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I took this picture during "De Vestingdagen" in my home town. There are a few relations with Bart his toes photo. There are six feet in "a row", every feet have "five" toes and the weakest relation you can also travel by feet.
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Since 1979 Hellevoetsluis (a small city in the Netherlands close to Rotterdam) organizes every year a event called "De Vestingdagen". Every year a estimated amount of 200,000 people come to see this spectaculair event.
In the very beginning this event was started with a so called "Steam-weekend" close to the tramstation in Hellevoetsluis where a steamtram made his rides. The first event only existed of one day(Friday) but in the year after they already decided to extend this event to three days (Friday till Sunday)
A lot of different vessels and vehicles where present during this event where steam was the main subject. Nowadays there are still a lot of old vehicles to see and some old steam machines but there are more modern vessels present where you can take a look on.(police boats, coastguard boats, fire-brigade boats ect). You can hear music everywere there is a also a small market, a fun fair and spectaculair canon firing demostrations. When night falls there is life music and al bars and clubs(small) stay open until late in the night.
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Sinds 1979 worden in Hellevoetsluis jaarlijks de zogenaamde vestingdagen georganiseerd. Ieder jaar bezochten ongeveer 200.000 mensen dit gratis evenement. In eerste instantie werd het "Stoomweekend" georganiseerd ter hoogte van de Tramhaven in Hellevoetsluis waar toen ook nog een Stoomtram reed.
De eerste Vestingdagen waren feitelijk een Vestingdag. Alleen op de zaterdag was er een evenement. Het jaar erop werd besloten een evenement te organiseren van vrijdag tot en met zondag. Allerlei voer- en vaartuigen waren er te zien, waarbij de nadruk lag op stoom. Ook oude vrachtauto's en oude militaire voertuigen konden worden bewonderd. Er werd ook gedacht aan de muzikale invulling, verschillende bekende als onbekende bandjes en artiesten kwamen langs. Een ieder jaar terug kerend fenomeen waren The Amazing Stroopwafels voor het café "Het Barbiertje." De Vestingdagen trokken ook veel jongeren, vanwege de kermis, braderie en uitgaansgelegenheden 's avonds.
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For the people who are already lost in the project you can follow the two different relation lines by clicking the links shown below.
Follow: Bart's line
Follow: Mark's line
Title: A matter of health, or, West Texas and its relation to pulmonary complaints
Creator: Mayo, Henry Mash, 1862-1950
Contributors: Southern Pacific
Date: ca. April, 1898
Part Of A matter of health, or, West Texas and its relation to pulmonary complaints
Place: New Orleans, Orleans Parish, Louisiana
Description: This pamphlet describes the suitability of the West Texas climate for sufferers of lung diseases.
Physical Description: 20 p. 15 x 9 cm
File Name: File Namef394_f63_m396_1900z_opt.pdf
Rights: DeGolyer Library, Southern Methodist University
Digital Collection: Texas: Photographs, Manuscripts, and Imprints
For more information, see: digitalcollections.smu.edu/cdm/ref/collection/wes/id/2318
A Report to the Michigan Bird Records Committee
1. Species.
Spotted Redshank, Tringa erythropus
2. Number of individuals.
One
3. Date and time of sighting. (Please be sure to indicate how long your observations lasted.)
On 2 November 2018, discovered at 4:20 PM (DST) and last observed at 5:00 PM (DST), within this time span observed and photographed for at least 23 minutes
4. County.
Washtenaw County
5. Exact location. (Please be as specific as possible, including nearest crossroads; include GPS coordinates if known, as well as coordinate system and receiver type.)
Southeast of Scio Church Road and Parker Road intersection in Section 6, Lodi Township and northeast of this intersection in Section 31, Scio Township.
6. Detailed description of appearance. (Please be as specific as you can, and include if possible: size; shape; bill, eye and leg characteristics; color and pattern of plumage; and any other features that you observed. This is the most important part of your submission.)
