide-oxygen anesthesia, by H. F. Strine, surgeon, United

States Navy 555</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A theoretical discussion of the character and genesis of thermic

myospasms, with further observations on myalgia thermica, by W. L. Mann, passed

assistant surgeon. United States Navy 558</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Eight hundred and twenty complement-fixation tests on 461 patients, by E.

P. Huff, passed assistant surgeon. United States Navy 562</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">United States Naval Medical School laboratories:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Additions to the helminthological collection 575</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Additions to the pathological collection 575</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Additions to the miscellaneous collection 575</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Suggested devices:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A simple method of securing shelf-bottle stoppers during target

practice, by H. S. Coombs, hospital apprentice, first class. United States

Navy. . . . 577</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">The rat guard used in the Philippine Islands, by C. Fox, passed assistant

surgeon, United States Public Health Service 577</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Clinical notes:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Case reports from the United States naval hospital, Philadelphia, by G.

B. Crow, L. W. Johnson, A. J. Toulon, and C. W. Smith, passed assistant surgeons,

United States Navy 579</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A case of very large stone in kidney without acute symptoms.</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Pneumonia following an injury.</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">The effect of salvarsan on the average number of sick days from

syphilis.</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A case of extensive adenocarcinoma.</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">A case of exceptionally severe syphilitic Irido-cyclltis with marked

changes in the interior of the eye and total loss of light perception.</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">An interesting case of gunshot wound, by J. M. Minter, passed assistant

surgeon, United States Navy<span>  </span>584</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Fracture of humerus by muscular action, by R. G . Davis, assistant

surgeon, United States Navy 585</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Editorial comment :</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Participation of Medical Officers in Professional Conferences 587</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Sight tests for seamen 588</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Recent legislation affecting the Medical Department of the Navy 589</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Naval Hospital Corps 590</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Progress in medical sciences:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">General medicine. —Bier's hypersemic treatment in gonorrhceal epididymitis,

by C. N . Fiske. Normal human blood serum in obstetric practice. The cutaneous

reaction of syphilis. Clinical experience with neosalvarsan. By A. W. Dunbar

and J. L. Neilson 591</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Surgery. — Local anesthesia in traumatic surgery. Surgery of the bile

ducts. Vanadium steel bone plates and screws. Observations on the diagnosis of

renal tuberculosis, the indications for nephrectomy in its treatment, and the

technic of the operation. Pyloroplasty. By R. Spear and C. M. Oman 596</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Hygiene and sanitation. —Notes on the ventilation of troopships in the Tropics.

The structure and functions of the foot. By H. G. Beyer and C. N. Fiske 608</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Tropical medicine. — The antineuritic bases of vegetable origin in

relation to beriberi, with a method of isolation of torulin, the antineuritic

base of yeast, by J. L. Neilson 609</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Pathology and bacteriology. —Double-stain method for the polar bodies

of diphtheria bacilli, by O. G. Huge. The examination of diphtheria specimens;

a new technique in staining with toluidin blue. A critical</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">study of the organisms cultivated from the lesions of human leprosy,

with a consideration of their etiological significance. By M. E. Higgins 611</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Medical zoology. — Trypanosoma rhodesiense, a second species of

trypanosome producing sleeping sickness in man, by J. L. Neilson 612</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Chemistry and pharmacy.— Studies in bacterial metabolism, by C. N. Fiske.

The definition of normal urine. The estimation of indican in urine. A new

method for the determination of total nitrogen in urine.</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">On the determination of ammonia in urine. By E. W. Brown and O. G. Ruge

613</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Eye, ear, nose, and throat. —Tonsillectomy with consideration of its

complications. Protargol in antisepsis of the visual apparatus. The trachoma

question. Keratitis as a cause of myopia. By G. B. Trible 617</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Reports and letters:</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Fourth Provisional Regiment, United States Marines, Camp Thomas, North

Island, San Diego, Cal., by R. E. Hoyt, passed assistant surgeon, United States

Navy 623</p>

 

<p class="MsoNormal" style="margin-bottom:.0001pt;line-height:normal;">Marine Expeditionary Force, Pekin, China, by R. B. Henry, assistant surgeon,

United States Navy 632</p>

 

If you have questions concerning reproductions, please contact the Contributing Library.

 

Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.

 

Read/Download from the Internet Archive

 

See all images from this book

See all MHL images published in the same year

McMorran, G. A. Map Showing Route Followed by David Thompson as Indicated by his Diary of December 1797 and January 1798 and its Relation to the Present Towns of Souris, Hartney, Wawanesa, Elgin and other villages [map]. Scale not given. In: McMorran G. A. Souris River Posts, and, David Thompson's Diary of His Historical Trip Across the Souris Plains to the Mandan Villages in the Winter of 1797-98. Souris: Souris Plaindealer, [1950], page 22 & 23.

 

Image Courtesy of University of Manitoba Archives & Special Collections

 

Book published under the auspices of

Le Centre de Recherches Appliquées du

Richelieu-Yamaska

130 St-Nicolas

Sorel-Tracy (Québec)

Canada

J3P 6X9

    

Toxicology is the study of the nature and the toxicity mechanism of

materials on living organisms. This definition includes also the

measurement of the severity and the frequency of the effects in

relation to the degree of exposure of the organisms considered.

A substance can be toxic for man as for the environment.

    

TOPICS :

 

ALUMINA

AMMONIA

ANTIMONY AND INORGANIC COMPOUNDS

Antimony Trioxide

ARSENIC AND COMPOUNDS

Arsenic Trioxide

BARIUM AND COMPOUNDS

BERYLLIUM MONOXIDE

BISMUTH TRIOXIDE

BORON

Boric Acid

Borates

Boron Oxide

CADMIUM AND COMPOUNDS

CALCIUM CARBONATE

CARBON MONOXIDE

CESIUM OXIDE

CHROMIUM AND COMPOUNDS

COBALT AND COMPOUNDS

COPPER AND COMPOUNDS

CRYOLITE

DIOXINS

DOLOMITE

DYSPROSIUM OXIDE

FIBERS, MAN-MADE

GALLIUM OXIDE

GERMANIUM DIOXIDE

GOLD TRICHLORIDE

HAFNIUM OXIDE

HYDROFLUORIC ACID

ILMENITE

IRON OXIDES AND HEMATITE

LEAD AND INORGANIC COMPOUNDS

LITHIUM

Lithium Carbonate

Lithium Hydride

MAGNESIUM CARBONATE

MANGANESE AND INORGANIC COMPOUNDS

MOLYBDENUM AND COMPOUNDS

NICKEL AND COMPOUNDS

NIOBIUM OXIDE

PARAFFIN WAX AND FUMES

PLATINUM AND SOLUBLE SALTS

Platinum Chloride

Platinum Nitrate

POTASSIUM CARBONATE

POTASSIUM DICHROMATE

POTASSIUM PERMANGANATE

RARE EARTHS

RUBIDIUM

Rubidium Metal

Rubidium Compounds

RUTILE

SILICOSIS AND SCREENING

SILVER AND COMPOUNDS

Silver Chloride

Silver Nitrate

SODIUM AZIDE

SODIUM CARBONATE

SODIUM SILICATE

Sodium Silicate (powder)

Sodium Silicate (liquid)

STRONTIUM

Strontium Carbonate

TALC

Fibrous Talc

Non Fibrous Talc

Massive Talc (Soapstone)

TANTALUM PENTOXIDE

TELLURIUM AND COMPOUNDS

THALLIUM OXIDE

THORIUM DIOXIDE

TIN AND INORGANIC COMPOUNDS

TITANIUM DIOXIDE

TUNGSTEN AND COMPONDS

Tungsten Trioxide

URANIUM, DEPLETED

VANADIUM AND COMPOUNDS

WOLLASTONITE

ZINC AND COMPOUNDS

ZIRCONIUM AND COMPOUNDS

MISCELLANEOUS

Dermatoses

Metal Fume Fever

Microorganisms

Pregnancy

Radiation

Respiratory Protection

 

-------------------------------------------------------------------------------

 

Written for those with limited knowledge of toxicology. Easy

to understand and use. (337 pages)

 

Available in English (ISBN 2-9805901-9-3) and French.

 

Price : $60.00 US (41.00 Euros), plus shipping by air :

$14.00 US (9.00 Euros) in North America or $31.00 US

(21.00 Euros) for other continents.

Surface mail is much less expensive : $11.00 US (8.00 Euros)

and $14.00 US (9.00 Euros) respectively.

  

Edouard Bastarache

2340 Des Erables,

Sorel-Tracy,

Québec,

J3R 2W3

Canada

edouardb@sorel-tracy.qc.ca

http:/www.sorel-tracy.qc.ca/~edouardb/

  

Also available from :

 

Pottery Supply House (PSH)

Toronto Canada ;

www.pshcanada.com/Toxicology.htm

 

ImagineCeramique in France (Charles Eissautier, French Version) :

www.ceramique.com/librairie/

 

The Potters Shop, Needham, Mass, USA :

Info@ThePottersShop.com

thepottersshop.blogspot.com/

 

------------------------------------------------------------------------------

 

Quite extensive and very impressive.

 

Bravo!

 

Steven Branfman

Ceramist and author

The Potters Shop

Info@ThePottersShop.com

 

------------------------------------------------------------------------------

Toxicology: Ceramics, Glass, and Metallurgy

Bastarache Edouard.

A compilation of all the information currently available

about the toxicity and hazardous effects of over 60 chemicals

commonly used by potters, glass artists,

and metal workers. Each chemical is identified by it's chemical

formula and common names. Uses and emission sources,

preventative measures, exposure controls, fire-fighting measures,

and accidental spill clean-up are covered, as well as signs

of poisoning, effects on pregnancy, and the effects of

long-term exposure.

A must have for any professional potter, teacher, or studio manager.

 

Written by The Potters Shop’s technical staff.

  

------------------------------------------------------------------------------

 

Thank you so much for sending the books with Michel. They are

amazingly thorough and fill an important void in my library. As both

potter and educator very concerned with the use of materials it is

great to have them. I have known about them for some years, but, as I

will soon be slowing down on the teaching end of things, hadn't got

around to getting them. When Michel was coming for a visit and

sometimes works in your studio, it seemed like an ideal time to add

them to my library.

 

Much appreciated, thank you.

 

Robin Hopper

Potter,

BC, Canada

 

------------------------------------------------------------------------------------------

 

Dear Edouard:

 

Yes I did get your book, loved it, it will be included

in the next issue of the magazine, in the section :

Book Review.

 

Your books always give a different view, they are very

original, that nowedays is a real compliment.

 

Warm regards

  

Antonio Vivas

Revista Cerámica

Madrid

 

--------------------------------------------------------------------------

 

Hello Edouard,

 

I received your book yesterday and I thank you so much.

I have not had yet the time to read it but a first glance lets me

see all of its importance. You must have put in it an enormous

amount of work to gather all this information, and it is exactly

the type of work I like to discover and recommend to my visitors.

 

Thank you again and congratulations.

 

Stéphane Macardier

InfoVitrail

www.infovitrail.com/infos/publications-vitrail-detail.php...

 

Paris

 

-------------------------------------------------------------------------------------

Édouard,

 

Congratulations for this bible of QUEBEC TOXICOLOGY.

It is a splendid reference book.

 

Julien Cloutier

Ceramist and author

Québec City

  

--------------------------------------------------------------------------

   

Hello Edouard,

 

Your book, "Toxicology Ceramic Glass and Metallurgy" is

an essential tool to the community. It is not the fruit of luck,

it shows your great capacity to understand the needs of all

of those who work in these fields.

  

Jean Marc Ringuette c.r.i.

Ste-Anne de Sorel, Quebec

Representative for The United Steelworkers of America (retired)

and Ceramist

 

--------------------------------------------------------------------------------------

 

I found your book in my mail box when we arrived from vacationing.

Thank you very much, this spiral bound very thick book contains a

great deal of current knowledge on toxic elements, the initialtive to

diffuse it will help many professionals to avoid the worst in bringing

them this essential knowledge.

  

Smart.Conseil

smart2000@laposte.net

St-Martin sur Ocre

France

 

-----------------------------------------------------------------------------------

 

I started to look at your book, it is a monument, I have hours of

reading in front of me. Bravo for this work which will largely benefit

ceramists from all around the world. I think that you are the first to

undertake such a work of information.

 

Gilles

Quebec City

 

--------------------------------------------------------------------------------------

 

Hi Ed,

 

I am happy to count myself among those who own both your

ceramics books.

 

These are two very useful works for the professionals and amateurs

of ceramics as for those of the industries who use these materials

and substances.

 

Easy to consult and containing extremely useful information to

succeed in ceramics while being coherent with well presented health

information at the reach of all on the toxicology of materials and

substances.

 

A simple manuscript presentation allowing to quickly find one’s way

and to go from reference to reference.

 

I would say that it is the image of a simple man able to deal with

complex things and to put them at the reach of all by a well adapted

communication without forgetting his role as a health professional.

 

I think that throughout your life, you often times used your remarkable

sense of observation in order to understand, solve and pose the right

gestures.

 

I could still say much more about you Ed, especially your “large heart”

in wanting to help which I had the occasion to appreciate throughout

my career.

 

Do not give up Ed, keep on writing

  

Jean Jacques Boisvert

Consultant in Occupational Health and Safety

Sorel-Tracy

Québec

Canada

 

-------------------------------------------------------------------------------------

 

"Toxicology Ceramics Glass and Metallurgy", a book terribly missing

in our data bases on the hazards of materials used in ceramics and

in the trades of the “arts of fire”. With this resource, industrialists and

craftpersons will know more and be able to behave with full knowledge

in choosing the precautions to be taken to avoid hazards due to the

chemicals used in their trade. For the preservation of the health of

women and men, and of our environment, the possession of this book

seems essential.

 

Denis Caraty,

ceramist at The Gien Earthenware Factory, France.

dcaraty@gien.com

-------------------------------------------------------------------------------------

  

Good evening Edouard,

 

Thank you so much for the book I received today. It looks to me

an essential tool in a workshop.

 

Isabelle,

Ceramist in St-Hilaire, Quebec

 

------------------------------------------------------------------------------------

Dear Edouard,

 

I wandered a little on your site... You are a famous ceramist.

It is impressive. What else to say. Good thrower and then

all that you give to the finishing, to the techniques of firing,

to health, all, do people know that this is really something...

in any case, me, I find that it is really something...

 

Soon,

 

Isabelle

-----------------------------------------------------------------------------------

 

Edouard,

 

On Monday, I was preparing booklets for annual distribution

and review to our emplyees here at PSH detailing the Workplace

Hazardous Materials Information System (WHMIS). This year,

your new book has been included in the booklet as the go-to

reference for information on ceramic materials.

Thanks again for bringing it to market. (12/15/2006)

 

Your book isn't just another pottery book. It's unique, should be

of interest to all serious potters, and is worth the price.

(02/06/2007)

  

Jon

Pottery Supply House (PSH)

Toronto

 

------------------------------------------------------------------------------------

 

Toxicology Ceramics Glass and Metallurgy

 

is an admirably comprehensive compilation. It has 337 pages

of detailed information on the dangers of many substances

used in glassblowing and ceramic studios.

 

Fizz Stuart

for UK Stained Glass News

  

--------------------------------------------------------------------------------

Toxicology, Ceramics, Glass, and Metallurgy

(Édouard Bastarache. Edición del autor. Canada. 337 págs.

22x28cm. Texto en inglés)

Édouard Bastarache es un ceramista canadiense con un

espiritu de divulgación incuestionable : ha publicado libros

en varios idiomas, mantiene un blog y una web en los que

ofrece información ténica y nos ofrece ahora este volumen

sobre toxicología. Cualquier ceramista encontrará muy

práctico seguir sus actividades en

 

myblogsmesblogs.blogspot.com/

 

(Antonio Vivas Zamarano, CERAMICA, Madrid, N.° 104 - 2007)

 

--------------------------------------------------------------------------

 

Miscellaneous :

 

I- See also : "Substitutions for Raw Ceramic Materials"

 

www.flickr.com/photos/potier/20321056/

 

Comment from my friend Jean Jacques Boisvert :

 

ED, you are not only a scientist, you are also an artist, what you make

is really very beautiful, it is art. You are already regarded as a pioneer

and a personality in the scientific field of Occupational Health and Safety,

just as in the experimental development of the use of combined substances,

the manufacture and the firing of pottery of unequalled colors and also with

your book in several languages and your exhibitions throughout the world.

Scientists and personalities of world fame talk with you and regard you as

one of them.

 

Do not give up, your glory comes down on us who are your friends.

 

Jean Jacques Boisvert

Sorel-Tracy

Quebec

 

-------------------------------------------------------------------------

 

Our resident Clayart toxicologist Edouard. Bastarache.

 

Vince Pitelka

Clayart and ,

Appalachian Center for Craft

Tennessee Technological University

 

-------------------------------------------------------------------------

My Blogs :

 

myblogsmesblogs.blogspot.com/

 

-------------------------------------------------------------------------

Message from Smart.Conseil :

 

Jean-Jacques is right, you are an artist!!!

Medicine and Ceramics, that would certainly have pleased Robert Moisand

(one of our famous industrial Faience manufacturers I knew well, he passed

away less than 10 years ago) to meet with you, he who liked to say that

Medicine and Ceramics were arts where the greatest minds are found.

You, you combine both!!!

  

Smart.Conseil

Gien

France

   

-----------------------------------------------------------------------------

 

II- Actually if you are looking for a lot of scientific information

about our glaze ingredients, you could do no better than our

own Edouard Bastarache's books.

 

There's a review of "Substitutions for Raw Ceramics Materials"

at:

www.ceramicstoday.com/articles/substitutions.htm

 

Also take a look at his: "Toxicology - Ceramics Glass Metallurgy"

at :

www.pshcanada.com/Toxicology.htm

 

Bonnie Hellman

Clayart

Newsgroup for ceramists

LISTSERV@LSV.CERAMICS.ORG

 

PS These books are available in English, French and possibly

other languages.

 

-----------------------------------------------------------------------------

 

III- My gosh Edouard,

 

you have contributed such a vast amount of great information

to the art and science of clay work that I truly respect and

admire your dedication and love for the craft.

Never mind trying to figure out just how the heck you find the time

to do all that you do...."

 

Rod Wuetherick

British Colombia

Canada

rod@redironstudios.ca

 

---------------------------------------------------------------------------------

IV- Hello Great Guru!

 

After surfing the Net in all directions, writing heaps of articles on ceramics and toxicology, and communicating regularly on Clayart, it is normal that you end up being classified in the category of "Ceramics gurus"...

Beautiful recognition, a real down to earth Guru who knows what he is talking about

and who has lots of practical experience

It is fantastic.

Keep on the good work

You are on the way of canonization on Clayart!!

 

("Since there is year ongoing and even heated discussion among such glaze gurus have Ron Roy and Edouard Bastarache.... (Jeff Zamek: "What Every Potter Should Know," Krause Publications, Iola, WI, 1999.)

  

Denis Caraty

The Gien Factory

France

 

--------------------------------------------------------------------------------

 

V-The GlazeBase Project

perso.orange.fr/smart2000/projet_glazebase.htm#english

 

It is extraordinary to discover so many recipes

for a beginner such as I.

I congratulate you to allow us to benefit from your

experience and thank you for it.

 

Hoping to hear from you soon,

 

Eric Pillevuit

Switzerland

ericpillevuit@vtxnet.ch

 

------------------------------------------------------------------------------------

 

VI-I hope you realize how much your work is

appreciated and valued. It is really nice to

have people who give so much to the

community.

 

Donna

disisdkat@hotmail.com

 

---------------------------------------------------------------------------------------

       

Tempo fa, qualcuno mi ha spiegato che la parola Pride non si traduce letteralmente con "orgoglio". In effetti non ho mai ben compreso il concetto di orgoglio gay, ne tantomeno sono mai riuscito a farlo mio. La traduzione esatta è "fierezza", e questa la sento molto più mia, sensazione condivisa con la persona che amo.

 

Sono fiero di dove sono arrivato, delle conquiste che ho dovuto fare giorno per giorno, dei sacrifici, della lotta per riguadargnarmi gli affetti di famiglia e amici. Sono fiero di ciò che facciamo come coppia, del nostro metterci a servizio degli altri con semplicità, giorno per giorno. Sono fiero ogni volta che vedo che l'attività che faccio come singolo, che facciamo come coppia o come gruppo fa del bene a qualcun'altro come me che si trova ancora in difficoltà.

Al di là dei carri carnevaleschi e dei buffi travestimenti, questo è stato il mio, il nostro Pride. Se la nostra attività al gazebo o durante la parata è stata utile almeno ad una persona, se darà la possibilità ad un fratello o una sorella di volare come quei palloncini, I'll be proud of it!

 

www.gionata.org

Highdown Gardens near Worthing, West Sussex ...

 

Arbutus menziesii (Pacific Madrona, Madrone) is a species of tree in the family Ericaceae, native to the western coastal areas of North America, from British Columbia to California.

 

It is also known as the Madroño, Madroña, or Bearberry. The name "strawberry tree" (Arbutus unedo) may also be found in relation to Arbutus menziesii. In the United States, the name "Madrone" is used south of the Siskiyou Mountains of southern Oregon and Northern California and the name "Madrona" is used north of the Siskiyou Mountains, according to the Sunset Western Garden Book. The Concow tribe calls the tree dis-tā’-tsi (Konkow language) or kou-wät′-chu. In British Columbia it is simply referred to as Arbutus. Its species name was given it in honour of the Scottish naturalist Archibald Menzies, who noted it during George Vancouver's voyage of exploration.

 

Arbutus menziesii is an evergreen tree with rich orange-red bark that when mature naturally peels away in thin sheets, leaving a greenish, silvery appearance that has a satin sheen and smoothness. The exposed wood sometimes feels cool to the touch.

 

In spring, it bears sprays of small bell-like flowers, and in autumn, red berries. The berries dry up and have hooked barbs that latch onto larger animals for migration. It is common to see Madronas of about 10 to 25 metres (33 to 82 ft) in height, but with the right conditions trees may reach up to 30 metres (98 ft). In ideal conditions Madronas can also reach a thickness of 5 to 8 feet (1.5 to 2.4 metres) at the trunk.

 

Leaves are thick with a waxy texture, oval, 7 to 15 centimetres (2.8 to 5.9 in) long and 4 to 8 centimetres (1.6 to 3.1 in) broad, arranged spirally. They are glossy dark green above and a lighter, more greyish green beneath, with an entire margin. The leaves are evergreen, lasting a few years before detaching, but in the north of its range, wet winters often promote a brown to black leaf discoloration due to fungal infections. The stain lasts until the leaves naturally detach at the end of their lifespan.

 

Madronas are native to the western coast of North America, from British Columbia (chiefly Vancouver Island and the Gulf Islands) to California. They are mainly found in Puget Sound, the Oregon Coast Range, and California Coast Ranges; but are also scattered on the west slope of the Sierra Nevada and Cascade mountain ranges. They are rare south of Santa Barbara County, with isolated stands south to Palomar Mountain in California. One author lists their southern range as extending as far as Baja California in Mexico, but others point out that there are no recorded specimens collected that far south, and the trees are absent from modern surveys of native trees there.

 

The trees are difficult to transplant and a seedling should be set in its permanent spot while still small. The site should be sunny (south- or west-facing slopes are best), well drained, and lime-free (although occasionally a seedling will establish itself on a shell midden). In its native range, a tree needs no extra water or food once it has become established.

 

(In view of that. I'm amazed it can survive in Highdown Gardens, where the soil is very chalky, and it's in shade!)

 

This plant has gained the Royal Horticultural Society's Award of Garden Merit.

 

Native Americans ate the berries, but because the berries have a high tannin content and are thus astringent, they more often chewed them or made them into a cider. They also used the berries to make necklaces and other decorations, and as bait for fishing. Bark and leaves were used to treat stomach aches, cramps, skin ailments, and sore throats. The bark was often made into a tea to be drunk for these medicinal purposes. Many mammal and bird species feed off the berries, including American robins, cedar waxwings, band-tailed pigeons, varied thrushes, quail, mule deer, raccoons, ring-tailed cats, and bears. Mule deer will also eat the young shoots when the trees are regenerating after fire. It is also important as a nest site for many birds.

 

The wood is durable and has a warm colour after finishing, so it has become more popular as a flooring material, especially in the Pacific Northwest. An attractive veneer can also be made from the wood. However, because large pieces of Madrona lumber warp severely and unpredictably during the drying process, they are not used much. Madrona is burned for firewood, though, since it is a very hard and dense wood that burns long and hot, surpassing even oak in this regard.

 

Although drought tolerant and relatively fast growing, Arbutus menziesii is currently declining throughout most of its range. One likely cause is fire control; under natural conditions, the Madrona depends on intermittent naturally occurring fires to reduce the conifer overstory. Mature trees survive fire, and can regenerate more rapidly after fire than the Douglas firs with which they are often associated. They also produce very large numbers of seeds, which sprout following fire.

 

Increasing development pressures in its native habitat have also contributed to a decline in the number of mature specimens. This tree is extremely sensitive to alteration of the grade or drainage near the root crown. Until about 1970, this phenomenon was not widely recognized on the west coast; thereafter, many local governments have addressed this issue by stringent restrictions on grading and drainage alterations when Arbutus menziesii trees are present. The species is also affected to a small extent by sudden oak death, a disease caused by the water-mold Phytophthora ramorum.