A dusky, smoky-brown shorebird with long orange-red legs caught Margaret Jewett's eyes. It was on a mud flat in a marshy pond located about 150 feet to the east of Parker Road in Section 6 of Lodi Township. It had a typical Tringa shape and a long, fine straight bill; its size appeared somewhat smaller than that of an accompanying Greater Yellowlegs Tringa melanoleuca. With effort Margaret called my attention to this bird; at the time I was contemplating taking photos of a Pectoral Sandpiper Calidris melanotos. As soon as I had focused my binoculars on Margaret's bird, it took flight, revealing an oval white back patch that clearly contrasted with the dusky mantle, dusky wings and gray tail. These characteristics plus the orange-red tarsi clinched its immediate identification. Nevertheless I found it hard to believe what I had just seen. With binoculars I followed its flight to where it landed beyond a curtain of cattails and brush at the extreme north end of the marsh in Section 31 of Scio Township. Once relocated, I observed and photographed it at distances of 60 to 100 feet as it foraged, preened and dozed.
By direct comparison with eight Greater Yellowlegs, its overall form appeared more delicate and its movements more elegant than that of the yellowlegs. It frequently waded up to its belly, sometimes even swimming for several feet. Ongoing photographs viewed through my camera's LCD and later through Margaret's scope revealed the so-called kink or droop near the tip of the upper mandible. The bill was between 1.25 times to 1.3 times the length of the head in lateral profile. The basal one-third to almost one-half of the lower mandible was orange-red, but the hue was less intense than the orange-red of the tarsi. The rest of the bill was almost black. Also, photos revealed the hind toe and the small web between the outer two toes.
The Spotted Redshank was a hatch-year bird for the most part in first-basic plumage and it was in preformative molt: some of the scapulars of the bird's left and right side, as well as some of the mantle feathers, exhibited the plain-gray feathers of fresh formative plumage.
The white super-loral stripe was a notable facial feature, separating the dark brown lores from the gray-brown forehead. Above the postocular line was a patch of white post-ocular spots. A white upper and lower eye arc framed the dark eye. The ear coverts were marbled light gray.
The cream-white vent, flanks and under tail-coverts were closely barred with gray, whereas the cream-white belly had sparse gray barring. The throat, neck and breast were streaked gray and white. The forehead, crown and nape were gray-brown with delicate white streaks or tiny spots. The mantle was gray-brown with small white spots. The darker margins of the gray-brown scapulars, tertials and greater coverts had white notches. Likewise, the upper wing coverts were gray-brown with white marginal notches or spots.
Three primary tips extended beyond the tertials and fell short of the tail tip. Rectrix one and two (the top of the tail) were gray; their margins had white notches, between which black blobs extended as faded dark-gray bars toward the shaft. The margins of the closed lower rectrices appeared as a pattern of black and white spots.
7. Description of voice.
Sometimes, when taking flight across a stretch of water to rejoin the Greater Yellowlegs, the Spotted Redshank called with a brief series of disyllabic notes of changing tone, the rising inflection of which was utterly different than that of the single monotonic “teu” notes of the yellowlegs.
8. Behaviors observed.
My patience, a necessity for photography, coupled with six-and-a-half decades of bird observation, transformed this encounter into an experience of sheer pleasure, the kind that only an unimaginable surprise gives—almost nothing went unnoticed as a bit of the Palaearctic world unfolded before my eyes. During my slow, extremely cautious approach of stop and go, the Spotted Redshank stood stark still and alert with head held high, giving the occasional characteristic head-nod of the Tringa genus. I stood behind my tripod with mounted camera and lens in order to partially shield from view my upright stance. Except for slight movements of my head and hands for photography, I remained motionless throughout my observation. After accepting my presence, the bird foraged actively where patches of muddy shoreline protruded into open water, often wading up to its belly, even swimming across narrow stretches of deeper water. Foraging was by bill-probing into water or mud. Small prey items, usually pea size or smaller, were extracted with the bill and immediately swallowed. Two prey items were identified, each being a leech Hirudinea, one of which upon being snatched coiled itself around the bird's bill only to be swallowed whole.
Sometimes the Spotted Redshank foraged in loose association with one of eight Greater Yellowlegs. It seemed to have a subordinate position, for its tendency was to give way to the direct advances of any of the Greater Yellowlegs. After actively foraging, the Spotted Redshank became stationary, preening its body plumage, then dozing intermittently with eyes closed and head pulled in. Upon becoming active again, it foraged on a mud flat among the prostrate branches of a long-dead, fallen tree. As a result I could no longer take unobstructed photos nor continuously view it. Therefore I returned to Parker Road and rejoined Margaret Jewett. Together we relocated the bird from Scio Church Road and through her scope watched it forage, rest and preen.
9. Habitat
Habitat is a small wetland surrounded by agrarian fields and partitioned by two paved highways. A portion of the wetland is a pond at very low-water stage having broken stretches of mud flat. The marshy portions have patches of Typha and some shrubbery such as Salix, Cornus and Cephalanthus, as well as collapsed dead trees and standing stubs. A thick growth of Calamagrostis, Phalaris and Bidens partially covers the soggy outer edges of the marsh.
10. Similar Species and how eliminated
The possibility of the observed bird being an aberrant yellowlegs with orange tarsi was ruled out. Yellowlegs lack the following three characteristics which this Spotted Redshank had.
First, the bill structure did not conform to that of a Lesser Yellowlegs, being far too long in comparison to that of the head length. Nor did the bill conform to that of the Greater Yellowlegs, being far too thin and terminating into that peculiar droop which the Spotted Redshank is noted for. Furthermore, the basal portion of the lower mandible was notably orange-red and extended for a little over one-third the bill length, a colorful feature that yellowlegs lack.
Second, the oval white patch reaching up the back as revealed in flight is something that yellowlegs lack.
Third, the vent and belly of yellowlegs lack the gray barring that this juvenile Spotted Redshank had.
Last but not least, the Spotted Redshank lacked the stunning white secondaries of the Common Redshank Tringa totanus.
11. Previous experience with this species and similar species.
I’ve studied Spotted Redshanks as wintering birds in Morocco and as spring arrivals in Finland. I’ve observed Common Redshanks within a span of 27 years in Iceland, Denmark, Norway, Sweden, Finland, Morocco and Japan. My experience with both species of yellowlegs reaches back to 1960 in North America.
12. Distance from bird(s) and how measured or estimated (indicate which).
Observation distances ranged from 60 to 100 feet. A Google Earth map at a 50-foot scale was used to approximate these distances.
13. Optical equipment used.
Swarovski EL 10X42 binoculars; Canon Lens EF 500mm with Extender 1.4x and Canon camera EOS 5D Mark IV; Margaret Jewett’s Leica 10X42 binoculars and her Swarovski 25X-60X 85mm spotting scope.
14. Light (sunny versus cloudy, position of sun in relation to bird[s] and you).
The entire sky was low with clouds.
As I faced the bird, its position in the marsh ranged from due east to north by northeast from me. As Margaret Jewett and I faced the bird, its position from us on Scio Church road was north by northwest. Therefore, the sun’s position would have been on the right side of my back in the marsh and on the left side of our backs while on the road (considering the Sun’s southward position on that date and time).
15. Other observers:
Margaret Jewett.
Subsequently, there were hundreds of other observers from around the country.
16. Did the others agree with your identification? (Please give contact information)
Margaret Jewett agreed with my identification. Her description of field marks as seen through her scope was submitted to eBird and included: Shorebird smaller than greater yellowlegs with striking red legs and lower mandible; long, thin bill with a slight droop at tip of bill(seen in photographs); brownish gray tertials with white margins interrupted by black notches looking like stitching; white fore-supercilium and red lower mandible highlighting pre-ocular black line connecting the eye to the black upper mandible; in combination with the red legs, the diagnostic white elliptical patch on the back observed when preening; first calendar year bird showing several all gray formative feathers on the upper scapulars and juvenile barring along the flanks.
Subsequently, hundreds of other observers from around the country agreed with this identification.
17. When did you first write down notes describing the bird(s) in question? (If you have field notes or notes written within a few days after returning from the field, then please include scans or photocopies of them with your submission.)