..without any relation to todays photo comes my personal song of the day:

 

"When I get to the bottom

I go back to the top of the slide

Where I stop and turn

and I go for a ride

Till I get to the bottom and I see you again

Yeah, yeah, yeah"

The Beatles - Helter Skelter

 

Kingsbridge, Bronx, New York City, New York, United States

 

Designed in 1900, and built from 1901 to 1902 by the New York architects Arthur J. Horgan and Vincent J. Slattery, the former 50th Precinct Police Station House is prominently sited at the intersection of Kingsbridge Terrace and Summit Place. Its style, scale, materials of construction, direct relation to the street, and ornament contribute to the monumental character, which distinguished the building from the surrounding two- and three-story frame structures of rapidly expanding Kingsbridge.

 

A symbol of the authority of the police force and of the presence of municipal government in early 20th century Kingsbridge, and an exemplar of Beaux-Arts principles of composition, the building should be seen within the context of the City Beautiful Movement.

 

Historical interest in the building further derives from its being among the best surviving works of an architectural firm that was very much in the public eye at the turn-of-the-century.

 

Development of the Kingsbridge Area

 

Coincident with the growth of the northwest Bronx generally, the modern development of Kingsbridge and of the area presently known as Kingsbridge Heights dates from the latter half of the 19th century.

 

Rural and sparsely populated, with a varied topographical character, the Bronx of the 19th century depended for its growth on the gradual subdivision of estates, on changed attitudes respecting the desirability of the area, and on the completion of the Harlem River Railroad, which provided a first impetus to the development of the "north side."

 

Kingsbridge formally began to take shape as a residential community in 1847 when the Macomb family's "Island Farm," an extensive tract, was surveyed and subdivided into building lots, which were then sold for development.

 

Notwithstanding its late development relative to communities on Manhattan Island, Kingsbridge has had a rich history beginning as early as 1609 with the arrival of Henry Hudson on the Spuyten Duyvil peninsula.

 

Apparently, the Dutch had considered siting their projected New Amsterdam colony at Kingsbridge. The plan was soon abandoned, but by the early 17th century, the Dutch were fanning areas, on Manhattan as far north as the flatlands of Harlem.

 

It was not long before they began to seek areas into which the population could expand; thus, in addition to disaffected New Englanders, among the first settlers of Westchester County (chartered in 1683) and the Bronx — the land "upon the Maine" — were the Dutch. Indeed, the earliest European settler of the immediate Kingsbridge area was the Dutchman Jonkheer Adrien Van der Donck in 1641.

 

Van der Donck's tract, known as de Jonkheers, included all of the land from Spuyten Duyvil north eight miles along the Hudson River and east to the Bronx River.

 

The construction of the Boston Post Road in 1673 facilitated travel and communication between Manhattan Island and the northern colonies. Originating in lower Manhattan, the route ran the length of the island, crossed the Spuyten Duyvil Creek, traversed Westchester County and Connecticut, and terminated in Boston.

 

Until 1693 and the construction of the King's Bridge by landowner Vredryck Flypsen, crossing of the Spuyten Duyvil was accomplished by ferry. From the bridge, the Boston Post Road ran to Albany Crescent (which is just north of the old West Farms/Kingsbridge town line), followed Boston Avenue (the original name for that block of Kingsbridge Terrace in which the police station is located), and then veered toward the northeast, crossing the Bronx River at William's Bridge.

 

Another of the early roads radiating from the location of the King's Bridge and moving north along Bailey Avenue, was the Albany Post Road (opened in 1669 as far as the Sawmill River and in 1700 to Albany), which then continued along the western side of the Van Cortlandt properties.

 

That the King's Bridge served as the principal passage from the northern tip of Manhattan Island to the Bronx mainland, underlines the significance of the greater Kingsbridge area during Revolutionary times. As the main military artery for the armies of both the British and the Americans, the bridge was under constant attack during those Revolutionary War years when New York City was subject to British occupation (1776-1783).

 

Boston Hill (the name for the rise in the immediate vicinity of Albany Crescent) was the scene of many battles in the years following 1776, and from 1777 to 1779, the British established a presence at the Van Cortlandt mansion (located on the eastern side of the Albany Post Road).

 

Early indications of the eventual residential development of the area can be seen in the period immediately following the Revolution, at which time, well-to-do New Yorkers focused on the natural beauty of the area with an eye toward moving northward.

 

The eventual annexation of the Bronx proceeded in piecemeal fashion and not without opposition: against the incorporation were those Bronx residents who thought that nothing would be gained by aligning themselves with heavily populated Manhattan, and those New Yorkers who saw no advantage to appropriating farmland.

 

Nevertheless, on 1 January 1874, the townships of Kingsbridge, West Farms, and Morrisania formally became the twenty-third and twenty-fourth wards of the City of New York; from that time until 1898, they were known

 

collectively as the "Annexed District". It was not until 1895, however, that the annexation of the Bronx east of the Bronx River was effected.

 

In 1897, the New York State Legislature passed a charter for the creation of Greater New York City; in 1898, twenty-four local governments including all the annexed districts north of the Harlem River, as well as the boroughs of Brooklyn, Queens, and Richmond (Staten Island) were officially consolidated.

 

Commenting on building operations in the Bronx and noting a remarkable thirty-three percent increase thereof between 1898 and 1899, a dealer in real estate averred: "as to the future of the borough, that is assured, for the natural trend of the city's growth is northward, and the Bronx with all its proposed improvements will reap a golden harvest."

 

Corroborating his opinion, the Real Estate Record and Guide of 1901 observed that "more families continue to forsake their downtown neighbors for better homes and the purer air and ampler room above the Harlem and especially brisk in the matter of building is [sic] the upper and eastern sections of the Bronx, where both private and tenement houses are springing up."

 

In point of fact, just after 1895 and the annexation of the eastern section, booms in both real estate and population occurred. These were attributable to a combination of factors, the most important being inclusion into the metropolitan area, self-government, and the improvement of transportation.

 

Bronx Police History and the 50th Precinct

 

Bronx police history formally began in January 1866 when the Metropolitan Police District, created by an act of the New York State legislature in 1857, established a substation in the Village of Tremont in the Town of West Farms.

 

Previously, police activity in Kingsbridge had been under the jurisdiction of Manhattan's 32nd Precinct (currently the 30th), located at Amsterdam Avenue and 152nd Street.

 

Due to an increase in criminal behavior accompanying the immediate post-Civil War growth of the area, the residents of Yonkers and West Farms had favored incorporation within the Metropolitan Police District. Participation in the State's Metropolitan Police District was not long-lived, however; in 1870, as a result of the reorganization of local government according to the terms of the Tweed Charter, the City reclaimed control of the police department.

 

In the following year, Yonkers withdrew from the Metropolitan Police District and organized a police force of its own. In November 1871, the Yonkers police established a substation at Kingsbridge (the predecessor of the 50th) to serve the precinct extending from the West Farms town line to just south of the present Yonkers city line; an existing frame building, located at Verveelen Place, just east of Broadway and south of 231st Street, was adapted for use as a station house.

 

As a consequence of the separation of the Township of Kingsbridge from the City of Yonkers in 1872, the force headquartered at Kingsbridge was administered by a joint Board of Police Commissioners of Yonkers and Kingsbridge. Following annexation in January 1874, the district constituted of Kingsbridge, Morrisania, and West Farms was divided into two precincts and one sub-precinct of the New York Police Department.

 

Shortly thereafter, the sub-precinct, headquartered at Kingsbridge, came into its own as the 35th Precinct.

 

With the consolidation of 1898, the Police Department of Greater New York assimilated eighteen small police agencies, and a move was initiated to conform the boundaries of police precincts to the lines of the individual townships. New precincts were created to serve newly annexed areas and to accommodate rapid population increases and building and commercial development in already established ones.

 

In accordance with the general objective of creating a flexible system that would provide for future expansion of the force, several renumberings of Bronx precincts occurred during the next thirty years. Upon consolidation in 1898, Kingsbridge was redesignated the 40th; in January 1918, the 74th; in April of the same year, the 57th; in 1924, the 26th; and on 1 August 1929, the 50th, which it remains to this day.

 

Despite its changed status upon incorporation into the Greater New York City Police Department, the 40th Precinct (subsequently the 50th) continued to occupy its makeshift quarters at Verveelen Place, which were enlarged in 1886 by taking possession of a two-story frame building to the east. This measure served only as a stopgap, however, for conditions had become progressively unsatisfactory and indeed unsavory.

 

Not only were the quarters cramped, but the basement of the building had flooded so often that the jail had settled out of plumb. A newspaper reporter of the time remarked that "no more unhealthier police station exists in the City of New York than this one, and in the late 1880s, the Board of Health condemned the building. Nevertheless, although a project for construction of a new facility finally was initiated in 1898, new accommodations would not be had until 1902 when " 'the shanty', as the frame building which . . . sheltered the blue-coat guardians ever since the 40th precinct was established [was] abandoned for a modem structure.

 

In a review of the official architecture of New York City, The Real Estate Record and Guide (November 1898) branded municipal architecture a disgrace, deplored its standards, and observed that there appeared to be a tendency to employ builders over professional architects.

 

This situation — in which "there is not even one architecturally decent police station"^ — began to improve as New York embarked on a citywide reconstruction and renovation campaign to modernize police facilities. The turn of the century enthusiasm for constructing civic monuments provided a further impetus.

 

Horgan and Slattery were commissioned to design a new 40th Precinct Police Station House sometime between 1898 and fall 1900, although the City of New York did not purchase the land on which the building is situated until 2 October 1900.

 

The firm estimated the construction costs for the station house, stables, and a prison, at $70,000. Plans were filed in December 1900, but approval to proceed was denied due to the omission of tie rods between the steel floor and the spruce beams of the one-story carriage house.

 

The New Building Application was approved on 9 January 1901 only after the architects filed a petition demonstrating that their use of the Roebling System of Fireproof Construction would constitute a sufficient tie in itself. Construction began 18 March 1901 and was completed 16 April 1902.

 

Horoan and Slattery

 

From 1894, when The New York Times initially reported on the financial difficulties of the firm, until the period 1899 to 1903, when the newspaper regularly and eagerly followed the professional lives of Horgan and Slattery, the architects gained more and more notoriety.

 

While political patronage certainly was not an invention of the Tammany administrators, Mayor Robert Van Wyck was overly zealous about stamping the municipal architecture of New York City with the seal of his administration. It appears to have been Van Wyck's intention either to convey all city projects directly to Horgan and Slattery or to install them in a consulting capacity over more widely renowned architects such as John Thomas (Hall of Records) or Frederick Withers (City Prison).

 

The firm first achieved public recognition with the rehabilitation of the interior of the Democratic Club in 1897. Upon completion of that job, apparently ". finding. . .hundreds of odd jobs, large and small. . .for the favored architects."

 

Queries from a perhaps overly critical press respecting any architect's professional qualifications or lack thereof are not in themselves objectionable.

 

However, in the case of Horgan and Slattery, the situation was rather more complicated as the attacks became a vehicle for denouncing the Van Wyck administration generally and pertained very little, if at all, with a fair assessment of the firm's work. In order to bolster their charges of corruption in the Van Wyck administration, the press seized upon the seeming irregularity in the relationship between the architects and the administration, claiming that the firm name had become "a trademark of municipal disrepute and jobbery".

 

Horgan and Slattery were characterized as political pawns "who had no standing artistic, political, scientific, or financial [but were] used as the cat's paw of politicians anxious to get control of municipal building in New York. . ."

 

Despite the scandals surrounding the firm, political affiliations carried the day, for "on the death of the architect J.R. Thomas, the contract for the completion of the Hall of Records was granted to the favorite Tammany contractors Horgan and Slattery in spite of strong denunciation of such action."

 

Considered cogs in a great political machine and sarcastically dubbed the "universal solvents" or experts in all fields of architecture, the firm was taken to task for lapsed professional and moral responsibilities:

 

The new city administration has acted none too soon and with none too much severity in the cases of those two "devouring absurdities" Horgan and Slattery. Two self-respecting men in their places — but that is unimaginable. Two self-respecting men could never occupy their places. But two men with not more than twice the average thickness of skin would have got out, when Tammany was defeated, without waiting to be kicked out amid the cheers of the bystanders.

 

Upon his election in 1902, Mayor Seth Low called for the "dishorganizing and unslatterifying" of municipal architecture and insisted that "all business relations between the city and Horgan and Slattery, who received the award of all city contracts during the administration of Mayor Van Wyck should be terminated as soon as possible."

 

Mayor Low's administration adopted a hardline position according to which it would be preferable to pay damages in court than to honor any outstanding contracts with the architects.

 

Although ethics rather than aesthetics constituted the point of departure for the accusations in the local press — there having been very little critical coverage of the design work —the artistic capabilities of the architects were fair game as well.

 

Nevertheless, the firm's rise to prominence, even in the context of its alleged association with the great turn-of-the-century New York City Democratic party machine, cannot nullify the inherent value of their designs, which, in large part, combined classical vocabularies and Beaux-Arts principles of composition.

 

The Architects' and Builders' Magazine of January 1907 recognized that, "[J. R. Thomas'] work has been carried on in praiseworthy fashion by Messrs. Horgan and Slattery who have added to Mr. Thomas' brilliant conception much of the virility of design which characterizes their other well-known masterpieces."

 

Scant biographical information exists on the two architects. Photographs or drawings of a fair number of their projects were published in architectural journals, but accompanying text is rare. Arthur J. Horgan (1868-1911) and Vincent J. Slattery (1867-1939) entered into partnership in 1886. Until 1897, the New York City Directory listed them as builders; interestingly, in the 1898 edition, they emerged as architects.

 

Evidently, they had incorporated as such and were working out of an office at 1 Madison Avenue. Apart from Horgan's testimony in 1899^^ before the Mazet Committee that he had studied architecture for five years in the offices of his godfather, Colonel Arthur Crocks, virtually nothing is known about the professional educations of the architects.

 

Slattery testified that the "outside work" of the firm was his responsibility, while Horgan assumed the "inside work"; he also referred all technical questions to Horgan. In the absence of conclusive information concerning their respective positions in the firm, which would elucidate Slattery's statement, one may speculate either that Horgan was the principal designer and Slattery the business partner, or that Horgan dealt with structural questions and Slattery with interior embellishment.

 

Following Horgan's death in 1911, Slattery went into business for himself, retiring in 1934.

 

The Design

 

The former 50th Precinct Police Station House is a handsome example of Beaux-Arts classicism, a mode of design that characterized much public architecture at the turn-of-the-century and became the emblem of the City Beautiful Movement.

 

Although clearly indebted to the architectural styles of the past, the design does not endeavor to replicate historical models exactly, nor did such archaeological accuracy underlie the historicism of the Ecole des Beaux-Arts. Rather, the elements are derived from classical prototypes but are freely interpreted and ingeniously combined.

 

Typologically, the building refers to an Italian Renaissance urban palace; the ornament is eclectic.

 

Horgan and Slattery approached the design of this small (relative to the grandest examples of the style in New York City, among them the Public Library and Grand Central Station) but imposing building in an imaginative way. The building dominates its site; further, it is the dominant architectural feature on the primarily residential block.

 

The architects' masterful handling is demonstrated in the sensitivity to the site, an understanding of the rules of Beaux-Arts composition, the use of ornament, and the adaptation of an ancient but particularly appropriate building type to a modern use.

 

Their studied application of Beaux-Arts principles is evident in the clear articulation of the parts of the building, the bilateral symmetry, the clearly marked and elaborated openings, the hierarchy of constituent elements in the facades, the play of advancing and receding planes, and the consistency of the articulation.

 

The form of the building refers to two distinct phases in the evolution of the Italian Renaissance urban palace. The 15th-century palace, such as the Pitti or the Medici, with its massive presence, direct relation with the street, and rusticated base, is an appropriate model for the expression of such values as power, security, invulnerability, and monumentality, which, surely in the public mind, are associated with the police force.

 

Strengthening this association are the horizontal extension of the station house, which intensifies the image of its being firmly wedded to its site, and the battlements or crenellations of the roof parapet.

 

The horizontal lines of the building are reiterated in the surface treatment on every level of the facades: by the granite base; by the continuous channels of the recessed brick courses; by the lines of the windows; by the projecting stringcourses; by the continuous cornice, which is distinguished from the fabric of the building both in color, texture and materials; by the roof parapet, which is defined as a series of advancing and receding planes.

 

In the 16th-century type, exemplified by the design for the House of Raphael by Bramante, the ground story rustication is mediated by the application of architectural ornament in the upper stories, which is also the case here.

 

Description

 

The Kingsbridge Terrace of today, which is rather an unprepossessing street lined with detached houses as well as low-rise apartments, does not figure prominently in the street system of the Bronx, or even of Kingsbridge. This was not always the case, however.

 

From the 18th century until 1913, that portion of Kingsbridge Terrace north of what is presently Albany Crescent, was known as Boston Avenue, the name deriving from its having been a segment of the Boston Post Road. As the east/west section of the almost elliptical Albany Crescent (running roughly perpendicular to the present Bailey Avenue) was also a part of Boston Avenue, and Bailey Avenue formed part of the Albany Post Road, the station house is in close proximity to the intersection of two historically significant roads, and at the crest of Boston Hill.

 

From the street, the building appears as a massive two-story masonry block. In plan, however, it is a "U", oriented southward such that its eastern arm forms the principal or Kingsbridge Terrace facade, and its base (at the north) constitutes the secondary or Summit Place facade.

 

The principal facade is 83 feet in length and two stories in height; the secondary facade is 119 feet in length and three stories in height, only two of which are expressed, corresponding to those on the principal facade.

 

The juncture of the eastern and northern facades is mediated by a curved comer treatment. This transitional element, the articulation of whose second story departs from those of both street facades, constitutes the focal point of the composition if the building is viewed obliquely from the northeast.

 

The focal point, shifts, however to the center bay of the principal facade if

 

the building is viewed directly from the east or obliquely from the south; from either vantage point, the comer construction is virtually invisible.

 

In both cases, the corner element and the axis of symmetry (formed of the entry, the parapet directly above it, the window in the second story, the plaque identifying the building) provide vertical accents in an otherwise horizontally disposed composition. The principal facade consists of five bays, the central three flanked by projecting end bays in the north and south.

 

This "ABA" rhythm is repeated in the secondary facade with the difference that the projecting end bays flank a central section of seven bays. Three bays define the curved comer section.

 

Gamboge bricks, which are variegated in hue and are laid in Flemish bond, constitute the veneers of the facades, including the southern wall of the eastern arm of the "U". The contrasting limestone members of the windows, door, stringcourses, and columns, the granite of the base, the terra-cotta ornament, and the green tin denticulated Doric cornice create an impressive polychromatic image.

 

Like the urban palaces of the Italian Renaissance, the two stories are differentiated in characteristic ways: a projecting stringcourse composed of a series of classical moldings (the lowermost of which is egg and dart) literally cuts the building in half horizontally; the elaboration of the second story contrasts with the relatively unadorned ground story; the individual bricks in the second story are slightly more saturated in color than those in the first; and the apparent rustication of the ground story, achieved by recessing one course in every seven, is abandoned at the first stringcourse, above which the wall is planar.

 

In keeping with the unadorned character of the ground story are the openings, which receive identical articulation in both facades, in the corner, and on the southern side of the eastern arm. They differ only in their proportions: those in the north facade are squatter than those in the projecting bays and in the principal facade, and those in the curved section and the eastern arm are more attenuated.

 

The sash is one-over-one double-hung aluminum surmounted by a fixed pane of glass. The openings are unframed, vertically-oriented rectangles with flat-arch brick lintels and limestone sills with classical contours. A console at either end of the sill provides support, and a console serves as keystone in the flat arch (the console keystone is omitted in the outermost bays of the curved unit).

 

There are three distinct window treatments in the second story, although the sash remains constant. While the same size as those in the east, the windows in the north side are the least elaborate, treated in much the same way as those on the ground story. Replacing the consoles, however, are wedge-shaped limestone keystones that are articulated in three dimensions.

 

One such opening marks the second story of the southern side of the eastern arm. The windows of the corner element are squeezed within the intercolumniations of four Roman Doric, unf luted columns on bases, the two end ones of which are engaged; a series of classical moldings constitutes the lintels.

 

The surface bounded by the upper edge of each lintel and the lower edge of the second story stringcourse is pierced by a round window enframed with a terra-cotta wreath; the comers are enlivened with foliate terra-cotta forms.

 

All windows in the second stories of both the principal facade and the projecting bays are aedicular in type.

 

The aediculae, which frame the windows, are constituted of a series of freely interpreted classical elements including flanking pilasters, which are articulated with deep channels running vertically from the base, a capital, impost block, and lintel of classical moldings.

 

The window sill is tripartite: at either end, a segment projects slightly to form a base for the pilasters. A console with pendant foliate and vegetal ornament decorates each pilaster from just above mid-height to the capital. The window extends from the sill to the top of the capital; in the space that is roughly the height of the impost block and extends from the capital to the egg and dart molding of the lintel, is a flat, blank plaque.

 

The panel duplicates on a reduced scale the one crowning the axis of symmetry in the principal facade, which is inscribed with the name of the precinct. Each aedicula of the projecting bays is enframed by a larger aedicula, which is vestigial in that it is composed of thick pilasters that are simply projections of the brick fabric. Elaborating each pilaster are a cartouche, festoon, and pendant foliate form, placed in series within a vertically-oriented rectangular panel.

 

The axis of symmetry in the principal elevation serves a dual function: it divides the facade into two equal and opposite parts, and it creates a strong central focus. The double doors are preceded by two granite steps set between granite blocks, upon which originally were lampposts.

 

Rectangular hollow metal double doors, which have been painted bright red, with a transom on which the name of the Kingsbridge Heights Community Center has been painted in white, are placed within a basket or depressed arch with prominent brick voussoirs. A large, elaborate stone cartouche serves as the keystone.

 

Flanking the arch, large ancones with foliate ornament, surmounted by impost blocks, support the stringcourse, which breaks forward from the plane of the building at the entry. Directly above, a parapet is elaborated by a blank panel flanked by two triglyph-like elements surmounted by scrolls.

 

The triglyph/scroll unit (which resembles a section of fluted pilaster) supports a projecting molding along the upper edge of the parapet. Flanking each of the triglyph/scrolls is an S-shaped scroll in bas-relief.

 

The uppermost element of the axis is a plaque identifying the building as the 50th Precinct Police Station House. The limestone plaque is a horizontally disposed rectangle; a continuous egg and dart molding serves as a border. A tripartite guttae-like feature dangles from each side of the lower edge of the panel.

 

A block with a console in its center projects from the center of the lower edge of the inscribed panel.

 

The facade of the western arm of the "U" is undistinguished and virtually invisible from any street. The brick wall is punctuated by windows in the second story.

 

Alterations to the exterior have been few and have not significantly affected the street facades. The police moved from the building to their current location at 3450 Kingsbridge Avenue in December 1974; the present tenant, the Kingsbridge Heights Community Center, took possession in summer 1975. In 1979, with funding from the New York City Capital Budget and the Federal Community Development Budget, the Community Center embarked on a major rehabilitative program, which was completed in 1981.

 

Undertaken by the New York architects, Edelman and Salzman, most of the alterations were in the nature of adapting the interior spaces to new uses and upgrading

 

systems. The architects were sensitive to the original exterior; the north and east facades of the building remain virtually untouched.

 

The terracotta band courses were partially repointed; the existing wooden entrance doors and frames were replaced with hollow metal doors and frame, and the transom was closed; a new wrought iron gate to the courtyard was installed at the south end of the Kingsbridge Terrace facade; the wooden windows were replaced with aluminum ones, and stainless steel security screens were placed on every opening.

 

Unfortunately, the material condition of the exterior appears to be steadily deteriorating. The cornice, a section of which is missing from the curved elevation, shows an advanced state of erosion especially on the underside. Spalling marks the limestone members of the windows, door, stringcourses, as well as the terra-cotta ornament, and large pieces of the window sills have broken off.

 

- From the 1986 NYCLPC Landmark Designation Report

Norwood, Bronx

 

Designed in 1900, and built from 1901 to 1902 by the New York architects Arthur J. Horgan and Vincent J. Slattery, the former 50th Precinct Police Station House is prominently sited at the intersection of Kingsbridge Terrace and Summit Place. Its style, scale, materials of construction, direct relation to the street, and ornament contribute to the monumental character, which distinguished the building from the surrounding two- and three-story frame structures of rapidly expanding Kingsbridge.

 

A symbol of the authority of the police force and of the presence of municipal government in early 20th century Kingsbridge, and an exemplar of Beaux-Arts principles of composition, the building should be seen within the context of the City Beautiful Movement.

 

Historical interest in the building further derives from its being among the best surviving works of an architectural firm that was very much in the public eye at the tum-of-the-century.

 

Development of the Kingsbridge Area

 

Coincident with the growth of the northwest Bronx generally, the modern development of Kingsbridge and of the area presently known as Kingsbridge Heights dates from the latter half of the 19th century.

 

Rural and sparsely populated, with a varied topographical character, the Bronx of the 19th century depended for its growth on the gradual subdivision of estates, on changed attitudes respecting the desirability of the area, and on the completion of the Harlem River Railroad, which provided a first impetus to the development of the "north side."

 

Kingsbridge formally began to take shape as a residential community in 1847 when the Macomb family's "Island Farm," an extensive tract, was surveyed and subdivided into building lots, which were then sold for development.

 

Notwithstanding its late development relative to communities on Manhattan Island, Kingsbridge has had a rich history beginning as early as 1609 with the arrival of Henry Hudson on the Spuyten Duyvil peninsula.