I did not take field notes. I have 177 photos ranging from very good to excellent showing all aspects of the bird in detail. Margaret took note of the field characteristics as I outlined them to her in the field. She submitted her description (above) to eBird within 24 hours of the sighting.
18. Books and other references consulted.
I did not need to consult books and references. The primary reference was the photos of the bird. Margaret Jewett referred to her Sibley’s and National Geographic Field Guides as well as Shorebirds: an identification guide by Peter Hayman, John Marchant, and Tony Prater.
19. Were the references consulted before or after you first wrote down a description?
Margaret looked at the field guides in her car for a general description after first spotting the shorebird with the red legs. The guides were not in hand when she viewed the bird and observed its characteristics.
20. How did the references influence the description?
The references did not influence the description. The references, in conjunction with the photographs, corroborated the identification.
21. Were photographs obtained?
One hundred seventy-seven photographs were obtained
22. Your name.
Alan J Ryff
Date you filled out this form.
10 November 2018
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Flag Bearer Lee Pearson leads out the ParalympicsGB athletes for the opening ceremony of the 2016 Paralympic Games taking place in Rio De Janeiro.
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Windermere (sometimes tautologically called Lake Windermere to distinguish it from the nearby town of Windermere[a]) is a ribbon lake in Cumbria, England, and part of the Lake District. It is the largest lake in England by length, area, and volume, but considerably smaller than the largest Scottish lochs and Northern Irish loughs.
The lake is about 11 miles (18 km) in length and 1 mile (1.6 km) at its widest, has a maximum depth of 64 metres (210 ft), and has an elevation of 39 metres (128 ft) above sea level. Its outflow is the River Leven, which drains into Morecambe Bay. The lake is in the administrative council area of Westmorland and Furness and the historic county of Westmorland, with the lake forming part of the boundary between the historic counties of Westmorland and Lancashire. It has been one of the country's most popular places for holidays and summer homes since the arrival of the Kendal and Windermere Railway's branch line in 1847. The Freshwater Biological Association was established on the shore of Windermere in 1929 and much of the early work on lake ecology, freshwater biology and limnology was conducted here.
Etymology
The word 'Windermere' is thought to translate as "'Winand or Vinand's lake'... The specific has usually been identified with an Old Swedish personal name 'Vinandr', genitive singular 'Vinandar'"... although "the personal noun is of very restricted distribution even in Sweden." Another possibility is that it refers to a "Continental Germanic personal noun, 'Wīnand'...Since this name could not have been current until the 12th century, the fact that the Old Norse genitive singular '-ar-' has been added to it, it would suggest that Old Norse was still a living language in the area at that time." Alternative spellings may be 'Wynhendermere' and 'Wynenderme' The second element is Old English 'mere', meaning 'lake' or 'pool'. It was known as "Winander Mere" or "Winandermere" until at least the 19th century.
Its name suggests it is a mere, a lake that is broad in relation to its depth, but despite the name this is not the case for Windermere, which in particular has a noticeable thermocline, distinguishing it from typical meres. Until the 19th century, the term "lake" was, indeed, not much used by or known to the native inhabitants of the area, who referred to it as Windermere/Winandermere Water, or (in their dialect) Windermer Watter. The name Windermere or Windermer was used of the parish that had clearly taken its name from the water. The poet Norman Nicholson comments on the use of the phrase 'Lake Windermere': "a certain excuse for the tautology can be made in the case of Windermere, since we need to differentiate between the lake and the town, though it would be better to speak of 'Windermere Lake' and Windermere Town', but no one can excuse such ridiculous clumsiness as 'Lake Derwentwater' and 'Lake Ullswater."
The extensive parish included most of Undermilbeck (that is, excepting Winster and the part of Crook chapelry that lay west of the Gilpin, which were part of Kirkby Kendal parish), Applethwaite, Troutbeck and Ambleside-below-Stock, that is, the part of Ambleside that lay south of Stock Beck. The parish church was at Bowness in Undermilbeck.