 

Apparently, the Dutch had considered siting their projected New Amsterdam colony at Kingsbridge.5 The plan was soon abandoned, but by the early 17th century, the Dutch were fanning areas, on Manhattan as far north as the flatlands of Harlem.

 

It was not long before they began to seek areas into which the population could expand; thus, in addition to disaffected New Englanders, among the first settlers of Westchester County (chartered in 1683) and the Bronx — the land "upon the Maine" — were the Dutch. Indeed, the earliest European settler of the immediate Kingsbridge area was the Dutchman Jonkheer Adrien Van der Donck in 1641.

 

Van der Donck's tract, known as de Jonkheers, included all of the land from Spuyten Duyvil north eight miles along the Hudson River and east to the Bronx River.

 

The construction of the Boston Post Road in 1673 facilitated travel and communication between Manhattan Island and the northern colonies. Originating in lower Manhattan, the route ran the length of the island, crossed the Spuyten Duyvil Creek, traversed Westchester County and Connecticut, and terminated in Boston.

 

Until 1693 and the construction of the King's Bridge by landowner Vredryck Flypsen, crossing of the Spuyten Duyvil was accomplished by ferry. From the bridge, the Boston Post Road ran to Albany Crescent (which is just north of the old West Farms/Kingsbridge town line), followed Boston Avenue (the original name for that block of Kingsbridge Terrace in which the police station is located), and then veered toward the northeast, crossing the Bronx River at William's Bridge.

 

Another of the early roads radiating from the location of the King's Bridge and moving north along Bailey Avenue, was the Albany Post Road (opened in 1669 as far as the Sawmill River and in 1700 to Albany), which then continued along the western side of the Van Cortlandt properties.

 

That the King's Bridge served as the principal passage from the northern tip of Manhattan Island to the Bronx mainland, underlines the significance of the greater Kingsbridge area during Revolutionary times. As the main military artery for the armies of both the British and the Americans, the bridge was under constant attack during those Revolutionary War years when New York City was subject to British occupation (1776-1783).

 

Boston Hill (the name for the rise in the immediate vicinity of Albany Crescent) was the scene of many battles in the years following 1776, and from 1777 to 1779, the British established a presence at the Van Cortlandt mansion (located on the eastern side of the Albany Post Road).

 

Early indications of the eventual residential development of the area can be seen in the period immediately fol lowing the Revolution, at which time, well-to-do New Yorkers focused on the natural beauty of the area with an eye toward moving northward.

 

The eventual annexation of the Bronx proceeded in piecemeal fashion and not without opposition: against the incorporation were those Bronx residents who thought that nothing would be gained by aligning themselves with heavily populated Manhattan, and those New Yorkers who saw no advantage to appropriating farmland.

 

Nevertheless, on 1 January 1874, the townships of Kingsbridge, West Farms, and Morrisania formally became the twenty-third and twenty-fourth wards of the City of New York; from that time until 1898, they were known

 

collectively as the "Annexed District". It was not until 1895, however, that the annexation of the Bronx east of the Bronx River was effected.

 

In 1897, the New York State Legislature passed a charter for the creation of Greater New York City; in 1898, twenty-four local governments including all the annexed districts north of the Harlem River, as well as the boroughs of Brooklyn, Queens, and Richmond (Staten Island) were officially consolidated.

 

Commenting on building operations in the Bronx and noting a remarkable thirty-three percent increase thereof between 1898 and 1899, a dealer in real estate averred: "as to the future of the borough, that is assured, for the natural trend of the city's growth is northward, and the Bronx with all its proposed improvements will reap a golden harvest."

 

Corroborating his opinion, the Real Estate Record and Guide of 1901 observed that "more families continue to forsake their downtown neighbors for better homes and the purer air and ampler room above the Harlem and especially brisk in the matter of building is [sic] the upper and eastern sections of the Bronx, where both private and tenement houses are springing up."

 

In point of fact, just after 1895 and the annexation of the eastern section, booms in both real estate and population occurred. These were attributable to a combination of factors, the most important being inclusion into the metropolitan area, self-government, and the improvement of transportation.

 

Bronx Police History and the 50th Precinct

 

Bronx police history formally began in January 1866 when the Metropolitan Police District, created by an act of the New York State legislature in 1857, established a substation in the Village of Tremont in the Town of West Farms.

 

Previously, police activity in Kingsbridge had been under the jurisdiction of Manhattan's 32nd Precinct (currently the 30th), located at Amsterdam Avenue and 152nd Street.

 

Due to an increase in criminal behavior accompanying the immediate post-Civil War growth of the area, the residents of Yonkers and West Farms had favored incorporation within the Metropolitan Police District. Participation in the State's Metropolitan Police District was not long-lived, however; in 1870, as a result of the reorganization of local government according to the terms of the Tweed Charter, the City reclaimed control of the police department.

 

In the following year, Yonkers withdrew from the Metropolitan Police District and organized a police force of its own. In November 1871, the Yonkers police established a substation at Kingsbridge (the predecessor of the 50th) to serve the precinct extending from the West Farms town line to just south of the present Yonkers city line; an existir^ frame building, located at Verveelen Place, just east of Broadway and south of 231st Street, was adapted for use as a station house.

 

As a consequence of the separation of the Township of Kingsbridge from the City of Yonkers in 1872, the force headquartered at Kingsbridge was administered by a joint Board of Police Commissioners of Yonkers and Kingsbridge. Following annexation in January 1874, the district constituted of Kingsbridge, Morrisania, and West Farms was divided into two precincts and one sub-precinct of the New York Police Department.

 

Shortly thereafter, the sub-precinct, headquartered at Kingsbridge, came into its own as the 35th Precinct.18

 

With the consolidation of 1898, the Police Department of Greater New York assimilated eighteen small police agencies, and a move was initiated to conform the boundaries of police precincts to the lines of the individual townships. New precincts were created to serve newly annexed areas and to accommodate rapid population increases and building and commercial development in already established ones.

 

In accordance with the general objective of creating a flexible system that would provide for future expansion of the force, several renumberings of Bronx precincts occurred during the next thirty years. Upon consolidation in 1898, Kingsbridge was redesignated the 40th; in January 1918, the 74th; in April of the same year, the 57th; in 1924, the 26th; and on 1 August 1929, the 50th, which it remains to this day.

 

Despite its changed status upon incorporation into the Greater New York City Police Department, the 40th Precinct (subsequently the 50th) continued to occupy its makeshift quarters at Verveelen Place, which were enlarged in 1886 by taking possession of a two-story frame building to the east. This measure served only as a stopgap, however, for conditions had become progressively unsatisfactory and indeed unsavory.

 

Not only were the quarters cramped, but the basement of the building had flooded so often that the jail had settled out of plumb. A newspaper reporter of the time remarked that "no more unhealthier police station exists in the City of New York than this one,and in the late 1880s, the Board of Health condemned the building. Nevertheless, although a project for construction of a new facility finally was initiated in 1898, new accommodations would not be had until 1902 when " 'the shanty', as the frame building which . . . sheltered the blue-coat&i guardians ever since the 40th precinct was established [was] abandoned for a modem structure.

 

In a review of the official architecture of New York City, The Real Estate Record and Guide (November 1898) branded municipal architecture a disgrace, deplored its standards, and observed that there appeared to be a tendency to employ builders over professional architects.

 

This situation — in which "there is not even one architecturally decent police station"^ — began to improve as New York embarked on a citywide reconstruction and renovation campaign to modernize police facilities. The turn of the century enthusiasm for constructing civic monuments provided a further impetus.

 

Horgan and Slattery were commissioned to design a new 40th Precinct Police Station House sometime between 1898 and fall 1900, although the City of New York did not purchase the land on which the building is situated until 2 October 1900.

 

The firm estimated the construction costs for the station house, stables, and a prison, at $70,000. Plans were filed in December 1900, but approval to proceed was denied due to the omission of tie rods between the steel floor and the spruce beams of the one-story carriage house.

 

The New Building Application was approved on 9 January 1901 only after the architects filed a petition demonstrating that their use of the Roebling System of Fireproof Construction would constitute a sufficient tie in itself.23 construction began 18 March 1901 and was completed 16 April 1902.

 

Horoan and Slattery

 

From 1894, when The New York Times initially reported on the financial difficulties of the firm, until the period 1899 to 1903, when the newspaper regularly and eagerly followed the professional lives of Horgan and Slattery, the architects gained more and more notoriety.

 

While political patronage certainly was not an invention of the Tammany administrators, Mayor Robert Van Wyck was overly zealous about stamping the municipal architecture of New York City with the seal of his administration. It appears to have been Van Wyck's intention either to convey all city projects directly to Horgan and Slattery or to install them in a consulting capacity over more widely renowned architects such as John Thomas (Hall of Records) or Frederick Withers (City Prison).

 

The firm first achieved public recognition with the rehabilitation of the interior of the Democratic Club in 1897. Upon completion of that job, apparently ". finding. . .hundreds of odd jobs, large and small. . .for the favored architects."

 

Queries from a perhaps overly critical press respecting any architect's professional qualifications or lack thereof are not in themselves objectionable.

 

However, in the case of Horgan and Slattery, the situation was rather more complicated as the attacks became a vehicle for denouncing the Van Wyck administration generally and pertained very little, if at all, with a fair assessment of the firm's work. In order to bolster their charges of corruption in the Van Wyck administration, the press seized upon the seeming irregularity in the relationship between the architects and the administration, claiming that the firm name had become "a trademark of municipal disrepute and jobbery".

 

Horgan and Slattery were characterized as political pawns "who had no standing artistic, political, scientific, or financial [but were] used as the cat's paw of politicians anxious to get control of municipal building in New York. . ."

 

Despite the scandals surrounding the firm, political affiliations carried the day, for "on the death of the architect J.R. Thomas, the contract for the completion of the Hall of Records was granted to the favorite Tammany contractors Horgan and Slattery in spite of strong denunciation of such action."

 

Considered cogs in a great political machine and sarcastically dubbed the "universal solvents" or experts in all fields of architecture, the firm was taken to task for lapsed professional and moral responsibilities:

 

The new city administration has acted none too soon and with none too much severity in the cases of those two "devouring absurdities" Horgan and Slattery. Two self-respecting men in their places — but that is unimaginable. Two self-respecting men could never occupy their places. But two men with not more than twice the average thickness of skin would have got out, when Tammany was defeated, withqut waiting to be kicked out amid the cheers of the bystanders.

 

Upon his election in 1902, Mayor Seth Low called for the "dishorganizing and unslatterifying" of municipal architecture and insisted that "all business relations between the city and Horgan and Slattery, who received the award of all city contracts during the administration of Mayor Van Wyck should be terminated as soon as possible."

 

Mayor Low's administration adopted a hardline position according to which it would be preferable to pay damages in court than to honor any outstanding contracts with the architects.

 

Although ethics rather than aesthetics constituted the point of departure for the accusations in the local press — there having been very little critical coverage of the design work —the artistic capabilities of the architects were fair game as well.

 

Nevertheless, the firm's rise to prominence, even in the context of its alleged association with the great tum-of-the-century New York City Democratic party machine, cannot nullify the inherent value of their designs, which, in large part, combined classical vocabularies and Beaux-Arts principles of composition.

 

The Architects' and Builders' Magazine of January 1907 recognized that, "[J. R. Thomas'] work has been carried on in praiseworthy fashion by Messrs. Horgan and Slattery who have added to Mr. Thomas' brilliant conception much of the virility of design which characterizes their other well-known masterpieces."

 

Scant biographical information exists on the two architects. Photographs or drawings of a fair number of their projects were published in architectural journals, but accompanying text is rare. Arthur J. Horgan (1868-1911) and Vincent J. Slattery (1867-1939) entered into partnership in 1886. Until 1897, the New York City Directory listed them as builders; interestingly, in the 1898 edition, they emerged as architects.

 

Evidently, they had incorporated as such and were working out of an office at 1 Madison Avenue. Apart from Horgan's testimony in 1899^^ before the Mazet Committee that he had studied architecture for five years in the offices of his godfather, Colonel Arthur Crocks,35, virtually nothing is known about the professional educations of the architects.

 

Slattery testified that the "outside work" of the firm was his responsibility, while Horgan assumed the "inside work"; he also referred all technical questions to Horgan. In the absence of conclusive information concerning their respective positions in the firm, which would elucidate Slattery's statement, one may speculate either that Horgan was the principal designer and Slattery the business partner, or that Horgan dealt with structural questions and Slattery with interior embellishment.

 

Following Horgan's death in 1911, Slattery went into business for himself, retiring in 1934.

 

The Design

 

The former 50th Precinct Police Station House is a handsome example of Beaux-Arts classicism, a mode of design that characterized much public architecture at the tum-of-the-century and became the emblem of the City Beautiful Movement.

 

Although clearly indebted to the architectural styles of the past, the design does not endeavor to replicate historical models exactly, nor did such archaeological accuracy underlie the historicism of the Ecole des Beaux-Arts. Rather, the elements are derived from classical prototypes but are freely interpreted and ingeniously combined.

 

Typologically, the building refers to an Italian Renaissance urban palace; the ornament is eclectic.

 

Horgan and Slattery approached the design of this small (relative to the grandest examples of the style in New York City, among them the Public Library and Grand Central Station) but imposing building in an imaginative way. The building dominates its site; further, it is the dominant architectural feature on the primarily residential block. The architects' masterful handling is demonstrated in the sensitivity to the site, an

 

understanding of the rules of Beaux-Arts composition, the use of ornament, and the adaptation of an ancient but particularly appropriate building type to a modern use.

 

Their studied application of Beaux-Arts principles is evident in the clear articulation of the parts of the building, the bilateral symmetry, the clearly marked and elaborated openings, the hierarchy of constituent elements in the facades, the play of advancing and receding planes, and the consistency of the articulation.

 

The form of the building refers to two distinct phases in the evolution of the Italian Renaissance urban palace. The 15th-century palace, such as the Pitti or the Medici, with its massive presence, direct relation with the street, and rusticated base, is an appropriate model for the expression of such values as power, security, invulnerability, and monumentality, which, surely in the public mind, are associated with the police force.

 

Strengthening this association are the horizontal extension of the station house, which intensifies the image of its being firmly wedded to its site, and the battlements or crenel lations of the roof parapet.

 

The horizontal lines of the building are reiterated in the surface treatment on every level of the facades: by the granite base; by the continuous channels of the recessed brick courses; by the lines of the windows; by the projecting stringcourses; by the continuous cornice, which is distinguished from the fabric of the building both in color, texture and materials; by the roof parapet, which is defined as a series of advancing and receding planes.

 

In the 16th-century type, exemplified by the design for the House of Raphael by Bramante, the ground story rustication is mediated by the application of architectural ornament in the upper stories, which is also the case here.

 

Description

 

The Kingsbridge Terrace of today, which is rather an unprepossessing street lined with detached houses as well as low-rise apartments, does not figure prominently in the street system of the Bronx, or even of Kingsbridge. This was not always the case, however.

 

From the 18th century until 1913, that portion of Kingsbridge Terrace north of what is presently Albany Crescent, was known as Boston Avenue, the name deriving from its having been a segment of the Boston Post Road. As the east/west section of the almost elliptical Albany Crescent (running roughly perpendicular to the present Bailey Avenue) was also a part of Boston Avenue, and Bailey Avenue formed part of the Albany Post Road, the station house is in close proximity to the intersection of two historically significant roads, and at the crest of Boston Hill.

 

From the street, the building appears as a massive two-story masonry block. In plan, however, it is a "U", oriented southward such that its eastern arm forms the principal or Kingsbridge Terrace facade, and its base (at the north) constitutes the secondary or Summit Place facade.

 

The principal facade is 83 feet in length and two stories in height; the secondary facade is 119 feet in length and three stories in height, only two of which are expressed, corresponding to those on the principal facade.

 

The juncture of the eastern and northern facades is mediated by a curved comer treatment. This transitional element, the articulation of whose second story departs from those of both street facades, constitutes the focal point of the composition if the building is viewed obliquely from the northeast.

 

The focal point, shifts, however to the center bay of the principal facade if

 

the building is viewed directly from the east or obliquely from the south; from either vantage point, the comer construction is virtually invisible.

 

In both cases, the corner element and the axis of symmetry (formed of the entry, the parapet directly above it, the window in the second story, the plaque identifying the building) provide vertical accents in an otherwise horizontally disposed composition. The principal facade consists of five bays, the central three flanked by projecting end bays in the north and south.

 

This "ABA" rhythm is repeated in the secondary facade with the difference that the projecting end bays flank a central section of seven bays. Three bays define the curved comer section.

 

Gamboge bricks, which are variegated in hue and are laid in Flemish bond, constitute the veneers of the facades, including the southern wall of the eastern arm of the "U". The contrasting limestone members of the windows, door, stringcourses, and columns, the granite of the base, the terra-cotta ornament, and the green tin denticulated Doric cornice create an impressive polychromatic image.

 

Like the urban palaces of the Italian Renaissance, the two stories are differentiated in characteristic ways: a projecting stringcourse composed of a series of classical moldings (the lowermost of which is egg and dart) literally cuts the building in half horizontally; the elaboration of the second story contrasts with the relatively unadorned ground story; the individual bricks in the second story are slightly more saturated in color than those in the first; and the apparent rustication of the ground story, achieved by recessing one course in every seven, is abandoned at the first stringcourse, above which the wall is planar.

 

In keeping with the unadorned character of the ground story are the openings, which receive identical articulation in both facades, in the corner, and on the southern side of the eastern arm. They differ only in their proportions: those in the north facade are squatter than those in the projecting bays and in the principal facade, and those in the curved section and the eastern arm are more attenuated.

 

The sash is one-over-one double-hung aluminum surmounted by a fixed pane of glass. The openings are unframed, vertically-oriented rectangles with flat-arch brick lintels and limestone sills with classical contours. A console at either end of the sill provides support, and a console serves as keystone in the flat arch (the console keystone is omitted in the outermost bays of the curved unit).

 

There are three distinct window treatments in the second story, although the sash remains constant. While the same size as those in the east, the windows in the north side are the least elaborate, treated in much the same way as those on the ground story. Replacing the consoles, however, are wedge-shaped limestone keystones that are articulated in three dimensions.

 

One such opening marks the second story of the southern side of the eastern arm. The windows of the corner element are squeezed within the intercolumniations of four Roman Doric, unf luted columns on bases, the two end ones of which are engaged; a series of classical moldings constitutes the lintels.

 

The surface bounded by the upper edge of each lintel and the lower edge of the second story stringcourse is pierced by a round window enframed with a terra-cotta wreath; the comers are enlivened with foliate terra-cotta forms.

 

All windows in the second stories of both the principal facade and the projecting bays are aedicular in type.

 

The aediculae, which frame the windows, are constituted of a series of freely interpreted classical elements including flanking pilasters, which are articulated with deep channels running vertically from the base, a capital, impost block, and lintel of classical moldings.

 

The window sill is tripartite: at either end, a segment projects slightly to form a base for the pilasters. A console with pendant foliate and vegetal ornament decorates each pilaster from just above mid-height to the capital. The window extends from the sill to the top of the capital; in the space that is roughly the height of the impost block and extends from the capital to the egg and dart molding of the lintel, is a flat, blank plaque.

 

The panel duplicates on a reduced scale the one crowning the axis of symmetry in the principal facade, which is inscribed with the name of the precinct. Each aedicula of the projecting bays is enframed by a larger aedicula, which is vestigial in that it is composed of thick pilasters that are simply projections of the brick fabric. Elaborating each pilaster are a cartouche, festoon, and pendant foliate form, placed in series within a vertically-oriented rectangular panel.

 

The axis of symmetry in the principal elevation serves a dual function: it divides the facade into two equal and opposite parts, and it creates a strong central focus. The double doors are preceded by two granite steps set between granite blocks, upon which originally were lampposts.

 

Rectangular hollow metal double doors, which have been painted bright red, with a transom on which the name of the Kingsbridge Heights Community Center has been painted in white, are placed within a basket or depressed arch with prominent brick voussoirs. A large, elaborate stone cartouche serves as the keystone.

 

Flanking the arch, large ancones with foliate ornament, surmounted by impost blocks, support the stringcourse, which breaks forward from the plane of the building at the entry. Directly above, a parapet is elaborated by a blank panel flanked by two triglyph-like elements surmounted by scrolls.

 

The triglyph/scroll unit (which resembles a section of fluted pilaster) supports a projecting molding along the upper edge of the parapet. Flanking each of the triglyph/scrolls is an S-shaped scroll in bas-relief.

 

The uppermost element of the axis is a plaque identifying the building as the 50th Precinct Police Station House. The limestone plaque is a horizontally disposed rectangle; a continuous egg and dart molding serves as a border. A tripartite guttae-like feature dangles from each side of the lower edge of the panel.

 

A block with a console in its center projects from the center of the lower edge of the inscribed panel.

 

The facade of the western arm of the "U" is undistinguished and virtually invisible from any street. The brick wall is punctuated by windows in the second story.

 

Alterations to the exterior have been few and have not significantly affected the street facades.36 The police moved from the building to their current location at 3450 Kingsbridge Avenue in December 1974; the present tenant, the Kingsbridge Heights Community Center, took possession in summer 1975. In 1979, with funding from the New York City Capital Budget and the Federal Community Development Budget, the Community Center embarked on a major rehabilitative program, which was completed in 1981.

 

Undertaken by the New York architects, Edelman and Salzman, most of the alterations were in the nature of adapting the interior spaces to new uses and upgrading

 

systems. The architects were sensitive to the original exterior; the north and east facades of the building remain virtually untouched.

 

The terracotta band courses were partially repointed; the existing wooden entrance doors and frames were replaced with hollow metal doors and frame, and the transom was closed; a new wrought iron gate to the courtyard was installed at the south end of the Kingsbridge Terrace facade; the wooden windows were replaced with aluminum ones, and stainless steel security screens were placed on every opening.

 

Unfortunately, the material condition of the exterior appears to be steadily deteriorating. The cornice, a section of which is missing from the curved elevation, shows an advanced state of erosion especially on the underside. Spalling marks the limestone members of the windows, door, stringcourses, as well as the terra-cotta ornament, and large pieces of the window sills have broken off.

 

- From the 1986 NYCLPC Landmark Designation Report

Insight = Active relation in the image (Bernard Lonergan, S.J.)

Många män lider av tidig utlösning, vilket kan leda till låg självkänsla, dåligt självförtroende och relationsproblem. Tidig utlösning av Malin Drevstam, Gothia Förlag, tar upp möjliga orsaker och hur problemet kan behandlas genom olika övningar, både med och utan partner.

Pictures taken in February 1983 - digitally captured from paper print.

_______________________________________

 

Borneo (/ˈbɔːrnioʊ/; Indonesian: Kalimantan, Malay: Borneo) is the third-largest island in the world and the largest island in Asia.[1] At the geographic center of Maritime Southeast Asia, in relation to major Indonesian islands, it is located north of Java, west of Sulawesi, and east of Sumatra.

 

The island is politically divided among three countries: Malaysia and Brunei in the north, and Indonesia to the south. Approximately 73% of the island is Indonesian territory. In the north, the East Malaysian states of Sabah and Sarawak make up about 26% of the island. Additionally, the Malaysian federal territory of Labuan is situated on a small island just off the coast of Borneo. The sovereign state of Brunei, located on the north coast, comprises about 1% of Borneo's land area. Antipodal to an area of Amazon rainforest, Borneo is itself home to one of the oldest rainforests in the world. It is home to Bornean orangutans.

 

ETYMOLOGY

The island is known by many names; internationally it is known as Borneo, after Brunei, derived from European historical contact with the kingdom in the 16th century during the Age of Exploration. The name Brunei possibly was initially derived from the Sanskrit word "váruṇa" (वरुण), meaning either "ocean" or the mythological Varuna, the Hindu god of the ocean. Indonesian natives called it Kalimantan, which was derived from the Sanskrit word Kalamanthana, meaning "burning weather island" (to describe its hot and humid tropical weather).

 

Prior to that the island was also known by other names. In 977 Chinese records began to use the term Po-ni to refer to Borneo. In 1225 it was also mentioned by the Chinese official Chau Ju-Kua (趙汝适). The Javanese manuscript Nagarakretagama, written by Majapahit court poet Mpu Prapanca in 1365, mentioned the island as Nusa Tanjungnagara, which means the island of the Tanjungpura Kingdom.

 

GEOGRAPHY

Borneo is surrounded by the South China Sea to the north and northwest, the Sulu Sea to the northeast, the Celebes Sea and the Makassar Strait to the east, and the Java Sea and Karimata Strait to the south. To the west of Borneo are the Malay Peninsula and Sumatra. To the south and east are islands of Indonesia: Java and Sulawesi, respectively. To the northeast are the Philippine Islands.

 

With an area of 743.330 square kilometres, it is the third-largest island in the world, and is the largest island of Asia (the largest continent). Its highest point is Mount Kinabalu in Sabah, Malaysia, with an elevation of 4095 m.

 

The largest river system is the Kapuas in West Kalimantan, with a length of 1143 km. Other major rivers include the Mahakam in East Kalimantan (980 km long), the Barito in South Kalimantan (880 km long), and Rajang in Sarawak (562,5 km long).

 

Borneo has significant cave systems. Clearwater Cave, for example, has one of the world's longest underground rivers. Deer Cave is home to over three million bats, with guano accumulated to over 100 metres deep.

 

Before sea levels rose at the end of the last Ice Age, Borneo was part of the mainland of Asia, forming, with Java and Sumatra, the upland regions of a peninsula that extended east from present day Indochina. The South China Sea and Gulf of Thailand now submerge the former low-lying areas of the peninsula. Deeper waters separating Borneo from neighbouring Sulawesi prevented a land connection to that island, creating the divide known as Wallace's Line between Asian and Australia-New Guinea biological regions.

 

ECOLOGY

The Borneo rainforest is 140 million years old, making it one of the oldest rainforests in the world. There are about 15000 species of flowering plants with 3000 species of trees (267 species are dipterocarps), 221 species of terrestrial mammals and 420 species of resident birds in Borneo. There are about 440 freshwater fish species in Borneo (about the same as Sumatra and Java combined). It is the centre of the evolution and distribution of many endemic species of plants and animals. The Borneo rainforest is one of the few remaining natural habitats for the endangered Bornean orangutan. It is an important refuge for many endemic forest species, including the Borneo elephant, the eastern Sumatran rhinoceros, the Bornean clouded leopard, the Hose's palm civet and the dayak fruit bat.

 

In 2010 the World Wide Fund for Nature stated that 123 species have been discovered in Borneo since the "Heart of Borneo" agreement was signed in 2007.

 

The WWFN has classified the island into seven distinct ecoregions. Most are lowland regions:

 

- Borneo lowland rain forests cover most of the island, with an area of 427500 square kilometres;

- Borneo peat swamp forests;

- Kerangas or Sundaland heath forests;

- Southwest Borneo freshwater swamp forests; and

- Sunda Shelf mangroves.

- The Borneo montane rain forests lie in the central highlands of the island, above the 1000 metres elevation. The highest elevations of Mount Kinabalu are home to the Kinabalu mountain alpine meadow, an alpine shrubland notable for its numerous endemic species, including many orchids.

 

The island historically had extensive rainforest cover, but the area was reduced due to heavy logging for the Malaysian and Indonesian plywood industry. Half of the annual global tropical timber acquisition comes from Borneo. Palm oil plantations have been widely developed and are rapidly encroaching on the last remnants of primary rainforest. Forest fires of 1997 to 1998, started by the locals to clear the forests for plantations were exacerbated by an exceptionally dry El Niño season, worsening the annual shrinkage of the rainforest. During these fires, hotspots were visible on satellite images and the resulting haze affected four countries: Brunei, Malaysia, Indonesia, and Singapore.

 

In 2010 Sarawak announced a plan for energy production, the Sarawak Corridor of Renewable Energy, to try to establish sustainability.

 

HISTORY

EARLY HISTORY

According to ancient Chinese, Indian and Javanese manuscripts, western coastal cities of Borneo had become trading ports by the first millennium. In Chinese manuscripts, gold, camphor, tortoise shells, hornbill ivory, rhinoceros horn, crane crest, beeswax, lakawood (a scented heartwood and root wood of a thick liana, Dalbergia parviflora), dragon's blood, rattan, edible bird's nests and various spices were described as among the most valuable items from Borneo. The Indians named Borneo Suvarnabhumi (the land of gold) and also Karpuradvipa (Camphor Island). The Javanese named Borneo Puradvipa, or Diamond Island. Archaeological findings in the Sarawak river delta reveal that the area was a thriving trading centre between India and China from the 6th century until about 1300.

 

One of the earliest evidence of Hindu influence in Southeast Asia were stone pillars which bear inscriptions in the Pallava script, found in Kutai along the Mahakam River in East Kalimantan, dating to around the second half of the 4th century.

 

By the 14th century, Borneo was under the control of the Majapahit kingdom based in present-day Indonesia. Muslims entered the island and converted many of the indigenous peoples to Islam.

 

During the 1450s, Shari'ful Hashem Syed Abu Bakr, an Arab born in Johor, arrived in Sulu from Malacca. In 1457, he founded the Sultanate of Sulu; he titled himself as "Paduka Maulana Mahasari Sharif Sultan Hashem Abu Bakr". The Sultanate of Brunei, during its golden age from the 15th century to the 17th century, ruled a large part of northern Borneo. In 1703 (other sources say 1658), the Sultanate of Sulu received the eastern part of North Borneo from the Sultan of Brunei, after Sulu sent aid against a rebellion in Brunei.

 

DUTCH AND BRITISH CONTROL

The Sultanate of Brunei granted large parts of land in Sarawak in 1842 to the English adventurer James Brooke, as reward for his having helped quell a local rebellion. Brooke established the Kingdom of Sarawak and was recognised as its rajah after paying a fee to the Sultanate. He established a monarchy, and the Brooke dynasty (through his nephew and great-nephew) ruled Sarawak for 100 years; the leaders were known as the White Rajahs.

 

In the early 19th century, British and Dutch governments signed the Anglo-Dutch Treaty of 1824 to exchange trading ports under their controls and assert spheres of influence. This resulted in indirectly establishing British- and Dutch-controlled areas in Borneo, in the north and south, respectively. The Malay and Sea Dayak pirates preyed on maritime shipping in the waters between Singapore and Hong Kong from their haven in Borneo.

 

The British North Borneo Company controlled the territory of North Borneo (present-day Sabah) from 1882 to 1941.

 

WORLD WAR II

During World War II, Japanese forces gained control and occupied Borneo (1941–45). They decimated many local populations and killed Malay intellectuals, executing all the Malay Sultans of Kalimantan in the Pontianak incidents. Sultan Muhammad Ibrahim Shafi ud-din II of Sambas in Kalimantan was executed in 1944. The Sultanate was thereafter suspended and replaced by a Japanese council.[19] During the Japanese occupation, the Dayak played a role in guerrilla warfare against the occupying forces, particularly in the Kapit Division. They temporarily revived headhunting of Japanese toward the end of the war. Allied Z Special Unit provided assistance to them. After the Fall of Singapore, the Japanese sent several thousand British and Australian prisoners of war to camps in Borneo. At one of the worst sites, around Sandakan in Borneo, only six of some 2500 prisoners survived. In 1945, the Japanese were defeated by the Allies.

 

RECENT HISTORY

Borneo was the main site of the confrontation between Indonesia and Malaysia between 1962 and about 1969. The British Army was deployed against the Indonesians and communist revolts to gain control of the whole area. Before the formation of Malaysian Federation, the Philippines claimed that the eastern part of the Malaysian state of Sabah was within their territory. They based this on the history of the Sultanate of Sulu's leasing agreement with the British North Borneo Company.

 

In 1962 Brunei Revolt, Brunei People's Party wanted to reunify Brunei, Sarawak and Sabah into one federation known as North Borneo Federation or Kesatuan Negara Kalimantan Utara in Malay where the Sultan of Brunei would be the Head of State for the federation. This caused a civil war for few days in British Protectorate Stats of Brunei and Sarawak State.

 

DEMOGRAPHICS

Borneo has 19,8 million inhabitants (in mid-2010), a population density of 26 inhabitants per square km. Most of the population lives in coastal cities, although the hinterland has small towns and villages along the rivers. The population consists mainly of Dayak ethnic groups, Malay, Banjar, Orang Ulu, Chinese and Kadazan-Dusun. The Chinese, who make up 29% of the population of Sarawak and 17% of total population in West Kalimantan, Indonesia are descendants of immigrants primarily from southeastern China.

 

In Kalimantan since the 1990s, the Indonesian government has undertaken an intense transmigration program; to that area it financed the relocation of poor, landless families from Java, Madura, and Bali. By 2001, transmigrants made up 21% of the population in Central Kalimantan. Since the 1990s, the indigenous Dayak and Malays have resisted encroachment by these migrants: violent conflict has occurred between some transmigrant and indigenous populations. In the 1999 Sambas riots, Dayaks and Malays joined together to massacre thousands of the Madurese migrants. In Kalimantan, thousands were killed in 2001 fighting between Madurese transmigrants and the Dayak people in the Sampit conflict.

 

ADMINISTRATION

The island of Borneo is divided administratively by three countries.

 

- The Indonesian provinces of East, South, West, North and Central Kalimantan, Kalimantan

- The Malaysian states of Sabah and Sarawak (The Federal Territory of Labuan is located on nearshore islands of Borneo, on the island of Borneo itself.)

- The independent country of Brunei (main part and eastern exclave of Temburong)

 

WIKIPEDIA

Ilustración de "Relation du voyage de la mer du Sud aux côtes du Chili et du Pérou fait pendant les années 1712, 1713, et 1714" de Amédée François Frézier publicado en 1716.

En el siglo XIX Barros Arana sostuvo la teoría de que el palín habría sido introducido en Chile por los conquistadores españoles, basado en la existencia de la chueca, un antiguo juego popular de los labradores de Castilla, que todavía se practica en algunos pueblos de esa región. De hecho, todavía en fechas recientes es posible encontrar autores españoles que confunden ambos juegos (el castellano y el mapuche) como uno solo.

 

Pero, a la luz de la información disponible ahora, resulta mucho más exacto pensar que los españoles solo llamaron "chueca" al juego indígena en recuerdo de la competencia que ellos conocían en su propia tierra. Para esta conclusión bastaría considerar las notables diferencias entre las dinámicas de ambos juegos. O que, las crónicas coloniales tempranas, ya conocidas por Barros Arana, hablan de la enorme difusión y raigambre del palín mapuche entre la población de Chile. Sin contar que el palín era especialmente practicado en lo profundo del territorio indígena, que permaneció independientes del dominio español tanto como éste duró en Chile. Así como que el juego tenía un rol central dentro de la cultura de la etnia: como ámbito social y preámbulo a consejos políticos, instrucción física de los jóvenes y simulacro guerrero.

 

El golpe de gracia a la teoría de Barros Arana vendría con la publicación en 1966 de la crónica de Jerónimo de Vivar, conservada por azar en la Newberry Library (Illinois. EE.UUU). El manuscrito, que data 1558 y es obra de un testigo de la primera campaña española de conquista contra los mapuches (1550), dedica un capítulo a describir las costumbres indígenas. Allí Vivar señala que los mapuches eran a la llegada de los conquistadores "muy grandes jugadores de chueca". Sobra agregar que este pasaje es incluso anterior a la primera descripción sobre el juego español de la chueca, publicada recién en 1593.

Actualmente, los autores que estudian el palín lo consideran un juego mapuche autóctono de orígenes ancestrales.

Incluso hay ensayistas que lo ubica dentro de una misma tradición americana de juegos de pelota, que habría evolucionado en sus diferentes variantes: maya, aymará y mapuche.

Kingsbridge, Bronx, New York City, New York, United States

 

Designed in 1900, and built from 1901 to 1902 by the New York architects Arthur J. Horgan and Vincent J. Slattery, the former 50th Precinct Police Station House is prominently sited at the intersection of Kingsbridge Terrace and Summit Place. Its style, scale, materials of construction, direct relation to the street, and ornament contribute to the monumental character, which distinguished the building from the surrounding two- and three-story frame structures of rapidly expanding Kingsbridge.

 

A symbol of the authority of the police force and of the presence of municipal government in early 20th century Kingsbridge, and an exemplar of Beaux-Arts principles of composition, the building should be seen within the context of the City Beautiful Movement.

 

Historical interest in the building further derives from its being among the best surviving works of an architectural firm that was very much in the public eye at the turn-of-the-century.

 

Development of the Kingsbridge Area

 

Coincident with the growth of the northwest Bronx generally, the modern development of Kingsbridge and of the area presently known as Kingsbridge Heights dates from the latter half of the 19th century.

 

Rural and sparsely populated, with a varied topographical character, the Bronx of the 19th century depended for its growth on the gradual subdivision of estates, on changed attitudes respecting the desirability of the area, and on the completion of the Harlem River Railroad, which provided a first impetus to the development of the "north side."

 

Kingsbridge formally began to take shape as a residential community in 1847 when the Macomb family's "Island Farm," an extensive tract, was surveyed and subdivided into building lots, which were then sold for development.

 

Notwithstanding its late development relative to communities on Manhattan Island, Kingsbridge has had a rich history beginning as early as 1609 with the arrival of Henry Hudson on the Spuyten Duyvil peninsula.

 

Apparently, the Dutch had considered siting their projected New Amsterdam colony at Kingsbridge. The plan was soon abandoned, but by the early 17th century, the Dutch were fanning areas, on Manhattan as far north as the flatlands of Harlem.

 

It was not long before they began to seek areas into which the population could expand; thus, in addition to disaffected New Englanders, among the first settlers of Westchester County (chartered in 1683) and the Bronx — the land "upon the Maine" — were the Dutch. Indeed, the earliest European settler of the immediate Kingsbridge area was the Dutchman Jonkheer Adrien Van der Donck in 1641.

 

Van der Donck's tract, known as de Jonkheers, included all of the land from Spuyten Duyvil north eight miles along the Hudson River and east to the Bronx River.

 

The construction of the Boston Post Road in 1673 facilitated travel and communication between Manhattan Island and the northern colonies. Originating in lower Manhattan, the route ran the length of the island, crossed the Spuyten Duyvil Creek, traversed Westchester County and Connecticut, and terminated in Boston.

 

Until 1693 and the construction of the King's Bridge by landowner Vredryck Flypsen, crossing of the Spuyten Duyvil was accomplished by ferry. From the bridge, the Boston Post Road ran to Albany Crescent (which is just north of the old West Farms/Kingsbridge town line), followed Boston Avenue (the original name for that block of Kingsbridge Terrace in which the police station is located), and then veered toward the northeast, crossing the Bronx River at William's Bridge.

 

Another of the early roads radiating from the location of the King's Bridge and moving north along Bailey Avenue, was the Albany Post Road (opened in 1669 as far as the Sawmill River and in 1700 to Albany), which then continued along the western side of the Van Cortlandt properties.

 

That the King's Bridge served as the principal passage from the northern tip of Manhattan Island to the Bronx mainland, underlines the significance of the greater Kingsbridge area during Revolutionary times. As the main military artery for the armies of both the British and the Americans, the bridge was under constant attack during those Revolutionary War years when New York City was subject to British occupation (1776-1783).

 

Boston Hill (the name for the rise in the immediate vicinity of Albany Crescent) was the scene of many battles in the years following 1776, and from 1777 to 1779, the British established a presence at the Van Cortlandt mansion (located on the eastern side of the Albany Post Road).

 

Early indications of the eventual residential development of the area can be seen in the period immediately following the Revolution, at which time, well-to-do New Yorkers focused on the natural beauty of the area with an eye toward moving northward.

 

The eventual annexation of the Bronx proceeded in piecemeal fashion and not without opposition: against the incorporation were those Bronx residents who thought that nothing would be gained by aligning themselves with heavily populated Manhattan, and those New Yorkers who saw no advantage to appropriating farmland.

 

Nevertheless, on 1 January 1874, the townships of Kingsbridge, West Farms, and Morrisania formally became the twenty-third and twenty-fourth wards of the City of New York; from that time until 1898, they were known

 

collectively as the "Annexed District". It was not until 1895, however, that the annexation of the Bronx east of the Bronx River was effected.

 

In 1897, the New York State Legislature passed a charter for the creation of Greater New York City; in 1898, twenty-four local governments including all the annexed districts north of the Harlem River, as well as the boroughs of Brooklyn, Queens, and Richmond (Staten Island) were officially consolidated.

 

Commenting on building operations in the Bronx and noting a remarkable thirty-three percent increase thereof between 1898 and 1899, a dealer in real estate averred: "as to the future of the borough, that is assured, for the natural trend of the city's growth is northward, and the Bronx with all its proposed improvements will reap a golden harvest."

 

Corroborating his opinion, the Real Estate Record and Guide of 1901 observed that "more families continue to forsake their downtown neighbors for better homes and the purer air and ampler room above the Harlem and especially brisk in the matter of building is [sic] the upper and eastern sections of the Bronx, where both private and tenement houses are springing up."

 

In point of fact, just after 1895 and the annexation of the eastern section, booms in both real estate and population occurred. These were attributable to a combination of factors, the most important being inclusion into the metropolitan area, self-government, and the improvement of transportation.

 

Bronx Police History and the 50th Precinct

 

Bronx police history formally began in January 1866 when the Metropolitan Police District, created by an act of the New York State legislature in 1857, established a substation in the Village of Tremont in the Town of West Farms.

 

Previously, police activity in Kingsbridge had been under the jurisdiction of Manhattan's 32nd Precinct (currently the 30th), located at Amsterdam Avenue and 152nd Street.

 

Due to an increase in criminal behavior accompanying the immediate post-Civil War growth of the area, the residents of Yonkers and West Farms had favored incorporation within the Metropolitan Police District. Participation in the State's Metropolitan Police District was not long-lived, however; in 1870, as a result of the reorganization of local government according to the terms of the Tweed Charter, the City reclaimed control of the police department.

 

In the following year, Yonkers withdrew from the Metropolitan Police District and organized a police force of its own. In November 1871, the Yonkers police established a substation at Kingsbridge (the predecessor of the 50th) to serve the precinct extending from the West Farms town line to just south of the present Yonkers city line; an existing frame building, located at Verveelen Place, just east of Broadway and south of 231st Street, was adapted for use as a station house.

 

As a consequence of the separation of the Township of Kingsbridge from the City of Yonkers in 1872, the force headquartered at Kingsbridge was administered by a joint Board of Police Commissioners of Yonkers and Kingsbridge. Following annexation in January 1874, the district constituted of Kingsbridge, Morrisania, and West Farms was divided into two precincts and one sub-precinct of the New York Police Department.

 

Shortly thereafter, the sub-precinct, headquartered at Kingsbridge, came into its own as the 35th Precinct.

 

With the consolidation of 1898, the Police Department of Greater New York assimilated eighteen small police agencies, and a move was initiated to conform the boundaries of police precincts to the lines of the individual townships. New precincts were created to serve newly annexed areas and to accommodate rapid population increases and building and commercial development in already established ones.

 

In accordance with the general objective of creating a flexible system that would provide for future expansion of the force, several renumberings of Bronx precincts occurred during the next thirty years. Upon consolidation in 1898, Kingsbridge was redesignated the 40th; in January 1918, the 74th; in April of the same year, the 57th; in 1924, the 26th; and on 1 August 1929, the 50th, which it remains to this day.

 

Despite its changed status upon incorporation into the Greater New York City Police Department, the 40th Precinct (subsequently the 50th) continued to occupy its makeshift quarters at Verveelen Place, which were enlarged in 1886 by taking possession of a two-story frame building to the east. This measure served only as a stopgap, however, for conditions had become progressively unsatisfactory and indeed unsavory.

 

Not only were the quarters cramped, but the basement of the building had flooded so often that the jail had settled out of plumb. A newspaper reporter of the time remarked that "no more unhealthier police station exists in the City of New York than this one, and in the late 1880s, the Board of Health condemned the building. Nevertheless, although a project for construction of a new facility finally was initiated in 1898, new accommodations would not be had until 1902 when " 'the shanty', as the frame building which . . . sheltered the blue-coat guardians ever since the 40th precinct was established [was] abandoned for a modem structure.

 

In a review of the official architecture of New York City, The Real Estate Record and Guide (November 1898) branded municipal architecture a disgrace, deplored its standards, and observed that there appeared to be a tendency to employ builders over professional architects.

 

This situation — in which "there is not even one architecturally decent police station"^ — began to improve as New York embarked on a citywide reconstruction and renovation campaign to modernize police facilities. The turn of the century enthusiasm for constructing civic monuments provided a further impetus.

 

Horgan and Slattery were commissioned to design a new 40th Precinct Police Station House sometime between 1898 and fall 1900, although the City of New York did not purchase the land on which the building is situated until 2 October 1900.

 

The firm estimated the construction costs for the station house, stables, and a prison, at $70,000. Plans were filed in December 1900, but approval to proceed was denied due to the omission of tie rods between the steel floor and the spruce beams of the one-story carriage house.

 

The New Building Application was approved on 9 January 1901 only after the architects filed a petition demonstrating that their use of the Roebling System of Fireproof Construction would constitute a sufficient tie in itself. Construction began 18 March 1901 and was completed 16 April 1902.

 

Horoan and Slattery

 

From 1894, when The New York Times initially reported on the financial difficulties of the firm, until the period 1899 to 1903, when the newspaper regularly and eagerly followed the professional lives of Horgan and Slattery, the architects gained more and more notoriety.

 

While political patronage certainly was not an invention of the Tammany administrators, Mayor Robert Van Wyck was overly zealous about stamping the municipal architecture of New York City with the seal of his administration. It appears to have been Van Wyck's intention either to convey all city projects directly to Horgan and Slattery or to install them in a consulting capacity over more widely renowned architects such as John Thomas (Hall of Records) or Frederick Withers (City Prison).

 

The firm first achieved public recognition with the rehabilitation of the interior of the Democratic Club in 1897. Upon completion of that job, apparently ". finding. . .hundreds of odd jobs, large and small. . .for the favored architects."

 

Queries from a perhaps overly critical press respecting any architect's professional qualifications or lack thereof are not in themselves objectionable.

 

However, in the case of Horgan and Slattery, the situation was rather more complicated as the attacks became a vehicle for denouncing the Van Wyck administration generally and pertained very little, if at all, with a fair assessment of the firm's work. In order to bolster their charges of corruption in the Van Wyck administration, the press seized upon the seeming irregularity in the relationship between the architects and the administration, claiming that the firm name had become "a trademark of municipal disrepute and jobbery".

 

Horgan and Slattery were characterized as political pawns "who had no standing artistic, political, scientific, or financial [but were] used as the cat's paw of politicians anxious to get control of municipal building in New York. . ."

 

Despite the scandals surrounding the firm, political affiliations carried the day, for "on the death of the architect J.R. Thomas, the contract for the completion of the Hall of Records was granted to the favorite Tammany contractors Horgan and Slattery in spite of strong denunciation of such action."

 

Considered cogs in a great political machine and sarcastically dubbed the "universal solvents" or experts in all fields of architecture, the firm was taken to task for lapsed professional and moral responsibilities:

 

The new city administration has acted none too soon and with none too much severity in the cases of those two "devouring absurdities" Horgan and Slattery. Two self-respecting men in their places — but that is unimaginable. Two self-respecting men could never occupy their places. But two men with not more than twice the average thickness of skin would have got out, when Tammany was defeated, without waiting to be kicked out amid the cheers of the bystanders.

 

Upon his election in 1902, Mayor Seth Low called for the "dishorganizing and unslatterifying" of municipal architecture and insisted that "all business relations between the city and Horgan and Slattery, who received the award of all city contracts during the administration of Mayor Van Wyck should be terminated as soon as possible."

 

Mayor Low's administration adopted a hardline position according to which it would be preferable to pay damages in court than to honor any outstanding contracts with the architects.

 

Although ethics rather than aesthetics constituted the point of departure for the accusations in the local press — there having been very little critical coverage of the design work —the artistic capabilities of the architects were fair game as well.

 

Nevertheless, the firm's rise to prominence, even in the context of its alleged association with the great turn-of-the-century New York City Democratic party machine, cannot nullify the inherent value of their designs, which, in large part, combined classical vocabularies and Beaux-Arts principles of composition.

 

The Architects' and Builders' Magazine of January 1907 recognized that, "[J. R. Thomas'] work has been carried on in praiseworthy fashion by Messrs. Horgan and Slattery who have added to Mr. Thomas' brilliant conception much of the virility of design which characterizes their other well-known masterpieces."

 

Scant biographical information exists on the two architects. Photographs or drawings of a fair number of their projects were published in architectural journals, but accompanying text is rare. Arthur J. Horgan (1868-1911) and Vincent J. Slattery (1867-1939) entered into partnership in 1886. Until 1897, the New York City Directory listed them as builders; interestingly, in the 1898 edition, they emerged as architects.

 

Evidently, they had incorporated as such and were working out of an office at 1 Madison Avenue. Apart from Horgan's testimony in 1899^^ before the Mazet Committee that he had studied architecture for five years in the offices of his godfather, Colonel Arthur Crocks, virtually nothing is known about the professional educations of the architects.

 

Slattery testified that the "outside work" of the firm was his responsibility, while Horgan assumed the "inside work"; he also referred all technical questions to Horgan. In the absence of conclusive information concerning their respective positions in the firm, which would elucidate Slattery's statement, one may speculate either that Horgan was the principal designer and Slattery the business partner, or that Horgan dealt with structural questions and Slattery with interior embellishment.

 

Following Horgan's death in 1911, Slattery went into business for himself, retiring in 1934.

 

The Design

 

The former 50th Precinct Police Station House is a handsome example of Beaux-Arts classicism, a mode of design that characterized much public architecture at the turn-of-the-century and became the emblem of the City Beautiful Movement.

 

Although clearly indebted to the architectural styles of the past, the design does not endeavor to replicate historical models exactly, nor did such archaeological accuracy underlie the historicism of the Ecole des Beaux-Arts. Rather, the elements are derived from classical prototypes but are freely interpreted and ingeniously combined.

 

Typologically, the building refers to an Italian Renaissance urban palace; the ornament is eclectic.

 

Horgan and Slattery approached the design of this small (relative to the grandest examples of the style in New York City, among them the Public Library and Grand Central Station) but imposing building in an imaginative way. The building dominates its site; further, it is the dominant architectural feature on the primarily residential block.

 

The architects' masterful handling is demonstrated in the sensitivity to the site, an understanding of the rules of Beaux-Arts composition, the use of ornament, and the adaptation of an ancient but particularly appropriate building type to a modern use.

 

Their studied application of Beaux-Arts principles is evident in the clear articulation of the parts of the building, the bilateral symmetry, the clearly marked and elaborated openings, the hierarchy of constituent elements in the facades, the play of advancing and receding planes, and the consistency of the articulation.

 

The form of the building refers to two distinct phases in the evolution of the Italian Renaissance urban palace. The 15th-century palace, such as the Pitti or the Medici, with its massive presence, direct relation with the street, and rusticated base, is an appropriate model for the expression of such values as power, security, invulnerability, and monumentality, which, surely in the public mind, are associated with the police force.

 

Strengthening this association are the horizontal extension of the station house, which intensifies the image of its being firmly wedded to its site, and the battlements or crenellations of the roof parapet.

 

The horizontal lines of the building are reiterated in the surface treatment on every level of the facades: by the granite base; by the continuous channels of the recessed brick courses; by the lines of the windows; by the projecting stringcourses; by the continuous cornice, which is distinguished from the fabric of the building both in color, texture and materials; by the roof parapet, which is defined as a series of advancing and receding planes.

 

In the 16th-century type, exemplified by the design for the House of Raphael by Bramante, the ground story rustication is mediated by the application of architectural ornament in the upper stories, which is also the case here.

 

Description

 

The Kingsbridge Terrace of today, which is rather an unprepossessing street lined with detached houses as well as low-rise apartments, does not figure prominently in the street system of the Bronx, or even of Kingsbridge. This was not always the case, however.

 

From the 18th century until 1913, that portion of Kingsbridge Terrace north of what is presently Albany Crescent, was known as Boston Avenue, the name deriving from its having been a segment of the Boston Post Road. As the east/west section of the almost elliptical Albany Crescent (running roughly perpendicular to the present Bailey Avenue) was also a part of Boston Avenue, and Bailey Avenue formed part of the Albany Post Road, the station house is in close proximity to the intersection of two historically significant roads, and at the crest of Boston Hill.

 

From the street, the building appears as a massive two-story masonry block. In plan, however, it is a "U", oriented southward such that its eastern arm forms the principal or Kingsbridge Terrace facade, and its base (at the north) constitutes the secondary or Summit Place facade.

 

The principal facade is 83 feet in length and two stories in height; the secondary facade is 119 feet in length and three stories in height, only two of which are expressed, corresponding to those on the principal facade.

 

The juncture of the eastern and northern facades is mediated by a curved comer treatment. This transitional element, the articulation of whose second story departs from those of both street facades, constitutes the focal point of the composition if the building is viewed obliquely from the northeast.

 

The focal point, shifts, however to the center bay of the principal facade if

 

the building is viewed directly from the east or obliquely from the south; from either vantage point, the comer construction is virtually invisible.

 

In both cases, the corner element and the axis of symmetry (formed of the entry, the parapet directly above it, the window in the second story, the plaque identifying the building) provide vertical accents in an otherwise horizontally disposed composition. The principal facade consists of five bays, the central three flanked by projecting end bays in the north and south.

 

This "ABA" rhythm is repeated in the secondary facade with the difference that the projecting end bays flank a central section of seven bays. Three bays define the curved comer section.

 

Gamboge bricks, which are variegated in hue and are laid in Flemish bond, constitute the veneers of the facades, including the southern wall of the eastern arm of the "U". The contrasting limestone members of the windows, door, stringcourses, and columns, the granite of the base, the terra-cotta ornament, and the green tin denticulated Doric cornice create an impressive polychromatic image.

 

Like the urban palaces of the Italian Renaissance, the two stories are differentiated in characteristic ways: a projecting stringcourse composed of a series of classical moldings (the lowermost of which is egg and dart) literally cuts the building in half horizontally; the elaboration of the second story contrasts with the relatively unadorned ground story; the individual bricks in the second story are slightly more saturated in color than those in the first; and the apparent rustication of the ground story, achieved by recessing one course in every seven, is abandoned at the first stringcourse, above which the wall is planar.

 

In keeping with the unadorned character of the ground story are the openings, which receive identical articulation in both facades, in the corner, and on the southern side of the eastern arm. They differ only in their proportions: those in the north facade are squatter than those in the projecting bays and in the principal facade, and those in the curved section and the eastern arm are more attenuated.

 

The sash is one-over-one double-hung aluminum surmounted by a fixed pane of glass. The openings are unframed, vertically-oriented rectangles with flat-arch brick lintels and limestone sills with classical contours. A console at either end of the sill provides support, and a console serves as keystone in the flat arch (the console keystone is omitted in the outermost bays of the curved unit).

 

There are three distinct window treatments in the second story, although the sash remains constant. While the same size as those in the east, the windows in the north side are the least elaborate, treated in much the same way as those on the ground story. Replacing the consoles, however, are wedge-shaped limestone keystones that are articulated in three dimensions.

 

One such opening marks the second story of the southern side of the eastern arm. The windows of the corner element are squeezed within the intercolumniations of four Roman Doric, unf luted columns on bases, the two end ones of which are engaged; a series of classical moldings constitutes the lintels.

 

The surface bounded by the upper edge of each lintel and the lower edge of the second story stringcourse is pierced by a round window enframed with a terra-cotta wreath; the comers are enlivened with foliate terra-cotta forms.

 

All windows in the second stories of both the principal facade and the projecting bays are aedicular in type.

 

The aediculae, which frame the windows, are constituted of a series of freely interpreted classical elements including flanking pilasters, which are articulated with deep channels running vertically from the base, a capital, impost block, and lintel of classical moldings.

 

The window sill is tripartite: at either end, a segment projects slightly to form a base for the pilasters. A console with pendant foliate and vegetal ornament decorates each pilaster from just above mid-height to the capital. The window extends from the sill to the top of the capital; in the space that is roughly the height of the impost block and extends from the capital to the egg and dart molding of the lintel, is a flat, blank plaque.

 

The panel duplicates on a reduced scale the one crowning the axis of symmetry in the principal facade, which is inscribed with the name of the precinct. Each aedicula of the projecting bays is enframed by a larger aedicula, which is vestigial in that it is composed of thick pilasters that are simply projections of the brick fabric. Elaborating each pilaster are a cartouche, festoon, and pendant foliate form, placed in series within a vertically-oriented rectangular panel.

 

The axis of symmetry in the principal elevation serves a dual function: it divides the facade into two equal and opposite parts, and it creates a strong central focus. The double doors are preceded by two granite steps set between granite blocks, upon which originally were lampposts.

 

Rectangular hollow metal double doors, which have been painted bright red, with a transom on which the name of the Kingsbridge Heights Community Center has been painted in white, are placed within a basket or depressed arch with prominent brick voussoirs. A large, elaborate stone cartouche serves as the keystone.

 

Flanking the arch, large ancones with foliate ornament, surmounted by impost blocks, support the stringcourse, which breaks forward from the plane of the building at the entry. Directly above, a parapet is elaborated by a blank panel flanked by two triglyph-like elements surmounted by scrolls.

 

The triglyph/scroll unit (which resembles a section of fluted pilaster) supports a projecting molding along the upper edge of the parapet. Flanking each of the triglyph/scrolls is an S-shaped scroll in bas-relief.

 

The uppermost element of the axis is a plaque identifying the building as the 50th Precinct Police Station House. The limestone plaque is a horizontally disposed rectangle; a continuous egg and dart molding serves as a border. A tripartite guttae-like feature dangles from each side of the lower edge of the panel.

 

A block with a console in its center projects from the center of the lower edge of the inscribed panel.

 

The facade of the western arm of the "U" is undistinguished and virtually invisible from any street. The brick wall is punctuated by windows in the second story.

 

Alterations to the exterior have been few and have not significantly affected the street facades. The police moved from the building to their current location at 3450 Kingsbridge Avenue in December 1974; the present tenant, the Kingsbridge Heights Community Center, took possession in summer 1975. In 1979, with funding from the New York City Capital Budget and the Federal Community Development Budget, the Community Center embarked on a major rehabilitative program, which was completed in 1981.

 

Undertaken by the New York architects, Edelman and Salzman, most of the alterations were in the nature of adapting the interior spaces to new uses and upgrading

 

systems. The architects were sensitive to the original exterior; the north and east facades of the building remain virtually untouched.

 

The terracotta band courses were partially repointed; the existing wooden entrance doors and frames were replaced with hollow metal doors and frame, and the transom was closed; a new wrought iron gate to the courtyard was installed at the south end of the Kingsbridge Terrace facade; the wooden windows were replaced with aluminum ones, and stainless steel security screens were placed on every opening.

 

Unfortunately, the material condition of the exterior appears to be steadily deteriorating. The cornice, a section of which is missing from the curved elevation, shows an advanced state of erosion especially on the underside. Spalling marks the limestone members of the windows, door, stringcourses, as well as the terra-cotta ornament, and large pieces of the window sills have broken off.

 

- From the 1986 NYCLPC Landmark Designation Report

This article was published in the Brookings, Oregon local paper in December of 2000 after Bob Ludlum's (no relation to the famous author) visit to his childhood home. Here's what it says:

  

The history of of the Ludlum House may have always been a mystery for most Brookings residents.

 

Many folks have asked, “who were the Ludlums?” And “when did they live here?” along with “when and where was the house built?”

 

Employees at the U.S. Forest Service’s Chetco Ranger District are also uncertain of the house’s history.

 

Some of these questions were answered this past summer when Bob Ludlum and family visited his boyhood home for a weekend stay.

 

For Bob, his wife JoAnn and their children, Eric and Ann, the visit was the first to Bob’s boyhood home in nearly 40 years.

 

Upset that the Forest Service had purchased the house from his father in the 1960s, Bob stayed away with little desire to return.

 

When the family returned this summer they found a completely new “Ludlum House” on the site. Weather and time had finally taken their toll on the old house and in 1999 with the house deteriorated beyond repair, the Forest Service burned it and contracted to build a new house of near identical design on the original site.

 

The New house is now a popular rental house for overnight and weekend stays.

 

The Ludlum family’s association with the present Ludlum House began in 1943 during World War II while Bob’s father, Robert, was an aide to General McArthur and Admiral Nimitz. While Robert was away at war, Peggy and their children Bob and Carol were living in Malibu, California.

 

Bob remembers that while growing up in Malibu his family was close enough to Gen. McArthur’s family that he was invited to attend his son’s birthday parties.

 

In the summer of 1943, Peggy and the children had an opportunity to vacation with her Malibu neighbors at a cabin beside Bear Creek and close to the present Winchuck Campground .

 

There, Bob and his sister Carol, had explored the area’s forest and streams. It was ther that his mother, Peggy, fell in love with the natural features of the Winchuck Valley.

 

Fortunately she found a house and 160 acres for sale at the forks of the Winchuck River and Wheeler Creek by a Mr. Costello.

 

Without consulting her husband, Peggy purchased the house and land. And so began the Ludlum family’s ownership of the Ludlum House.

 

Early history of the house is somewhat hazy, but Bob believes the house served as a boarding house in early Brookings. It had been disassembled and moved from Brookings to it’s present location where it was reassembled.

 

Bob recalls that Mr. Costello was not the person who moved the house and was the second or third owner at the Winchuck site. Robert Ludlum, an engineering graduate of Cornell University in the 1920s, worked for an oil company in Japan from 1928 to 1941 and again from 1946 to 1951 following World War II.

 

During his pre-war work, he learned the Japanese language and culture. He learned it so well that when the war came along he became an intelligence officer for the Pacific Campaign.

 

Following the war, Robert returned to Japan with his family and continued to work in the oil industry, making only occasional visits to their house on the Winchuck.

 

But in 1951, Robert said “to heck” with the pressures of our corporate life in Japan, quit his high pressure oil company job, moved with the family to their house at the forks of the Winchuck River and Wheeler Creek.

 

Once there, Bob recalls, that his mother’s lifestyle changed drastically from the luxury of maids to one of cutting her own firewood. However, the family adapted well to life along the Winchuck minus electricity and running water.

 

On the Winchuck, their neighbors were few but very memorable.

 

Closest were Perry and Ruth Davis, who lived just up Wheeler Creek at their homestead which is now the site of the old chimney that many folks from Brookings have seen.

 

Now, 40 years later, the Davis buildings are gone but the chimney serves as a trailhead for Forest Trail 1279. A remarkable couple, Perry and Ruth had many skills and interests that served their forest lifestyle.

 

Nearly self-sufficient, they gardened, canned, sewed, hunted and fished to sustain a living. With their sawmill, they cut myrtlewood lumber for their use and for sale. However, in the 1940s things were getting a little crowded up the Winchuck and they decided on a change of pace and put their place up for sale.

 

Bob recalls the day his mother sent him up Wheeler Creek with a note offering to purchase the Davis place of 160 acres. Included with the sale were the house and land where the old chimney now stands and the orchard across Wheeler Creek from the Ludlum House, which was a part of J. P. Wheeler’s homestead.

 

Soon after selling their Wheeler creek property Perry and Ruth bought the land that became the Del Norte Golf Course.

 

After a couple years they again became restless and moved to Chile where they taught school for a number of years. Some years later, back in the USA, they established a mining claim in the Kalmiopsis Wilderness where they lived their later years in the 1980s.

 

Another neighbor, Al Faulkner, a World War I veteran, lived in a one room cabin one-half mile down the river from the Ludlum’s, which is now a primitive campsite. Al, a subsistence hunter, trapper and fisherman was often a visitor at the Ludlums. He had a habit of showing up in the late afternoon for a drink, only to hang around until he was invited for supper.

 

At the Faulkner’s cabin Bob would inspect the drying bear skins as well as assorted mink, marten and raccoon hides. Bob recalls that Al passed away at the Veterans Hospital in Roseburg.

 

Recalling that there were no roads in the 40s and 50s, Bob described that he, and later with JoAnn, often hiked over the mountains to the North Fork Smith River and to what is now Kalmiopsis Wilderness. They often used the 1930s forest fire lookout pack trails for many of their hikes.

 

Today it is considered a full day round-trip hike on Trail 1114 from Packsaddle Mountain to Sourdough Camp on the North Fork Smith River.

 

Across Wheeler Creek from the Ludlum House, in the apple orchard, are the remains of the J. P. Wheeler homestead. Bob was told that the homestead house and other buildings burned shortly after Mr. Wheeler died in 1903.

 

On this visit Bob found some handmade nails in the orchard, the only remains of the Wheeler home.

 

A picket-fenced gravesite along Winchuck River Road near the Winchuck Campground, marks Wheeler’s grave.

 

Bob was pleased upon seeing and staying in his new ”old home” and expressed pleasure that the forest service had followed the original design in rebuilding the house.

 

Bob, JoAnn, Eric and Ann said they would return for future visits to their old stomping grounds.

   

Kingsbridge, Bronx, New York City, New York, United States

 

Designed in 1900, and built from 1901 to 1902 by the New York architects Arthur J. Horgan and Vincent J. Slattery, the former 50th Precinct Police Station House is prominently sited at the intersection of Kingsbridge Terrace and Summit Place. Its style, scale, materials of construction, direct relation to the street, and ornament contribute to the monumental character, which distinguished the building from the surrounding two- and three-story frame structures of rapidly expanding Kingsbridge.

 

A symbol of the authority of the police force and of the presence of municipal government in early 20th century Kingsbridge, and an exemplar of Beaux-Arts principles of composition, the building should be seen within the context of the City Beautiful Movement.

 

Historical interest in the building further derives from its being among the best surviving works of an architectural firm that was very much in the public eye at the turn-of-the-century.

 

Development of the Kingsbridge Area

 

Coincident with the growth of the northwest Bronx generally, the modern development of Kingsbridge and of the area presently known as Kingsbridge Heights dates from the latter half of the 19th century.

 

Rural and sparsely populated, with a varied topographical character, the Bronx of the 19th century depended for its growth on the gradual subdivision of estates, on changed attitudes respecting the desirability of the area, and on the completion of the Harlem River Railroad, which provided a first impetus to the development of the "north side."

 

Kingsbridge formally began to take shape as a residential community in 1847 when the Macomb family's "Island Farm," an extensive tract, was surveyed and subdivided into building lots, which were then sold for development.

 

Notwithstanding its late development relative to communities on Manhattan Island, Kingsbridge has had a rich history beginning as early as 1609 with the arrival of Henry Hudson on the Spuyten Duyvil peninsula.

 

Apparently, the Dutch had considered siting their projected New Amsterdam colony at Kingsbridge. The plan was soon abandoned, but by the early 17th century, the Dutch were fanning areas, on Manhattan as far north as the flatlands of Harlem.

 

It was not long before they began to seek areas into which the population could expand; thus, in addition to disaffected New Englanders, among the first settlers of Westchester County (chartered in 1683) and the Bronx — the land "upon the Maine" — were the Dutch. Indeed, the earliest European settler of the immediate Kingsbridge area was the Dutchman Jonkheer Adrien Van der Donck in 1641.

 

Van der Donck's tract, known as de Jonkheers, included all of the land from Spuyten Duyvil north eight miles along the Hudson River and east to the Bronx River.

 

The construction of the Boston Post Road in 1673 facilitated travel and communication between Manhattan Island and the northern colonies. Originating in lower Manhattan, the route ran the length of the island, crossed the Spuyten Duyvil Creek, traversed Westchester County and Connecticut, and terminated in Boston.

 

Until 1693 and the construction of the King's Bridge by landowner Vredryck Flypsen, crossing of the Spuyten Duyvil was accomplished by ferry. From the bridge, the Boston Post Road ran to Albany Crescent (which is just north of the old West Farms/Kingsbridge town line), followed Boston Avenue (the original name for that block of Kingsbridge Terrace in which the police station is located), and then veered toward the northeast, crossing the Bronx River at William's Bridge.

 

Another of the early roads radiating from the location of the King's Bridge and moving north along Bailey Avenue, was the Albany Post Road (opened in 1669 as far as the Sawmill River and in 1700 to Albany), which then continued along the western side of the Van Cortlandt properties.

 

That the King's Bridge served as the principal passage from the northern tip of Manhattan Island to the Bronx mainland, underlines the significance of the greater Kingsbridge area during Revolutionary times. As the main military artery for the armies of both the British and the Americans, the bridge was under constant attack during those Revolutionary War years when New York City was subject to British occupation (1776-1783).

 

Boston Hill (the name for the rise in the immediate vicinity of Albany Crescent) was the scene of many battles in the years following 1776, and from 1777 to 1779, the British established a presence at the Van Cortlandt mansion (located on the eastern side of the Albany Post Road).

 

Early indications of the eventual residential development of the area can be seen in the period immediately following the Revolution, at which time, well-to-do New Yorkers focused on the natural beauty of the area with an eye toward moving northward.

 

The eventual annexation of the Bronx proceeded in piecemeal fashion and not without opposition: against the incorporation were those Bronx residents who thought that nothing would be gained by aligning themselves with heavily populated Manhattan, and those New Yorkers who saw no advantage to appropriating farmland.

 

Nevertheless, on 1 January 1874, the townships of Kingsbridge, West Farms, and Morrisania formally became the twenty-third and twenty-fourth wards of the City of New York; from that time until 1898, they were known

 

collectively as the "Annexed District". It was not until 1895, however, that the annexation of the Bronx east of the Bronx River was effected.

 

In 1897, the New York State Legislature passed a charter for the creation of Greater New York City; in 1898, twenty-four local governments including all the annexed districts north of the Harlem River, as well as the boroughs of Brooklyn, Queens, and Richmond (Staten Island) were officially consolidated.

 

Commenting on building operations in the Bronx and noting a remarkable thirty-three percent increase thereof between 1898 and 1899, a dealer in real estate averred: "as to the future of the borough, that is assured, for the natural trend of the city's growth is northward, and the Bronx with all its proposed improvements will reap a golden harvest."

 

Corroborating his opinion, the Real Estate Record and Guide of 1901 observed that "more families continue to forsake their downtown neighbors for better homes and the purer air and ampler room above the Harlem and especially brisk in the matter of building is [sic] the upper and eastern sections of the Bronx, where both private and tenement houses are springing up."

 

In point of fact, just after 1895 and the annexation of the eastern section, booms in both real estate and population occurred. These were attributable to a combination of factors, the most important being inclusion into the metropolitan area, self-government, and the improvement of transportation.

 

Bronx Police History and the 50th Precinct

 

Bronx police history formally began in January 1866 when the Metropolitan Police District, created by an act of the New York State legislature in 1857, established a substation in the Village of Tremont in the Town of West Farms.

 

Previously, police activity in Kingsbridge had been under the jurisdiction of Manhattan's 32nd Precinct (currently the 30th), located at Amsterdam Avenue and 152nd Street.

 

Due to an increase in criminal behavior accompanying the immediate post-Civil War growth of the area, the residents of Yonkers and West Farms had favored incorporation within the Metropolitan Police District. Participation in the State's Metropolitan Police District was not long-lived, however; in 1870, as a result of the reorganization of local government according to the terms of the Tweed Charter, the City reclaimed control of the police department.

 

In the following year, Yonkers withdrew from the Metropolitan Police District and organized a police force of its own. In November 1871, the Yonkers police established a substation at Kingsbridge (the predecessor of the 50th) to serve the precinct extending from the West Farms town line to just south of the present Yonkers city line; an existing frame building, located at Verveelen Place, just east of Broadway and south of 231st Street, was adapted for use as a station house.

 

As a consequence of the separation of the Township of Kingsbridge from the City of Yonkers in 1872, the force headquartered at Kingsbridge was administered by a joint Board of Police Commissioners of Yonkers and Kingsbridge. Following annexation in January 1874, the district constituted of Kingsbridge, Morrisania, and West Farms was divided into two precincts and one sub-precinct of the New York Police Department.

 

Shortly thereafter, the sub-precinct, headquartered at Kingsbridge, came into its own as the 35th Precinct.

 

With the consolidation of 1898, the Police Department of Greater New York assimilated eighteen small police agencies, and a move was initiated to conform the boundaries of police precincts to the lines of the individual townships. New precincts were created to serve newly annexed areas and to accommodate rapid population increases and building and commercial development in already established ones.

 

In accordance with the general objective of creating a flexible system that would provide for future expansion of the force, several renumberings of Bronx precincts occurred during the next thirty years. Upon consolidation in 1898, Kingsbridge was redesignated the 40th; in January 1918, the 74th; in April of the same year, the 57th; in 1924, the 26th; and on 1 August 1929, the 50th, which it remains to this day.

 

Despite its changed status upon incorporation into the Greater New York City Police Department, the 40th Precinct (subsequently the 50th) continued to occupy its makeshift quarters at Verveelen Place, which were enlarged in 1886 by taking possession of a two-story frame building to the east. This measure served only as a stopgap, however, for conditions had become progressively unsatisfactory and indeed unsavory.

 

Not only were the quarters cramped, but the basement of the building had flooded so often that the jail had settled out of plumb. A newspaper reporter of the time remarked that "no more unhealthier police station exists in the City of New York than this one, and in the late 1880s, the Board of Health condemned the building. Nevertheless, although a project for construction of a new facility finally was initiated in 1898, new accommodations would not be had until 1902 when " 'the shanty', as the frame building which . . . sheltered the blue-coat guardians ever since the 40th precinct was established [was] abandoned for a modem structure.

 

In a review of the official architecture of New York City, The Real Estate Record and Guide (November 1898) branded municipal architecture a disgrace, deplored its standards, and observed that there appeared to be a tendency to employ builders over professional architects.

 

This situation — in which "there is not even one architecturally decent police station"^ — began to improve as New York embarked on a citywide reconstruction and renovation campaign to modernize police facilities. The turn of the century enthusiasm for constructing civic monuments provided a further impetus.

 

Horgan and Slattery were commissioned to design a new 40th Precinct Police Station House sometime between 1898 and fall 1900, although the City of New York did not purchase the land on which the building is situated until 2 October 1900.

 

The firm estimated the construction costs for the station house, stables, and a prison, at $70,000. Plans were filed in December 1900, but approval to proceed was denied due to the omission of tie rods between the steel floor and the spruce beams of the one-story carriage house.

 

The New Building Application was approved on 9 January 1901 only after the architects filed a petition demonstrating that their use of the Roebling System of Fireproof Construction would constitute a sufficient tie in itself. Construction began 18 March 1901 and was completed 16 April 1902.

 

Horoan and Slattery

 

From 1894, when The New York Times initially reported on the financial difficulties of the firm, until the period 1899 to 1903, when the newspaper regularly and eagerly followed the professional lives of Horgan and Slattery, the architects gained more and more notoriety.

 

While political patronage certainly was not an invention of the Tammany administrators, Mayor Robert Van Wyck was overly zealous about stamping the municipal architecture of New York City with the seal of his administration. It appears to have been Van Wyck's intention either to convey all city projects directly to Horgan and Slattery or to install them in a consulting capacity over more widely renowned architects such as John Thomas (Hall of Records) or Frederick Withers (City Prison).

 

The firm first achieved public recognition with the rehabilitation of the interior of the Democratic Club in 1897. Upon completion of that job, apparently ". finding. . .hundreds of odd jobs, large and small. . .for the favored architects."

 

Queries from a perhaps overly critical press respecting any architect's professional qualifications or lack thereof are not in themselves objectionable.

 

However, in the case of Horgan and Slattery, the situation was rather more complicated as the attacks became a vehicle for denouncing the Van Wyck administration generally and pertained very little, if at all, with a fair assessment of the firm's work. In order to bolster their charges of corruption in the Van Wyck administration, the press seized upon the seeming irregularity in the relationship between the architects and the administration, claiming that the firm name had become "a trademark of municipal disrepute and jobbery".

 

Horgan and Slattery were characterized as political pawns "who had no standing artistic, political, scientific, or financial [but were] used as the cat's paw of politicians anxious to get control of municipal building in New York. . ."

 

Despite the scandals surrounding the firm, political affiliations carried the day, for "on the death of the architect J.R. Thomas, the contract for the completion of the Hall of Records was granted to the favorite Tammany contractors Horgan and Slattery in spite of strong denunciation of such action."

 

Considered cogs in a great political machine and sarcastically dubbed the "universal solvents" or experts in all fields of architecture, the firm was taken to task for lapsed professional and moral responsibilities:

 

The new city administration has acted none too soon and with none too much severity in the cases of those two "devouring absurdities" Horgan and Slattery. Two self-respecting men in their places — but that is unimaginable. Two self-respecting men could never occupy their places. But two men with not more than twice the average thickness of skin would have got out, when Tammany was defeated, without waiting to be kicked out amid the cheers of the bystanders.

 

Upon his election in 1902, Mayor Seth Low called for the "dishorganizing and unslatterifying" of municipal architecture and insisted that "all business relations between the city and Horgan and Slattery, who received the award of all city contracts during the administration of Mayor Van Wyck should be terminated as soon as possible."

 

Mayor Low's administration adopted a hardline position according to which it would be preferable to pay damages in court than to honor any outstanding contracts with the architects.

 

Although ethics rather than aesthetics constituted the point of departure for the accusations in the local press — there having been very little critical coverage of the design work —the artistic capabilities of the architects were fair game as well.

 

Nevertheless, the firm's rise to prominence, even in the context of its alleged association with the great turn-of-the-century New York City Democratic party machine, cannot nullify the inherent value of their designs, which, in large part, combined classical vocabularies and Beaux-Arts principles of composition.

 

The Architects' and Builders' Magazine of January 1907 recognized that, "[J. R. Thomas'] work has been carried on in praiseworthy fashion by Messrs. Horgan and Slattery who have added to Mr. Thomas' brilliant conception much of the virility of design which characterizes their other well-known masterpieces."

 

Scant biographical information exists on the two architects. Photographs or drawings of a fair number of their projects were published in architectural journals, but accompanying text is rare. Arthur J. Horgan (1868-1911) and Vincent J. Slattery (1867-1939) entered into partnership in 1886. Until 1897, the New York City Directory listed them as builders; interestingly, in the 1898 edition, they emerged as architects.

 

Evidently, they had incorporated as such and were working out of an office at 1 Madison Avenue. Apart from Horgan's testimony in 1899^^ before the Mazet Committee that he had studied architecture for five years in the offices of his godfather, Colonel Arthur Crocks, virtually nothing is known about the professional educations of the architects.

 

Slattery testified that the "outside work" of the firm was his responsibility, while Horgan assumed the "inside work"; he also referred all technical questions to Horgan. In the absence of conclusive information concerning their respective positions in the firm, which would elucidate Slattery's statement, one may speculate either that Horgan was the principal designer and Slattery the business partner, or that Horgan dealt with structural questions and Slattery with interior embellishment.

 

Following Horgan's death in 1911, Slattery went into business for himself, retiring in 1934.

 

The Design

 

The former 50th Precinct Police Station House is a handsome example of Beaux-Arts classicism, a mode of design that characterized much public architecture at the turn-of-the-century and became the emblem of the City Beautiful Movement.

 

Although clearly indebted to the architectural styles of the past, the design does not endeavor to replicate historical models exactly, nor did such archaeological accuracy underlie the historicism of the Ecole des Beaux-Arts. Rather, the elements are derived from classical prototypes but are freely interpreted and ingeniously combined.

 

Typologically, the building refers to an Italian Renaissance urban palace; the ornament is eclectic.

 

Horgan and Slattery approached the design of this small (relative to the grandest examples of the style in New York City, among them the Public Library and Grand Central Station) but imposing building in an imaginative way. The building dominates its site; further, it is the dominant architectural feature on the primarily residential block.

 

The architects' masterful handling is demonstrated in the sensitivity to the site, an understanding of the rules of Beaux-Arts composition, the use of ornament, and the adaptation of an ancient but particularly appropriate building type to a modern use.

 

Their studied application of Beaux-Arts principles is evident in the clear articulation of the parts of the building, the bilateral symmetry, the clearly marked and elaborated openings, the hierarchy of constituent elements in the facades, the play of advancing and receding planes, and the consistency of the articulation.

 

The form of the building refers to two distinct phases in the evolution of the Italian Renaissance urban palace. The 15th-century palace, such as the Pitti or the Medici, with its massive presence, direct relation with the street, and rusticated base, is an appropriate model for the expression of such values as power, security, invulnerability, and monumentality, which, surely in the public mind, are associated with the police force.

 

Strengthening this association are the horizontal extension of the station house, which intensifies the image of its being firmly wedded to its site, and the battlements or crenellations of the roof parapet.

 

The horizontal lines of the building are reiterated in the surface treatment on every level of the facades: by the granite base; by the continuous channels of the recessed brick courses; by the lines of the windows; by the projecting stringcourses; by the continuous cornice, which is distinguished from the fabric of the building both in color, texture and materials; by the roof parapet, which is defined as a series of advancing and receding planes.

 

In the 16th-century type, exemplified by the design for the House of Raphael by Bramante, the ground story rustication is mediated by the application of architectural ornament in the upper stories, which is also the case here.

 

Description

 

The Kingsbridge Terrace of today, which is rather an unprepossessing street lined with detached houses as well as low-rise apartments, does not figure prominently in the street system of the Bronx, or even of Kingsbridge. This was not always the case, however.

 

From the 18th century until 1913, that portion of Kingsbridge Terrace north of what is presently Albany Crescent, was known as Boston Avenue, the name deriving from its having been a segment of the Boston Post Road. As the east/west section of the almost elliptical Albany Crescent (running roughly perpendicular to the present Bailey Avenue) was also a part of Boston Avenue, and Bailey Avenue formed part of the Albany Post Road, the station house is in close proximity to the intersection of two historically significant roads, and at the crest of Boston Hill.

 

From the street, the building appears as a massive two-story masonry block. In plan, however, it is a "U", oriented southward such that its eastern arm forms the principal or Kingsbridge Terrace facade, and its base (at the north) constitutes the secondary or Summit Place facade.

 

The principal facade is 83 feet in length and two stories in height; the secondary facade is 119 feet in length and three stories in height, only two of which are expressed, corresponding to those on the principal facade.

 

The juncture of the eastern and northern facades is mediated by a curved comer treatment. This transitional element, the articulation of whose second story departs from those of both street facades, constitutes the focal point of the composition if the building is viewed obliquely from the northeast.

 

The focal point, shifts, however to the center bay of the principal facade if

 

the building is viewed directly from the east or obliquely from the south; from either vantage point, the comer construction is virtually invisible.

 

In both cases, the corner element and the axis of symmetry (formed of the entry, the parapet directly above it, the window in the second story, the plaque identifying the building) provide vertical accents in an otherwise horizontally disposed composition. The principal facade consists of five bays, the central three flanked by projecting end bays in the north and south.

 

This "ABA" rhythm is repeated in the secondary facade with the difference that the projecting end bays flank a central section of seven bays. Three bays define the curved comer section.

 

Gamboge bricks, which are variegated in hue and are laid in Flemish bond, constitute the veneers of the facades, including the southern wall of the eastern arm of the "U". The contrasting limestone members of the windows, door, stringcourses, and columns, the granite of the base, the terra-cotta ornament, and the green tin denticulated Doric cornice create an impressive polychromatic image.

 

Like the urban palaces of the Italian Renaissance, the two stories are differentiated in characteristic ways: a projecting stringcourse composed of a series of classical moldings (the lowermost of which is egg and dart) literally cuts the building in half horizontally; the elaboration of the second story contrasts with the relatively unadorned ground story; the individual bricks in the second story are slightly more saturated in color than those in the first; and the apparent rustication of the ground story, achieved by recessing one course in every seven, is abandoned at the first stringcourse, above which the wall is planar.

 

In keeping with the unadorned character of the ground story are the openings, which receive identical articulation in both facades, in the corner, and on the southern side of the eastern arm. They differ only in their proportions: those in the north facade are squatter than those in the projecting bays and in the principal facade, and those in the curved section and the eastern arm are more attenuated.

 

The sash is one-over-one double-hung aluminum surmounted by a fixed pane of glass. The openings are unframed, vertically-oriented rectangles with flat-arch brick lintels and limestone sills with classical contours. A console at either end of the sill provides support, and a console serves as keystone in the flat arch (the console keystone is omitted in the outermost bays of the curved unit).

 

There are three distinct window treatments in the second story, although the sash remains constant. While the same size as those in the east, the windows in the north side are the least elaborate, treated in much the same way as those on the ground story. Replacing the consoles, however, are wedge-shaped limestone keystones that are articulated in three dimensions.

 

One such opening marks the second story of the southern side of the eastern arm. The windows of the corner element are squeezed within the intercolumniations of four Roman Doric, unf luted columns on bases, the two end ones of which are engaged; a series of classical moldings constitutes the lintels.

 

The surface bounded by the upper edge of each lintel and the lower edge of the second story stringcourse is pierced by a round window enframed with a terra-cotta wreath; the comers are enlivened with foliate terra-cotta forms.

 

All windows in the second stories of both the principal facade and the projecting bays are aedicular in type.

 

The aediculae, which frame the windows, are constituted of a series of freely interpreted classical elements including flanking pilasters, which are articulated with deep channels running vertically from the base, a capital, impost block, and lintel of classical moldings.

 

The window sill is tripartite: at either end, a segment projects slightly to form a base for the pilasters. A console with pendant foliate and vegetal ornament decorates each pilaster from just above mid-height to the capital. The window extends from the sill to the top of the capital; in the space that is roughly the height of the impost block and extends from the capital to the egg and dart molding of the lintel, is a flat, blank plaque.

 

The panel duplicates on a reduced scale the one crowning the axis of symmetry in the principal facade, which is inscribed with the name of the precinct. Each aedicula of the projecting bays is enframed by a larger aedicula, which is vestigial in that it is composed of thick pilasters that are simply projections of the brick fabric. Elaborating each pilaster are a cartouche, festoon, and pendant foliate form, placed in series within a vertically-oriented rectangular panel.

 

The axis of symmetry in the principal elevation serves a dual function: it divides the facade into two equal and opposite parts, and it creates a strong central focus. The double doors are preceded by two granite steps set between granite blocks, upon which originally were lampposts.

 

Rectangular hollow metal double doors, which have been painted bright red, with a transom on which the name of the Kingsbridge Heights Community Center has been painted in white, are placed within a basket or depressed arch with prominent brick voussoirs. A large, elaborate stone cartouche serves as the keystone.

 

Flanking the arch, large ancones with foliate ornament, surmounted by impost blocks, support the stringcourse, which breaks forward from the plane of the building at the entry. Directly above, a parapet is elaborated by a blank panel flanked by two triglyph-like elements surmounted by scrolls.

 

The triglyph/scroll unit (which resembles a section of fluted pilaster) supports a projecting molding along the upper edge of the parapet. Flanking each of the triglyph/scrolls is an S-shaped scroll in bas-relief.

 

The uppermost element of the axis is a plaque identifying the building as the 50th Precinct Police Station House. The limestone plaque is a horizontally disposed rectangle; a continuous egg and dart molding serves as a border. A tripartite guttae-like feature dangles from each side of the lower edge of the panel.

 

A block with a console in its center projects from the center of the lower edge of the inscribed panel.

 

The facade of the western arm of the "U" is undistinguished and virtually invisible from any street. The brick wall is punctuated by windows in the second story.

 

Alterations to the exterior have been few and have not significantly affected the street facades. The police moved from the building to their current location at 3450 Kingsbridge Avenue in December 1974; the present tenant, the Kingsbridge Heights Community Center, took possession in summer 1975. In 1979, with funding from the New York City Capital Budget and the Federal Community Development Budget, the Community Center embarked on a major rehabilitative program, which was completed in 1981.

 

Undertaken by the New York architects, Edelman and Salzman, most of the alterations were in the nature of adapting the interior spaces to new uses and upgrading

 

systems. The architects were sensitive to the original exterior; the north and east facades of the building remain virtually untouched.

 

The terracotta band courses were partially repointed; the existing wooden entrance doors and frames were replaced with hollow metal doors and frame, and the transom was closed; a new wrought iron gate to the courtyard was installed at the south end of the Kingsbridge Terrace facade; the wooden windows were replaced with aluminum ones, and stainless steel security screens were placed on every opening.

 

Unfortunately, the material condition of the exterior appears to be steadily deteriorating. The cornice, a section of which is missing from the curved elevation, shows an advanced state of erosion especially on the underside. Spalling marks the limestone members of the windows, door, stringcourses, as well as the terra-cotta ornament, and large pieces of the window sills have broken off.

 

- From the 1986 NYCLPC Landmark Designation Report

The politics of ethnicity have been the Ethiopian modus since the end of the Communist revolution (in fact it was just an autocratic dictature). The problem is to determine how ethnicity melts in the national frame. Moreover in a multiethnic region such as Gambella the problem is to find out what is national.

 

What is national in Gambella, apart from the Ethiopian flags and the Millenium wishings? Defiance seems to be the common relation to the State. In fact, the presence of the State is weak in Gambella and people perceive it from afar. Some groups are still unsubordinated to the authority: they steal cattle, burn villages... there is 'worst': they scare the investors and the Malaysia's Petronas who launched gas and oil exploration (thus promising an oil boom in Ethiopia).

 

Ethiopian officials say the bandits are Sudanese. Sudanese officials say they have never heard about them. Bandits have no nationality (apart from the corrupted state appartus: policemen, soldiers, official, officers, administrators, ministers, wife of the Prime Minister, Son of the President... All of them being champions of nationalism).

 

(to be continued)

  

gambella-stories.tumblr.com/

 

Pye is quite a common surname in Lancashire so I'm told, and Pye Commercials of Preston brought LFD964L, an Atkinson Borderer recovery to the Atkinson rally around 1988.

If I'm not mistaken the gentleman visible on the left is Mr Gordon Baron?

TodaysArt 2015

Pier, Scheveningen

 

Lotte Geeven (1980) is a multimedia artist. She creates adventurous portraits of the human relation to intangible subjects, such as the sky or the earth. In search of places where this relation deviates, she travels the world. At different locations and with the help of experts, she studies and reveals the mechanisms of our attempts to understand and control these complex matters. The results of her research are minimal portraits that provide another position towards subjects that we thought we already understood. Geeven adopts a position that respects the mystery of things. Geeven does not believe in a specific creative signature, but lets the location dictate the form and medium of her work. Her role in any project is chameleon like. If needed she is an anthropologist, geologist, thief or salesperson. Her work was shown in several museums and galleries in New York, Berlin, London, China, Japan , Indonesia and Canada. In 2010, Geeven was awarded with the Illy Prize, for most innovative artist.

 

For TodaysArt, she created the new piece Walter in collaboration with Thomas Grill; an oracle-algorithm that gives the sea a voice. The cube-shaped talking computer Walter meticulously observes the sea in motion through its lens and connects all the different sea-states to our language. At daytime, the digital oracle reads the ocean as neutral to positive, whereas clouded periods, dawn and nighttime will darken its’ vocabulary as the light diminishes. In this piece, the sea is perceived as a giant living entity with many moods and faces. These moods narrate words with an ancient connection, emitting fine-tuned word-clouds of closely related words with ancient ties in etymology, and a psycho-linguistic link. For instance, a bright and calm sea will cause peacefully spoken, light, bright words such as lotus or lemonade, while a dark and dynamic sea will be furious and speak of terror and loss. The voice of Walter reacts to the surface of the sea, whispering when the sea is calm, and shouting during violent storms, so that at the end of The Pier one can hear the sea speak for the first time.

  

Algorithm: Dr. Thomas Grill.

 

Design Walter + production: Miriam van Eck.

 

Book: Edwin van Gender, mainstudio.

Research: Kindly advised by Mag. Dr. Brigitte Krenn; specialized in Computational Linguistics, Literature, Psychology and Philosophy

Mayor Bill de Blasio signs into law Intro No. 620, in relation to the naming of 56 thoroughfares and public places. City Hall, New York. Thursday, February 05, 2015. Credit: Demetrius Freeman/Mayoral Photography Office.

 

This photograph is provided by the New York City Mayoral Photography Office (MPO) for the benefit of the general public and for dissemination by members of the media. The photograph may not be manipulated in any way and may not be used in commercial materials, advertisements, emails, products or promotions that in any way suggests approval or endorsement of the City of New York, the Mayoral administration, or the de Blasio family without prior consent from the MPO (PhotoOffice@cityhall.nyc.gov). Any use or reprinting of official MPO photographs must use the following credit language and style: “Photographer/Mayoral Photography Office”, as listed at the end of each caption

Negative No: 1972-3462 - Negatives Book Entry: Yew Tree Road/Princess Parkway, Views in relation to footbridge

...for Bertram!

Die voluminöse Expansion subterraler Produkte steht in reziproker Relation zum Intelligenzquotienten des Produzenten!

Die dümmsten Bauern haben die dicksten Kartoffeln!

Van Cortlandt Village, Bronx , New York, United States

 

Designed in 1900, and built from 1901 to 1902 by the New York architects Arthur J. Horgan and Vincent J. Slattery, the former 50th Precinct Police Station House is prominently sited at the intersection of Kingsbridge Terrace and Summit Place. Its style, scale, materials of construction, direct relation to the street, and ornament contribute to the monumental character, which distinguished the building from the surrounding two- and three-story frame structures of rapidly expanding Kingsbridge.

 

A symbol of the authority of the police force and of the presence of municipal government in early 20th century Kingsbridge, and an exemplar of Beaux-Arts principles of composition, the building should be seen within the context of the City Beautiful Movement.

 

Historical interest in the building further derives from its being among the best surviving works of an architectural firm that was very much in the public eye at the tum-of-the-century.

 

Development of the Kingsbridge Area

 

Coincident with the growth of the northwest Bronx generally, the modern development of Kingsbridge and of the area presently known as Kingsbridge Heights dates from the latter half of the 19th century.

 

Rural and sparsely populated, with a varied topographical character, the Bronx of the 19th century depended for its growth on the gradual subdivision of estates, on changed attitudes respecting the desirability of the area, and on the completion of the Harlem River Railroad, which provided a first impetus to the development of the "north side."

 

Kingsbridge formally began to take shape as a residential community in 1847 when the Macomb family's "Island Farm," an extensive tract, was surveyed and subdivided into building lots, which were then sold for development.

 

Notwithstanding its late development relative to communities on Manhattan Island, Kingsbridge has had a rich history beginning as early as 1609 with the arrival of Henry Hudson on the Spuyten Duyvil peninsula.

 

Apparently, the Dutch had considered siting their projected New Amsterdam colony at Kingsbridge. The plan was soon abandoned, but by the early 17th century, the Dutch were farming areas on Manhattan as far north as the flatlands of Harlem.

 

It was not long before they began to seek areas into which the population could expand; thus, in addition to disaffected New Englanders, among the first settlers of Westchester County and the Bronx — the land "upon the Maine" — were the Dutch. Indeed, the earliest European settler of the immediate Kingsbridge area was the Dutchman Jonkheer Adrien Van der Donck in 1641.

 

Van der Donck's tract, known as de Jonkheers, included all of the land from Spuyten Duyvil north eight miles along the Hudson River and east to the Bronx River.

 

The construction of the Boston Post Road in 1673 facilitated travel and communication between Manhattan Island and the northern colonies. Originating in lower Manhattan, the route ran the length of the island, crossed the Spuyten Duyvil Creek, traversed Westchester County and Connecticut, and terminated in Boston.

 

Until 1693 and the construction of the King's Bridge by landowner Vredryck Flypsen, crossing of the Spuyten Duyvil was accomplished by ferry. From the bridge, the Boston Post Road ran to Albany Crescent, followed Boston Avenue, and then veered toward the northeast, crossing the Bronx River at William's Bridge.

 

Another of the early roads radiating from the location of the King's Bridge and moving north along Bailey Avenue, was the Albany Post Road , which then continued along the western side of the Van Cortlandt properties.

 

That the King's Bridge served as the principal passage from the northern tip of Manhattan Island to the Bronx mainland, underlines the significance of the greater Kingsbridge area during Revolutionary times. As the main military artery for the armies of both the British and the Americans, the bridge was under constant attack during those Revolutionary War years when New York City was subject to British occupation .

 

Boston Hill was the scene of many battles in the years following 1776, and from 1777 to 1779, the British established a presence at the Van Cortlandt mansion .

 

Early indications of the eventual residential development of the area can be seen in the period immediately fol lowing the Revolution, at which time, well-to-do New Yorkers focused on the natural beauty of the area with an eye toward moving northward.

 

The eventual annexation of the Bronx proceeded in piecemeal fashion and not without opposition: against the incorporation were those Bronx residents who thought that nothing would be gained by aligning themselves with heavily populated Manhattan, and those New Yorkers who saw no advantage to appropriating farmland.

 

Nevertheless, on 1 January 1874, the townships of Kingsbridge, West Farms, and Morrisania formally became the twenty-third and twenty-fourth wards of the City of New York; from that time until 1898, they were known collectively as the "Annexed District". It was not until 1895, however, that the annexation of the Bronx east of the Bronx River was effected.

 

In 1897, the New York State Legislature passed a charter for the creation of Greater New York City; in 1898, twenty-four local governments including all the annexed districts north of the Harlem River, as well as the boroughs of Brooklyn, Queens, and Richmond were officially consolidated.

 

Commenting on building operations in the Bronx and noting a remarkable thirty-three percent increase thereof between 1898 and 1899, a dealer in real estate averred: "as to the future of the borough, that is assured, for the natural trend of the city's growth is northward, and the Bronx with all its proposed improvements will reap a golden harvest."

 

Corroborating his opinion, the Real Estate Record and Guide of 1901 observed that "more families continue to forsake their downtown neighbors for better homes and the purer air and ampler room above the Harlem and especially brisk in the matter of building is [sic] the upper and eastern sections of the Bronx, where both private and tenement houses are springing up."

 

In point of fact, just after 1895 and the annexation of the eastern section, booms in both real estate and population occurred. These were attributable to a combination of factors, the most important being inclusion into the metropolitan area, self-government, and the improvement of transportation.

 

Bronx Police History and the 50th Precinct

 

Bronx police history formally began in January 1866 when the Metropolitan Police District, created by an act of the New York State legislature in 1857, established a substation in the Village of Tremont in the Town of West Farms.

 

Previously, police activity in Kingsbridge had been under the jurisdiction of Manhattan's 32nd Precinct , located at Amsterdam Avenue and 152nd Street.

 

Due to an increase in criminal behavior accompanying the immediate post-Civil War growth of the area, the residents of Yonkers and West Farms had favored incorporation within the Metropolitan Police District. Participation in the State's Metropolitan Police District was not long-lived, however; in 1870, as a result of the reorganization of local government according to the terms of the Tweed Charter, the City reclaimed control of the police department.

 

In the following year, Yonkers withdrew from the Metropolitan Police District and organized a police force of its own. In November 1871, the Yonkers police established a substation at Kingsbridge to serve the precinct extending from the West Farms town line to just south of the present Yonkers city line; an existir^ frame building, located at Verveelen Place, just east of Broadway and south of 231st Street, was adapted for use as a station house.

 

As a consequence of the separation of the Township of Kingsbridge from the City of Yonkers in 1872, the force headquartered at Kingsbridge was administered by a joint Board of Police Commissioners of Yonkers and Kingsbridge. Following annexation in January 1874, the district constituted of Kingsbridge, Morrisania, and West Farms was divided into two precincts and one sub-precinct of the New York Police Department.

 

Shortly thereafter, the sub-precinct, headquartered at Kingsbridge, came into its own as the 35th Precinct.

 

With the consolidation of 1898, the Police Department of Greater New York assimilated eighteen small police agencies, and a move was initiated to conform the boundaries of police precincts to the lines of the individual townships. New precincts were created to serve newly annexed areas and to accommodate rapid population increases and building and commercial development in already established ones.

 

In accordance with the general objective of creating a flexible system that would provide for future expansion of the force, several renumberings of Bronx precincts occurred during the next thirty years. Upon consolidation in 1898, Kingsbridge was redesignated the 40th; in January 1918, the 74th; in April of the same year, the 57th; in 1924, the 26th; and on 1 August 1929, the 50th, which it remains to this day.

 

Despite its changed status upon incorporation into the Greater New York City Police Department, the 40th Precinct continued to occupy its makeshift quarters at Verveelen Place, which were enlarged in 1886 by taking possession of a two-story frame building to the east. This measure served only as a stopgap, however, for conditions had become progressively unsatisfactory and indeed unsavory.

 

Not only were the quarters cramped, but the basement of the building had flooded so often that the jail had settled out of plumb. A newspaper reporter of the time remarked that "no more unhealthier police station exists in the City of New York than this one,and in the late 1880s, the Board of Health condemned the building. Nevertheless, although a project for construction of a new facility finally was initiated in 1898, new accommodations would not be had until 1902 when " 'the shanty', as the frame building which . . . sheltered the blue-coat&i guardians ever since the 40th precinct was established [was] abandoned for a modem structure.

 

In a review of the official architecture of New York City, The Real Estate Record and Guide branded municipal architecture a disgrace, deplored its standards, and observed that there appeared to be a tendency to employ builders over professional architects.

 

This situation — in which "there is not even one architecturally decent police station"^ — began to improve as New York embarked on a citywide reconstruction and renovation campaign to modernize police facilities. The turn of the century enthusiasm for constructing civic monuments provided a further impetus.

 

Horgan and Slattery were commissioned to design a new 40th Precinct Police Station House sometime between 1898 and fall 1900, although the City of New York did not purchase the land on which the building is situated until 2 October 1900.

 

The firm estimated the construction costs for the station house, stables, and a prison, at $70,000. Plans were filed in December 1900, but approval to proceed was denied due to the omission of tie rods between the steel floor and the spruce beams of the one-story carriage house.

 

The New Building Application was approved on 9 January 1901 only after the architects filed a petition demonstrating that their use of the Roebling System of Fireproof Construction would constitute a sufficient tie in itself. Construction began 18 March 1901 and was completed 16 April 1902.

 

Horoan and Slattery

 

From 1894, when The New York Times initially reported on the financial difficulties of the firm, until the period 1899 to 1903, when the newspaper regularly and eagerly followed the professional lives of Horgan and Slattery, the architects gained more and more notoriety.

 

While political patronage certainly was not an invention of the Tammany administrators, Mayor Robert Van Wyck was overly zealous about stamping the municipal architecture of New York City with the seal of his administration. It appears to have been Van Wyck's intention either to convey all city projects directly to Horgan and Slattery or to install them in a consulting capacity over more widely renowned architects such as John Thomas or Frederick Withers .

 

The firm first achieved public recognition with the rehabilitation of the interior of the Democratic Club in 1897. Upon completion of that job, apparently ". finding. . .hundreds of odd jobs, large and small. . .for the favored architects."

 

Queries from a perhaps overly critical press respecting any architect's professional qualifications or lack thereof are not in themselves objectionable.

 

However, in the case of Horgan and Slattery, the situation was rather more complicated as the attacks became a vehicle for denouncing the Van Wyck administration generally and pertained very little, if at all, with a fair assessment of the firm's work. In order to bolster their charges of corruption in the Van Wyck administration, the press seized upon the seeming irregularity in the relationship between the architects and the administration, claiming that the firm name had become "a trademark of municipal disrepute and jobbery".

 

Horgan and Slattery were characterized as political pawns "who had no standing artistic, political, scientific, or financial [but were] used as the cat's paw of politicians anxious to get control of municipal building in New York. . ."

 

Despite the scandals surrounding the firm, political affiliations carried the day, for "on the death of the architect J.R. Thomas, the contract for the completion of the Hall of Records was granted to the favorite Tammany contractors Horgan and Slattery in spite of strong denunciation of such action."

 

Considered cogs in a great political machine and sarcastically dubbed the "universal solvents" or experts in all fields of architecture, the firm was taken to task for lapsed professional and moral responsibilities:

 

The new city administration has acted none too soon and with none too much severity in the cases of those two "devouring absurdities" Horgan and Slattery. Two self-respecting men in their places — but that is unimaginable. Two self-respecting men could never occupy their places. But two men with not more than twice the average thickness of skin would have got out, when Tammany was defeated, withqut waiting to be kicked out amid the cheers of the bystanders.

 

Upon his election in 1902, Mayor Seth Low called for the "dishorganizing and unslatterifying" of municipal architecture and insisted that "all business relations between the city and Horgan and Slattery, who received the award of all city contracts during the administration of Mayor Van Wyck should be terminated as soon as possible."

 

Mayor Low's administration adopted a hardline position according to which it would be preferable to pay damages in court than to honor any outstanding contracts with the architects.

 

Although ethics rather than aesthetics constituted the point of departure for the accusations in the local press — there having been very little critical coverage of the design work —the artistic capabilities of the architects were fair game as well.

 

Nevertheless, the firm's rise to prominence, even in the context of its alleged association with the great tum-of-the-century New York City Democratic party machine, cannot nullify the inherent value of their designs, which, in large part, combined classical vocabularies and Beaux-Arts principles of composition.

 

The Architects' and Builders' Magazine of January 1907 recognized that, "[J. R. Thomas'] work has been carried on in praiseworthy fashion by Messrs. Horgan and Slattery who have added to Mr. Thomas' brilliant conception much of the virility of design which characterizes their other well-known masterpieces."

 

Scant biographical information exists on the two architects. Photographs or drawings of a fair number of their projects were published in architectural journals, but accompanying text is rare. Arthur J. Horgan and Vincent J. Slattery entered into partnership in 1886. Until 1897, the New York City Directory listed them as builders; interestingly, in the 1898 edition, they emerged as architects.

 

Evidently, they had incorporated as such and were working out of an office at 1 Madison Avenue. Apart from Horgan's testimony in 1899 before the Mazet Committee that he had studied architecture for five years in the offices of his godfather, Colonel Arthur Crocks, virtually nothing is known about the professional educations of the architects.

 

Slattery testified that the "outside work" of the firm was his responsibility, while Horgan assumed the "inside work"; he also referred all technical questions to Horgan. In the absence of conclusive information concerning their respective positions in the firm, which would elucidate Slattery's statement, one may speculate either that Horgan was the principal designer and Slattery the business partner, or that Horgan dealt with structural questions and Slattery with interior embellishment.

 

Following Horgan's death in 1911, Slattery went into business for himself, retiring in 1934.

 

The Design

 

The former 50th Precinct Police Station House is a handsome example of Beaux-Arts classicism, a mode of design that characterized much public architecture at the tum-of-the-century and became the emblem of the City Beautiful Movement.

 

Although clearly indebted to the architectural styles of the past, the design does not endeavor to replicate historical models exactly, nor did such archaeological accuracy underlie the historicism of the Ecole des Beaux-Arts. Rather, the elements are derived from classical prototypes but are freely interpreted and ingeniously combined.

 

Typologically, the building refers to an Italian Renaissance urban palace; the ornament is eclectic.

 

Horgan and Slattery approached the design of this small but imposing building in an imaginative way. The building dominates its site; further, it is the dominant architectural feature on the primarily residential block. The architects' masterful handling is demonstrated in the sensitivity to the site, an understanding of the rules of Beaux-Arts composition, the use of ornament, and the adaptation of an ancient but particularly appropriate building type to a modern use.

 

Their studied application of Beaux-Arts principles is evident in the clear articulation of the parts of the building, the bilateral symmetry, the clearly marked and elaborated openings, the hierarchy of constituent elements in the facades, the play of advancing and receding planes, and the consistency of the articulation.

 

The form of the building refers to two distinct phases in the evolution of the Italian Renaissance urban palace. The 15th-century palace, such as the Pitti or the Medici, with its massive presence, direct relation with the street, and rusticated base, is an appropriate model for the expression of such values as power, security, invulnerability, and monumentality, which, surely in the public mind, are associated with the police force.

 

Strengthening this association are the horizontal extension of the station house, which intensifies the image of its being firmly wedded to its site, and the battlements or crenel lations of the roof parapet.

 

The horizontal lines of the building are reiterated in the surface treatment on every level of the facades: by the granite base; by the continuous channels of the recessed brick courses; by the lines of the windows; by the projecting stringcourses; by the continuous cornice, which is distinguished from the fabric of the building both in color, texture and materials; by the roof parapet, which is defined as a series of advancing and receding planes.

 

In the 16th-century type, exemplified by the design for the House of Raphael by Bramante, the ground story rustication is mediated by the application of architectural ornament in the upper stories, which is also the case here.

 

Description

 

The Kingsbridge Terrace of today, which is rather an unprepossessing street lined with detached houses as well as low-rise apartments, does not figure prominently in the street system of the Bronx, or even of Kingsbridge. This was not always the case, however.

 

From the 18th century until 1913, that portion of Kingsbridge Terrace north of what is presently Albany Crescent, was known as Boston Avenue, the name deriving from its having been a segment of the Boston Post Road. As the east/west section of the almost elliptical Albany Crescent was also a part of Boston Avenue, and Bailey Avenue formed part of the Albany Post Road, the station house is in close proximity to the intersection of two historically significant roads, and at the crest of Boston Hill.

 

From the street, the building appears as a massive two-story masonry block. In plan, however, it is a "U", oriented southward such that its eastern arm forms the principal or Kingsbridge Terrace facade, and its base constitutes the secondary or Summit Place facade.

 

The principal facade is 83 feet in length and two stories in height; the secondary facade is 119 feet in length and three stories in height, only two of which are expressed, corresponding to those on the principal facade.

 

The juncture of the eastern and northern facades is mediated by a curved comer treatment. This transitional element, the articulation of whose second story departs from those of both street facades, constitutes the focal point of the composition if the building is viewed obliquely from the northeast.

 

The focal point, shifts, however to the center bay of the principal facade if the building is viewed directly from the east or obliquely from the south; from either vantage point, the comer construction is virtually invisible.

 

In both cases, the corner element and the axis of symmetry provide vertical accents in an otherwise horizontally disposed composition. The principal facade consists of five bays, the central three flanked by projecting end bays in the north and south.

 

This "ABA" rhythm is repeated in the secondary facade with the difference that the projecting end bays flank a central section of seven bays. Three bays define the curved comer section.

 

Gamboge bricks, which are variegated in hue and are laid in Flemish bond, constitute the veneers of the facades, including the southern wall of the eastern arm of the "U". The contrasting limestone members of the windows, door, stringcourses, and columns, the granite of the base, the terra-cotta ornament, and the green tin denticulated Doric cornice create an impressive polychromatic image.

 

Like the urban palaces of the Italian Renaissance, the two stories are differentiated in characteristic ways: a projecting stringcourse composed of a series of classical moldings literally cuts the building in half horizontally; the elaboration of the second story contrasts with the relatively unadorned ground story; the individual bricks in the second story are slightly more saturated in color than those in the first; and the apparent rustication of the ground story, achieved by recessing one course in every seven, is abandoned at the first stringcourse, above which the wall is planar.

 

In keeping with the unadorned character of the ground story are the openings, which receive identical articulation in both facades, in the corner, and on the southern side of the eastern arm. They differ only in their proportions: those in the north facade are squatter than those in the projecting bays and in the principal facade, and those in the curved section and the eastern arm are more attenuated.

 

The sash is one-over-one double-hung aluminum surmounted by a fixed pane of glass. The openings are unframed, vertically-oriented rectangles with flat-arch brick lintels and limestone sills with classical contours. A console at either end of the sill provides support, and a console serves as keystone in the flat arch .

 

There are three distinct window treatments in the second story, although the sash remains constant. While the same size as those in the east, the windows in the north side are the least elaborate, treated in much the same way as those on the ground story. Replacing the consoles, however, are wedge-shaped limestone keystones that are articulated in three dimensions.

 

One such opening marks the second story of the southern side of the eastern arm. The windows of the corner element are squeezed within the intercolumniations of four Roman Doric, unf luted columns on bases, the two end ones of which are engaged; a series of classical moldings constitutes the lintels.

 

The surface bounded by the upper edge of each lintel and the lower edge of the second story stringcourse is pierced by a round window enframed with a terra-cotta wreath; the comers are enlivened with foliate terra-cotta forms.

 

All windows in the second stories of both the principal facade and the projecting bays are aedicular in type.

 

The aediculae, which frame the windows, are constituted of a series of freely interpreted classical elements including flanking pilasters, which are articulated with deep channels running vertically from the base, a capital, impost block, and lintel of classical moldings.

 

The window sill is tripartite: at either end, a segment projects slightly to form a base for the pilasters. A console with pendant foliate and vegetal ornament decorates each pilaster from just above mid-height to the capital. The window extends from the sill to the top of the capital; in the space that is roughly the height of the impost block and extends from the capital to the egg and dart molding of the lintel, is a flat, blank plaque.

 

The panel duplicates on a reduced scale the one crowning the axis of symmetry in the principal facade, which is inscribed with the name of the precinct. Each aedicula of the projecting bays is enframed by a larger aedicula, which is vestigial in that it is composed of thick pilasters that are simply projections of the brick fabric. Elaborating each pilaster are a cartouche, festoon, and pendant foliate form, placed in series within a vertically-oriented rectangular panel.

 

The axis of symmetry in the principal elevation serves a dual function: it divides the facade into two equal and opposite parts, and it creates a strong central focus. The double doors are preceded by two granite steps set between granite blocks, upon which originally were lampposts.

 

Rectangular hollow metal double doors, which have been painted bright red, with a transom on which the name of the Kingsbridge Heights Community Center has been painted in white, are placed within a basket or depressed arch with prominent brick voussoirs. A large, elaborate stone cartouche serves as the keystone.

 

Flanking the arch, large ancones with foliate ornament, surmounted by impost blocks, support the stringcourse, which breaks forward from the plane of the building at the entry. Directly above, a parapet is elaborated by a blank panel flanked by two triglyph-like elements surmounted by scrolls.

 

The triglyph/scroll unit supports a projecting molding along the upper edge of the parapet. Flanking each of the triglyph/scrolls is an S-shaped scroll in bas-relief.

 

The uppermost element of the axis is a plaque identifying the building as the 50th Precinct Police Station House. The limestone plaque is a horizontally disposed rectangle; a continuous egg and dart molding serves as a border. A tripartite guttae-like feature dangles from each side of the lower edge of the panel.

 

A block with a console in its center projects from the center of the lower edge of the inscribed panel.

 

The facade of the western arm of the "U" is undistinguished and virtually invisible from any street. The brick wall is punctuated by windows in the second story.

 

Alterations to the exterior have been few and have not significantly affected the street facades.36 The police moved from the building to their current location at 3450 Kingsbridge Avenue in December 1974; the present tenant, the Kingsbridge Heights Community Center, took possession in summer 1975. In 1979, with funding from the New York City Capital Budget and the Federal Community Development Budget, the Community Center embarked on a major rehabilitative program, which was completed in 1981.

 

Undertaken by the New York architects, Edelman and Salzman, most of the alterations were in the nature of adapting the interior spaces to new uses and upgrading systems. The architects were sensitive to the original exterior; the north and east facades of the building remain virtually untouched.

 

The terracotta band courses were partially repointed; the existing wooden entrance doors and frames were replaced with hollow metal doors and frame, and the transom was closed; a new wrought iron gate to the courtyard was installed at the south end of the Kingsbridge Terrace facade; the wooden windows were replaced with aluminum ones, and stainless steel security screens were placed on every opening.

 

Unfortunately, the material condition of the exterior appears to be steadily deteriorating. The cornice, a section of which is missing from the curved elevation, shows an advanced state of erosion especially on the underside. Spalling marks the limestone members of the windows, door, stringcourses, as well as the terra-cotta ornament, and large pieces of the window sills have broken off.

 

- From the 1986 NYCLPC Landmark Designation Report

Moda Womenswear fashion show

Location: Birmingham NEC

Photographer: Michael Kelly www.constructphotographic.co.uk

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The Pillars of the Holy Cross are found at the Finial Circle of the Spiral of Life. They are 77, 88, 89, 101 and 113. I will discuss their relation to the Lagrange Points and to Pi; I will examine their horizontal proclivity and the role of 888 in this as well as in bringing about the six-fold symmetry of snowflakes.

 

The layout of the pillars resembles a bow with her arrow nocked and drawn.

 

The four bow intervals are: the lower nock, 77; the grip, 88; the arrow rest , 89; and the upper nock, 101. The grip is defined as the arrow rest (the centered bow interval) minus one.

 

The Serving midway along the bowstring is 113.

 

The Sum of the 4 Bow Intervals / The Serving = Pi

 

This shape brings into view five intervals of interest - four along the bow and one - the server - centered along the bowstring. The Pillars of the Holy Cross correspond nicely with the cross numbers of The Spiral of Life. As a result the bow shape maintains the Pi ratio with rotation along successive cross numbers.

 

Cross numbers are intervals which appear at each quarter rotation of Spiral 935 creating a column of primes and a crossbar of composite intervals. The formula x + y + 1 = z defines the spiral's start and progression from center along her eastbound arm. Following this basic rule creates arms in each of the other compass directions matching the same formula albeit with different values. (See the Spiral of Life in this photoset.)

 

From 77 to 125 a ring known as the Finial Circle emerges as a consequence of a slight counter-clockwise shift in distribution among the cross numbers. This shift is essentially a merger of competing forces and can be measured at the juncture of the crossbar and Finial Circle by means of a formula of averages called the Pythagoras Localization. The resultiing cross values are 77, 89, 101, and 113. 88 marks the location where the localization in the spiral shifts the crossbar's juncture with the finial circle one interval from 88 to 89 and from 112 to 113. These five values - 77, 88, 89, 101 and 113 - constitute the Pillars of the Holy Cross and from them we can derive Pi to great accuracy.

 

The formula of averages is named the Pythagoras Localization because even though the formula is applied uniformly from deep within the spiral, two Pythagorean triples on the cross survive with the final one oriented horizontally and marked by intervals 33, 42, 54 and 69.

 

The beauty of Spiral 935's architecture is her simplicity. At first glance we see a cross. We see quadrants. Yet on closer inspection we find something mysterious about this cross: it is shaped by a crossbar of composite intervals and a column of primes save for 7 and 9.

 

If we multiply all spiral values by three, a perfect six-fold symmetry emerges. What natural phenomena implies multiples of three?

 

The snowflake is made up of water, whose molecules possess three atoms. Since we must think in increments of three atoms in terms of the growth of Kepler's snowflake, it is helpful to magnify the spiral by three to get a clearer picture of how the replicating waves of the freezing three atoms create the six fractal arms of the snowflake.

 

Multiplying by three brings into view 12 radial arms of 5 whole numbers apiece. The radial arms end at the Finial Circle with the last radial interval value being 223. The circumference at the Finial Circle of this 12-armed model is 12 squared. Each and every sequence of five radial values stays true to the formula 1x + 1y + 1 = 1z where 1 reflects 3 constituent parts. Just as in the four-arm model, the twelve arms in the magnified spiral alternate between arms of exclusively odd and sixty percent even sequences and in so doing they neatly separate the 12 arms into two sets. Of the total 18 even values (three of five per alternating arm) 10 of them are super-even - that is, as each value is a multiple of 4 they divide into two equivalent even values. TheIr sum is 888.

 

Both sets - the even set of 8 whose sum is 588 and the super-even set of 10 summing to 888 demonstrate mirror symmetry about the crossbar. As a result we find the horizontal orientation - in which Pi emerges at 99.99999% in the bow values of the Finial Circle - is foreshadowed if not determined by the horizontal symmetry of the even radii intervals of which 888 is the premier group.

 

Orientation of an atom or molecule is critical in predicting the outcome of a collision. Conditions such as temperature or magnetic forces may affect whether or not a reaction takes place. Reactions that are affected by orientation include those of enzymes within the human body. In fact enzymes themselves are known to facilitate reactions. Therefore, at a molecular level, understanding how the supereven set of 888 affects the orientation of atoms may help develop strategies to maximize or minimize the reactions of enzymes.

 

Two things become clear when putting pen to paper and sketching this out; one is that the spiral's formula x + y + 1 = z is true for every direction on a plane and at a right angle from center; the other is that the four-fold symmetry of the cross can produce the six-cornered snowflakes which fascinated Johannes Kepler in 1611 and will likely continue to intrigue us for centuries to come.

 

Exactly how the snowflake's fractal arms emerge symmetrically can be explored further in the image Spiral 935; it has to do with the two most important properties of the Spiral of Life- scalability and a location-based model of alignment and structural recreation. From tiny electrons to a planet's orbit around the sun, the laws of gravity and electromagnetism remain intact but they are not simply some arrows pointing in one direction or another. They are full of curves, close collisions, twists and turns yet are remarkably symmetrical and as steady as a nuclear clock.

 

The idea for this spiral came during high school after an unsuccessful attempt to create - from the inside out - an all-positive-integer alternate to the Cartesian coordinate model.

 

Success came through experimentation when I revisited the challenge without worrying about the start. As the other images in the set demonstrate I noticed primes occurring along the column and symmetry in the outer rungs which I sought to maintain as I worked my way back to the center.

 

When considering the bow shape among the cross numbers of the Spiral of Life (irrespective of starting point) we may divide the sum of the four bow intervals by the server to obtain a result of Pi with an average of 98 percent accuracy.

 

However when considering the Pythagorean Localization at the Finial Circle as described in the Spiral of Life, that accuracy leaps to 99.99999% since (77 + 88 + 89 + 101) / 113 equals 355/113 or 3.14159292.

 

In the Spiral of Life, the path to Pi begins as the measure of a point and is equal to one. Within the second rotation she reaches Pi +/- 2%. Yet at the point of regeneration along the Finial Circle she reaches the matured and accurate Pi we have all come to know and love.

 

Pi is of course well-known as the circumference divided by the diameter of a circle - geometric formula which suggests little in the way of motion. While the Pi I describe here shares the same value it appears to be measuring a different beast altogether. And yet they are related. The Pi of the Spiral of LIfe demonstrates that like Cupid - Pi enjoys constant motion and when reached in all its fullness at the Finial Circle brings with it new possibilities..

 

Lagrange Points and the Pillars of Pi

 

An excellent correlation between Pi, the Lagrange points and the Spiral of Life has been uncovered. If one could imagine a tiny Earth in rotation at interval 89 on the Spiral of Life we would find her five Lagrange points also forming a bow and arrow shape (minus the grip) at the following intervals:

 

L1 = 33; L2 = 144; L3 = 113 L4 = 95 L5 = 83

 

L2, at 144, is located due East of 89, forming a horizontal line with L1 and L3. (In moving beyond the Pythagorean Shift between 77 - 125 we shall continue with the Cross formula taking into account the shifted finials of 89 and 113 such that 54 + 89 ( not 88) + 1 = 144.) L4 and L5 mark the bow's upper and lower arms. One of the surprising discoveries (made on Pi Day 2015) is that the location of the five Lagrange points matches intervals along the Spiral of Life which form a Pi relationship.

 

(33 + 144 + 95 + 83) / 113 = 355 / 113 = Pi

 

Lagrange points are also called libration points, or magic points, because their location is permanently fixed to a rotating body in spite of the relatively great distance between them and such body. They are gravitationally significant because smaller objects lying on the points will tend to stay there. The most stable of these spots are L4 and L5 which pull objects into their vicinity as if it were a valley surrounded by hills. However, objects near collinear points L1, L2, and L3 will stray from them unless they've been placed in orbit around their respective Lagrange points - an orbit which must be maintained with occasional adjustments.

 

Comparing the Pillars of the Holy Cross with the Lagrange points yields the following results:

 

L1 (33) + L2 (144) = P1 (88) + P2 (89)

--------------L3 (113) = P3 (113)--------------

L4 (95) + L5 (83) = P4 (101) + P5 (77)

  

7/8 : How the Finials relate to the Core of Spiral 935

 

The basic structure of Spiral 935 consists of an inner core of 4 intervals. Intervals 1 and 3 belong to the column; 2 and 4 belong to the crossbar.

 

Beyond the core are the radial arms comprised of 5 interval arcs for each arm. Capping them off are the 4 Finials: 77, 89, 101, and 113.

 

The sum of the 2 arms comprising the column (less the core) is 252. The sum of the 2 arms comprising the crossbar (less the core) is 288. Their ratio is 7/8.

 

Summing the column finials 77 and 101 with the column core values 1 and 3 yields 182. Summing the crossbar finials 89 and 113 with the crossbar core intervals 2 and 4 results in 208. Their ratio is 7/8.

 

As a result, the ratio between the sum of the 14 column intervals and the sum of the 14 crossbar intervals is also 7/8.

 

The precision in this finding strengthens the case for the structure of Spiral 935 from her 4-interval core and her radial arms to Pi and the Pythagoras Localization at the Finial Circle.

 

Furthermore, adding up the values immediately after each crossbar value including her associated core and finial values forms the Fibonacci 505. By shifting the spiral clockwise one interval we can visualize this crossbar whose sequence follows the Fibonacci pattern and matches the localized finial values of 89 and 113 at the horizontal ends of the Finial Circle. Spiral 935 is a model of moving parts, of shifting interval paths that helps explain the mathematical forces inherent in gravity and spin. The Pythagoran Localization can be describe d as a single interval path shift along the crossbar which emerges at the core through the Golden Egg sequence and ends at the finials with the Fibonacci 505.

 

In Roman Numbers 505 is DV. Strictly for entertainment value I point out that the alphabet letters DV could also be a shorthand code for Da Vinci.

 

505 is also the sum value of the four Finials 77, 89, 101, and 113 plus the overlapping "Fifth Finial" 125. It is it at this precise interval and location where a new spiral emerges from almost nothingness, but more accurately, from the event of spin coming full circle.

 

By comparing the Lagrange Pointis to the Pillars of the Holy Cross to Pi we can begin to see Pi in a new light - as a place of alignment that once reached begins the process of reaching towards it all over again. Likewise, by considering the interplay between the Spiral's Golden Egg crossbar and her Fibonacci sequence only one interval off we are able see through Pythagoras how two formulas may converge at the Finial Circle creating the symmetry of the circle common to all life.

 

Why is the Holy Grail Spiral of Life also called Spiral 935?

 

My wife and I owned a language school in Japan. We were visiting my hometown and we passed by Houston Fire Station #93 located at 911 FM 1959 between Ellington Field and the Gulf Fwy. The large numbers stood out prominently. I was in the habit of translating things I read into Japanese so I read it as kyu and mi instead of kyu-ju san, the correct way to say the number 93 in Japanese. Mi, pronounced mee, also means three in Japanese. I pointed to the firehouse and said to her, "Look. That's your number." She liked the comparison and began using both 93 and 935 to sign her artwork. The final 5 of 935 is pronounced 'go' and is a soundalike of the final syllable of her name - 'Ku-mi-ko'. After discovering the spiral model, the centered column intervals stood out - 9 - 3 - 5 - I knew it was a fitting name for the model.

 

The spiral regenerates after every 124 intervals at 90 degree increments such that 4 spirals are needed to create one wave motion. In many cases it is useful to think of the spiral as ending at 123 intervals with 0 being the demarcation, or capstone interval. The total interval count is 496 for one wave. Interestingly, the sum of the cross bar intervals including both finials and associated core values is also 496. The corresponding sum of the column values is 434; the ratio of column to crossbar is 7/8ths. The sum total of all the cross vales, both column and crossbar, associated finials and core values is 930. 9 and 3 also stand out at the spiral's center - the juncture where the column's core meets the north radial arm.

 

A Rare Trinity of Composiite Odds

 

Prior to 363, 93 marks the first and only occurrence of the centered number of the sole trinity of composite odds. They are 91, 93, 95 and are nested within prime numbers 89 and 97; these prime numbers mark the only occurrence of gap 8 primes until 359 and 367.

 

© Prince Blake

  

"…the power of cohesion…the teeth of the tough machine…just try to act like it…and feel the strength…" (amal shehab)

Kingsbridge, Bronx, New York City, New York, United States

 

Designed in 1900, and built from 1901 to 1902 by the New York architects Arthur J. Horgan and Vincent J. Slattery, the former 50th Precinct Police Station House is prominently sited at the intersection of Kingsbridge Terrace and Summit Place. Its style, scale, materials of construction, direct relation to the street, and ornament contribute to the monumental character, which distinguished the building from the surrounding two- and three-story frame structures of rapidly expanding Kingsbridge.

 

A symbol of the authority of the police force and of the presence of municipal government in early 20th century Kingsbridge, and an exemplar of Beaux-Arts principles of composition, the building should be seen within the context of the City Beautiful Movement.

 

Historical interest in the building further derives from its being among the best surviving works of an architectural firm that was very much in the public eye at the turn-of-the-century.

 

Development of the Kingsbridge Area

 

Coincident with the growth of the northwest Bronx generally, the modern development of Kingsbridge and of the area presently known as Kingsbridge Heights dates from the latter half of the 19th century.

 

Rural and sparsely populated, with a varied topographical character, the Bronx of the 19th century depended for its growth on the gradual subdivision of estates, on changed attitudes respecting the desirability of the area, and on the completion of the Harlem River Railroad, which provided a first impetus to the development of the "north side."

 

Kingsbridge formally began to take shape as a residential community in 1847 when the Macomb family's "Island Farm," an extensive tract, was surveyed and subdivided into building lots, which were then sold for development.

 

Notwithstanding its late development relative to communities on Manhattan Island, Kingsbridge has had a rich history beginning as early as 1609 with the arrival of Henry Hudson on the Spuyten Duyvil peninsula.

 

Apparently, the Dutch had considered siting their projected New Amsterdam colony at Kingsbridge. The plan was soon abandoned, but by the early 17th century, the Dutch were fanning areas, on Manhattan as far north as the flatlands of Harlem.

 

It was not long before they began to seek areas into which the population could expand; thus, in addition to disaffected New Englanders, among the first settlers of Westchester County (chartered in 1683) and the Bronx — the land "upon the Maine" — were the Dutch. Indeed, the earliest European settler of the immediate Kingsbridge area was the Dutchman Jonkheer Adrien Van der Donck in 1641.

 

Van der Donck's tract, known as de Jonkheers, included all of the land from Spuyten Duyvil north eight miles along the Hudson River and east to the Bronx River.

 

The construction of the Boston Post Road in 1673 facilitated travel and communication between Manhattan Island and the northern colonies. Originating in lower Manhattan, the route ran the length of the island, crossed the Spuyten Duyvil Creek, traversed Westchester County and Connecticut, and terminated in Boston.

 

Until 1693 and the construction of the King's Bridge by landowner Vredryck Flypsen, crossing of the Spuyten Duyvil was accomplished by ferry. From the bridge, the Boston Post Road ran to Albany Crescent (which is just north of the old West Farms/Kingsbridge town line), followed Boston Avenue (the original name for that block of Kingsbridge Terrace in which the police station is located), and then veered toward the northeast, crossing the Bronx River at William's Bridge.

 

Another of the early roads radiating from the location of the King's Bridge and moving north along Bailey Avenue, was the Albany Post Road (opened in 1669 as far as the Sawmill River and in 1700 to Albany), which then continued along the western side of the Van Cortlandt properties.

 

That the King's Bridge served as the principal passage from the northern tip of Manhattan Island to the Bronx mainland, underlines the significance of the greater Kingsbridge area during Revolutionary times. As the main military artery for the armies of both the British and the Americans, the bridge was under constant attack during those Revolutionary War years when New York City was subject to British occupation (1776-1783).

 

Boston Hill (the name for the rise in the immediate vicinity of Albany Crescent) was the scene of many battles in the years following 1776, and from 1777 to 1779, the British established a presence at the Van Cortlandt mansion (located on the eastern side of the Albany Post Road).

 

Early indications of the eventual residential development of the area can be seen in the period immediately following the Revolution, at which time, well-to-do New Yorkers focused on the natural beauty of the area with an eye toward moving northward.

 

The eventual annexation of the Bronx proceeded in piecemeal fashion and not without opposition: against the incorporation were those Bronx residents who thought that nothing would be gained by aligning themselves with heavily populated Manhattan, and those New Yorkers who saw no advantage to appropriating farmland.

 

Nevertheless, on 1 January 1874, the townships of Kingsbridge, West Farms, and Morrisania formally became the twenty-third and twenty-fourth wards of the City of New York; from that time until 1898, they were known

 

collectively as the "Annexed District". It was not until 1895, however, that the annexation of the Bronx east of the Bronx River was effected.

 

In 1897, the New York State Legislature passed a charter for the creation of Greater New York City; in 1898, twenty-four local governments including all the annexed districts north of the Harlem River, as well as the boroughs of Brooklyn, Queens, and Richmond (Staten Island) were officially consolidated.

 

Commenting on building operations in the Bronx and noting a remarkable thirty-three percent increase thereof between 1898 and 1899, a dealer in real estate averred: "as to the future of the borough, that is assured, for the natural trend of the city's growth is northward, and the Bronx with all its proposed improvements will reap a golden harvest."

 

Corroborating his opinion, the Real Estate Record and Guide of 1901 observed that "more families continue to forsake their downtown neighbors for better homes and the purer air and ampler room above the Harlem and especially brisk in the matter of building is [sic] the upper and eastern sections of the Bronx, where both private and tenement houses are springing up."

 

In point of fact, just after 1895 and the annexation of the eastern section, booms in both real estate and population occurred. These were attributable to a combination of factors, the most important being inclusion into the metropolitan area, self-government, and the improvement of transportation.

 

Bronx Police History and the 50th Precinct

 

Bronx police history formally began in January 1866 when the Metropolitan Police District, created by an act of the New York State legislature in 1857, established a substation in the Village of Tremont in the Town of West Farms.

 

Previously, police activity in Kingsbridge had been under the jurisdiction of Manhattan's 32nd Precinct (currently the 30th), located at Amsterdam Avenue and 152nd Street.

 

Due to an increase in criminal behavior accompanying the immediate post-Civil War growth of the area, the residents of Yonkers and West Farms had favored incorporation within the Metropolitan Police District. Participation in the State's Metropolitan Police District was not long-lived, however; in 1870, as a result of the reorganization of local government according to the terms of the Tweed Charter, the City reclaimed control of the police department.

 

In the following year, Yonkers withdrew from the Metropolitan Police District and organized a police force of its own. In November 1871, the Yonkers police established a substation at Kingsbridge (the predecessor of the 50th) to serve the precinct extending from the West Farms town line to just south of the present Yonkers city line; an existing frame building, located at Verveelen Place, just east of Broadway and south of 231st Street, was adapted for use as a station house.

 

As a consequence of the separation of the Township of Kingsbridge from the City of Yonkers in 1872, the force headquartered at Kingsbridge was administered by a joint Board of Police Commissioners of Yonkers and Kingsbridge. Following annexation in January 1874, the district constituted of Kingsbridge, Morrisania, and West Farms was divided into two precincts and one sub-precinct of the New York Police Department.

 

Shortly thereafter, the sub-precinct, headquartered at Kingsbridge, came into its own as the 35th Precinct.

 

With the consolidation of 1898, the Police Department of Greater New York assimilated eighteen small police agencies, and a move was initiated to conform the boundaries of police precincts to the lines of the individual townships. New precincts were created to serve newly annexed areas and to accommodate rapid population increases and building and commercial development in already established ones.

 

In accordance with the general objective of creating a flexible system that would provide for future expansion of the force, several renumberings of Bronx precincts occurred during the next thirty years. Upon consolidation in 1898, Kingsbridge was redesignated the 40th; in January 1918, the 74th; in April of the same year, the 57th; in 1924, the 26th; and on 1 August 1929, the 50th, which it remains to this day.

 

Despite its changed status upon incorporation into the Greater New York City Police Department, the 40th Precinct (subsequently the 50th) continued to occupy its makeshift quarters at Verveelen Place, which were enlarged in 1886 by taking possession of a two-story frame building to the east. This measure served only as a stopgap, however, for conditions had become progressively unsatisfactory and indeed unsavory.

 

Not only were the quarters cramped, but the basement of the building had flooded so often that the jail had settled out of plumb. A newspaper reporter of the time remarked that "no more unhealthier police station exists in the City of New York than this one, and in the late 1880s, the Board of Health condemned the building. Nevertheless, although a project for construction of a new facility finally was initiated in 1898, new accommodations would not be had until 1902 when " 'the shanty', as the frame building which . . . sheltered the blue-coat guardians ever since the 40th precinct was established [was] abandoned for a modem structure.

 

In a review of the official architecture of New York City, The Real Estate Record and Guide (November 1898) branded municipal architecture a disgrace, deplored its standards, and observed that there appeared to be a tendency to employ builders over professional architects.

 

This situation — in which "there is not even one architecturally decent police station"^ — began to improve as New York embarked on a citywide reconstruction and renovation campaign to modernize police facilities. The turn of the century enthusiasm for constructing civic monuments provided a further impetus.

 

Horgan and Slattery were commissioned to design a new 40th Precinct Police Station House sometime between 1898 and fall 1900, although the City of New York did not purchase the land on which the building is situated until 2 October 1900.

 

The firm estimated the construction costs for the station house, stables, and a prison, at $70,000. Plans were filed in December 1900, but approval to proceed was denied due to the omission of tie rods between the steel floor and the spruce beams of the one-story carriage house.

 

The New Building Application was approved on 9 January 1901 only after the architects filed a petition demonstrating that their use of the Roebling System of Fireproof Construction would constitute a sufficient tie in itself. Construction began 18 March 1901 and was completed 16 April 1902.

 

Horoan and Slattery

 

From 1894, when The New York Times initially reported on the financial difficulties of the firm, until the period 1899 to 1903, when the newspaper regularly and eagerly followed the professional lives of Horgan and Slattery, the architects gained more and more notoriety.

 

While political patronage certainly was not an invention of the Tammany administrators, Mayor Robert Van Wyck was overly zealous about stamping the municipal architecture of New York City with the seal of his administration. It appears to have been Van Wyck's intention either to convey all city projects directly to Horgan and Slattery or to install them in a consulting capacity over more widely renowned architects such as John Thomas (Hall of Records) or Frederick Withers (City Prison).

 

The firm first achieved public recognition with the rehabilitation of the interior of the Democratic Club in 1897. Upon completion of that job, apparently ". finding. . .hundreds of odd jobs, large and small. . .for the favored architects."

 

Queries from a perhaps overly critical press respecting any architect's professional qualifications or lack thereof are not in themselves objectionable.

 

However, in the case of Horgan and Slattery, the situation was rather more complicated as the attacks became a vehicle for denouncing the Van Wyck administration generally and pertained very little, if at all, with a fair assessment of the firm's work. In order to bolster their charges of corruption in the Van Wyck administration, the press seized upon the seeming irregularity in the relationship between the architects and the administration, claiming that the firm name had become "a trademark of municipal disrepute and jobbery".

 

Horgan and Slattery were characterized as political pawns "who had no standing artistic, political, scientific, or financial [but were] used as the cat's paw of politicians anxious to get control of municipal building in New York. . ."

 

Despite the scandals surrounding the firm, political affiliations carried the day, for "on the death of the architect J.R. Thomas, the contract for the completion of the Hall of Records was granted to the favorite Tammany contractors Horgan and Slattery in spite of strong denunciation of such action."

 

Considered cogs in a great political machine and sarcastically dubbed the "universal solvents" or experts in all fields of architecture, the firm was taken to task for lapsed professional and moral responsibilities:

 

The new city administration has acted none too soon and with none too much severity in the cases of those two "devouring absurdities" Horgan and Slattery. Two self-respecting men in their places — but that is unimaginable. Two self-respecting men could never occupy their places. But two men with not more than twice the average thickness of skin would have got out, when Tammany was defeated, without waiting to be kicked out amid the cheers of the bystanders.

 

Upon his election in 1902, Mayor Seth Low called for the "dishorganizing and unslatterifying" of municipal architecture and insisted that "all business relations between the city and Horgan and Slattery, who received the award of all city contracts during the administration of Mayor Van Wyck should be terminated as soon as possible."

 

Mayor Low's administration adopted a hardline position according to which it would be preferable to pay damages in court than to honor any outstanding contracts with the architects.

 

Although ethics rather than aesthetics constituted the point of departure for the accusations in the local press — there having been very little critical coverage of the design work —the artistic capabilities of the architects were fair game as well.

 

Nevertheless, the firm's rise to prominence, even in the context of its alleged association with the great turn-of-the-century New York City Democratic party machine, cannot nullify the inherent value of their designs, which, in large part, combined classical vocabularies and Beaux-Arts principles of composition.

 

The Architects' and Builders' Magazine of January 1907 recognized that, "[J. R. Thomas'] work has been carried on in praiseworthy fashion by Messrs. Horgan and Slattery who have added to Mr. Thomas' brilliant conception much of the virility of design which characterizes their other well-known masterpieces."

 

Scant biographical information exists on the two architects. Photographs or drawings of a fair number of their projects were published in architectural journals, but accompanying text is rare. Arthur J. Horgan (1868-1911) and Vincent J. Slattery (1867-1939) entered into partnership in 1886. Until 1897, the New York City Directory listed them as builders; interestingly, in the 1898 edition, they emerged as architects.

 

Evidently, they had incorporated as such and were working out of an office at 1 Madison Avenue. Apart from Horgan's testimony in 1899^^ before the Mazet Committee that he had studied architecture for five years in the offices of his godfather, Colonel Arthur Crocks, virtually nothing is known about the professional educations of the architects.

 

Slattery testified that the "outside work" of the firm was his responsibility, while Horgan assumed the "inside work"; he also referred all technical questions to Horgan. In the absence of conclusive information concerning their respective positions in the firm, which would elucidate Slattery's statement, one may speculate either that Horgan was the principal designer and Slattery the business partner, or that Horgan dealt with structural questions and Slattery with interior embellishment.

 

Following Horgan's death in 1911, Slattery went into business for himself, retiring in 1934.

 

The Design

 

The former 50th Precinct Police Station House is a handsome example of Beaux-Arts classicism, a mode of design that characterized much public architecture at the turn-of-the-century and became the emblem of the City Beautiful Movement.

 

Although clearly indebted to the architectural styles of the past, the design does not endeavor to replicate historical models exactly, nor did such archaeological accuracy underlie the historicism of the Ecole des Beaux-Arts. Rather, the elements are derived from classical prototypes but are freely interpreted and ingeniously combined.

 

Typologically, the building refers to an Italian Renaissance urban palace; the ornament is eclectic.

 

Horgan and Slattery approached the design of this small (relative to the grandest examples of the style in New York City, among them the Public Library and Grand Central Station) but imposing building in an imaginative way. The building dominates its site; further, it is the dominant architectural feature on the primarily residential block.

 

The architects' masterful handling is demonstrated in the sensitivity to the site, an understanding of the rules of Beaux-Arts composition, the use of ornament, and the adaptation of an ancient but particularly appropriate building type to a modern use.

 

Their studied application of Beaux-Arts principles is evident in the clear articulation of the parts of the building, the bilateral symmetry, the clearly marked and elaborated openings, the hierarchy of constituent elements in the facades, the play of advancing and receding planes, and the consistency of the articulation.

 

The form of the building refers to two distinct phases in the evolution of the Italian Renaissance urban palace. The 15th-century palace, such as the Pitti or the Medici, with its massive presence, direct relation with the street, and rusticated base, is an appropriate model for the expression of such values as power, security, invulnerability, and monumentality, which, surely in the public mind, are associated with the police force.

 

Strengthening this association are the horizontal extension of the station house, which intensifies the image of its being firmly wedded to its site, and the battlements or crenellations of the roof parapet.

 

The horizontal lines of the building are reiterated in the surface treatment on every level of the facades: by the granite base; by the continuous channels of the recessed brick courses; by the lines of the windows; by the projecting stringcourses; by the continuous cornice, which is distinguished from the fabric of the building both in color, texture and materials; by the roof parapet, which is defined as a series of advancing and receding planes.

 

In the 16th-century type, exemplified by the design for the House of Raphael by Bramante, the ground story rustication is mediated by the application of architectural ornament in the upper stories, which is also the case here.

 

Description

 

The Kingsbridge Terrace of today, which is rather an unprepossessing street lined with detached houses as well as low-rise apartments, does not figure prominently in the street system of the Bronx, or even of Kingsbridge. This was not always the case, however.

 

From the 18th century until 1913, that portion of Kingsbridge Terrace north of what is presently Albany Crescent, was known as Boston Avenue, the name deriving from its having been a segment of the Boston Post Road. As the east/west section of the almost elliptical Albany Crescent (running roughly perpendicular to the present Bailey Avenue) was also a part of Boston Avenue, and Bailey Avenue formed part of the Albany Post Road, the station house is in close proximity to the intersection of two historically significant roads, and at the crest of Boston Hill.

 

From the street, the building appears as a massive two-story masonry block. In plan, however, it is a "U", oriented southward such that its eastern arm forms the principal or Kingsbridge Terrace facade, and its base (at the north) constitutes the secondary or Summit Place facade.

 

The principal facade is 83 feet in length and two stories in height; the secondary facade is 119 feet in length and three stories in height, only two of which are expressed, corresponding to those on the principal facade.

 

The juncture of the eastern and northern facades is mediated by a curved comer treatment. This transitional element, the articulation of whose second story departs from those of both street facades, constitutes the focal point of the composition if the building is viewed obliquely from the northeast.

 

The focal point, shifts, however to the center bay of the principal facade if

 

the building is viewed directly from the east or obliquely from the south; from either vantage point, the comer construction is virtually invisible.

 

In both cases, the corner element and the axis of symmetry (formed of the entry, the parapet directly above it, the window in the second story, the plaque identifying the building) provide vertical accents in an otherwise horizontally disposed composition. The principal facade consists of five bays, the central three flanked by projecting end bays in the north and south.

 

This "ABA" rhythm is repeated in the secondary facade with the difference that the projecting end bays flank a central section of seven bays. Three bays define the curved comer section.

 

Gamboge bricks, which are variegated in hue and are laid in Flemish bond, constitute the veneers of the facades, including the southern wall of the eastern arm of the "U". The contrasting limestone members of the windows, door, stringcourses, and columns, the granite of the base, the terra-cotta ornament, and the green tin denticulated Doric cornice create an impressive polychromatic image.

 

Like the urban palaces of the Italian Renaissance, the two stories are differentiated in characteristic ways: a projecting stringcourse composed of a series of classical moldings (the lowermost of which is egg and dart) literally cuts the building in half horizontally; the elaboration of the second story contrasts with the relatively unadorned ground story; the individual bricks in the second story are slightly more saturated in color than those in the first; and the apparent rustication of the ground story, achieved by recessing one course in every seven, is abandoned at the first stringcourse, above which the wall is planar.

 

In keeping with the unadorned character of the ground story are the openings, which receive identical articulation in both facades, in the corner, and on the southern side of the eastern arm. They differ only in their proportions: those in the north facade are squatter than those in the projecting bays and in the principal facade, and those in the curved section and the eastern arm are more attenuated.

 

The sash is one-over-one double-hung aluminum surmounted by a fixed pane of glass. The openings are unframed, vertically-oriented rectangles with flat-arch brick lintels and limestone sills with classical contours. A console at either end of the sill provides support, and a console serves as keystone in the flat arch (the console keystone is omitted in the outermost bays of the curved unit).

 

There are three distinct window treatments in the second story, although the sash remains constant. While the same size as those in the east, the windows in the north side are the least elaborate, treated in much the same way as those on the ground story. Replacing the consoles, however, are wedge-shaped limestone keystones that are articulated in three dimensions.

 

One such opening marks the second story of the southern side of the eastern arm. The windows of the corner element are squeezed within the intercolumniations of four Roman Doric, unf luted columns on bases, the two end ones of which are engaged; a series of classical moldings constitutes the lintels.

 

The surface bounded by the upper edge of each lintel and the lower edge of the second story stringcourse is pierced by a round window enframed with a terra-cotta wreath; the comers are enlivened with foliate terra-cotta forms.

 

All windows in the second stories of both the principal facade and the projecting bays are aedicular in type.

 

The aediculae, which frame the windows, are constituted of a series of freely interpreted classical elements including flanking pilasters, which are articulated with deep channels running vertically from the base, a capital, impost block, and lintel of classical moldings.

 

The window sill is tripartite: at either end, a segment projects slightly to form a base for the pilasters. A console with pendant foliate and vegetal ornament decorates each pilaster from just above mid-height to the capital. The window extends from the sill to the top of the capital; in the space that is roughly the height of the impost block and extends from the capital to the egg and dart molding of the lintel, is a flat, blank plaque.

 

The panel duplicates on a reduced scale the one crowning the axis of symmetry in the principal facade, which is inscribed with the name of the precinct. Each aedicula of the projecting bays is enframed by a larger aedicula, which is vestigial in that it is composed of thick pilasters that are simply projections of the brick fabric. Elaborating each pilaster are a cartouche, festoon, and pendant foliate form, placed in series within a vertically-oriented rectangular panel.

 

The axis of symmetry in the principal elevation serves a dual function: it divides the facade into two equal and opposite parts, and it creates a strong central focus. The double doors are preceded by two granite steps set between granite blocks, upon which originally were lampposts.

 

Rectangular hollow metal double doors, which have been painted bright red, with a transom on which the name of the Kingsbridge Heights Community Center has been painted in white, are placed within a basket or depressed arch with prominent brick voussoirs. A large, elaborate stone cartouche serves as the keystone.

 

Flanking the arch, large ancones with foliate ornament, surmounted by impost blocks, support the stringcourse, which breaks forward from the plane of the building at the entry. Directly above, a parapet is elaborated by a blank panel flanked by two triglyph-like elements surmounted by scrolls.

 

The triglyph/scroll unit (which resembles a section of fluted pilaster) supports a projecting molding along the upper edge of the parapet. Flanking each of the triglyph/scrolls is an S-shaped scroll in bas-relief.

 

The uppermost element of the axis is a plaque identifying the building as the 50th Precinct Police Station House. The limestone plaque is a horizontally disposed rectangle; a continuous egg and dart molding serves as a border. A tripartite guttae-like feature dangles from each side of the lower edge of the panel.

 

A block with a console in its center projects from the center of the lower edge of the inscribed panel.

 

The facade of the western arm of the "U" is undistinguished and virtually invisible from any street. The brick wall is punctuated by windows in the second story.

 

Alterations to the exterior have been few and have not significantly affected the street facades. The police moved from the building to their current location at 3450 Kingsbridge Avenue in December 1974; the present tenant, the Kingsbridge Heights Community Center, took possession in summer 1975. In 1979, with funding from the New York City Capital Budget and the Federal Community Development Budget, the Community Center embarked on a major rehabilitative program, which was completed in 1981.

 

Undertaken by the New York architects, Edelman and Salzman, most of the alterations were in the nature of adapting the interior spaces to new uses and upgrading

 

systems. The architects were sensitive to the original exterior; the north and east facades of the building remain virtually untouched.

 

The terracotta band courses were partially repointed; the existing wooden entrance doors and frames were replaced with hollow metal doors and frame, and the transom was closed; a new wrought iron gate to the courtyard was installed at the south end of the Kingsbridge Terrace facade; the wooden windows were replaced with aluminum ones, and stainless steel security screens were placed on every opening.

 

Unfortunately, the material condition of the exterior appears to be steadily deteriorating. The cornice, a section of which is missing from the curved elevation, shows an advanced state of erosion especially on the underside. Spalling marks the limestone members of the windows, door, stringcourses, as well as the terra-cotta ornament, and large pieces of the window sills have broken off.

 

- From the 1986 NYCLPC Landmark Designation Report

Title: Memorial of Queen Liliuokalani in relation to the Crown lands of Hawaii, 12/19/1898

 

Creator(s): U.S. House of Representatives. Committee on Territories. (12/13/1825 - 1946)

 

Persistent URL: arcweb.archives.gov/arc/action/ExternalIdSearch?id=306653

 

Letter from Liliuokalani, Queen of Hawaii to U.S. House of Representatives protesting U.S. assertion of ownership of Hawaii, December 19, 1898; HR 55A-H28.3; Records of the U.S. House of Representatives; Record Group 233; National Archives.

 

Access Restrictions: Unrestricted

 

Use Restrictions: Unrestricted

 

No relation to St. Jude bus of Bicol.

Foster dogs Evan and Fiona have a special relationship where Fiona teaches them how to be puppies.

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