Geography
Windermere is long and narrow, like many other ribbon lakes, and lies in a steep-sided pre-glacial river valley that has become deepened by successive glaciations. The current lake was formed after the Last Glacial Maximum during the retreat of the British and Irish Ice Sheet some time between 17,000 and 14,700 years ago, just before the start of the Windermere Interstadial. The lake water was sourced from the meltwater of retreating ice in the catchment, which receded up the Troutbeck valley and up the valleys that now contain the rivers Rothay and Brathay. There were at least nine ice retreat phases, indicated by buried recessional moraines. The lake has two separate basins – north and south – with different characteristics influenced by the geology. This consists of hard volcanic rocks in the north basin and softer shales in the south.
The lake is drained from its southernmost point by the River Leven. It is replenished by the rivers Brathay, Rothay, Trout Beck, Cunsey Beck and several other lesser streams. The lake is largely surrounded by foothills of the Lake District which provide pleasant low-level walks; to the north and northeast are the higher fells of central Lakeland.
There is debate as to whether the stretch of water between Newby Bridge and Lakeside at the southern end of the lake should be considered part of Windermere, or a navigable stretch of the River Leven. This affects the stated length of the lake, which is 11.23 miles (18.07 km) long if measured from the bridge at Newby Bridge, or 10.5 miles (16.9 km) if measured from Lakeside[citation needed]. The lake varies in width up to a maximum of 1 mile (1.6 km), and covers an area of 14.73 km2 (5.69 sq mi). With a maximum depth of 66.7 m (219 ft) and an elevation above sea level of 39 m (128 ft), the lowest point of the lake bed is well below sea level.
There is only one town or village directly on the lakeshore, Bowness-on-Windermere, as the village of Windermere does not directly touch the lake and the centre of Ambleside is one mile (1.6 km) to the north of Waterhead. The village of Windermere is about 20 minutes' walk from Millerground, the nearest point on the lakeshore. It did not exist before the arrival of the railway in 1847. The station was built in an area of open fell and farmland in the township of Applethwaite. The nearest farm was Birthwaite, which gave its name to the station and the village that began to grow up near it. In about 1859, the residents began to call their new village by the name of Windermere, much to the chagrin of the people of Bowness, which had been the centre of the parish of Windermere for many centuries. Since 1907 the two places have been under one council and, although there are still two separate centres, the area between is largely built up, albeit bordering on woodland and open fields. Windermere railway station is a hub for train and bus connections to the surrounding areas and is 1+1⁄4 miles (2 km) from the Waterbus jetty. There is a regular train service to Oxenholme on the West Coast Main Line, where there are fast trains to Edinburgh, Glasgow, Manchester Airport, Birmingham and London.
Islands
The lake contains eighteen islands. By far the largest is the privately owned Belle Isle opposite Bowness.[15] It is around a kilometre in length, and 16 hectares (40 acres).[citation needed] Its older name was Lang Holme, and 800 years ago it was the centre of the manor of Windermere and later, in effect, of a moiety of the barony of Kendal.
The other islands or "holmes" are considerably smaller. The word "holme" or "holm" means small island or islet and comes from Old Norse holmr (as in Stockholm). The island of Lady Holme is named after the chantry that formerly stood there and in former centuries was sometimes called St Mary Holme or just Mary Holme. The remaining islands are Bee Holme (the insular status of which depends on the water level), Blake Holme, Crow Holme, Birk or Birch Holme (called Fir Holme on Ordnance Survey maps), Grass Holme, Lilies of the Valley (East, and West), Ling Holme (a rocky hump with a few trees and a growth of ling), Hawes Holme, Hen Holme (also rocky and sometimes known as chair and Table Island from some old flags or slabs of stone that were formerly found there), Maiden Holme (the smallest island, with just one tree), Ramp Holme (variously called Roger Holme and Berkshire Island at different times in its history), Rough Holme, Snake Holme, Thompson Holme (the second largest), Silver Holme.
The Lake District, also known as the Lakes or Lakeland, is a mountainous region and national park in Cumbria, North West England. It is primarily famous for the Cumbrian Mountains, its lake and coastal scenery, and for its literary associations with William Wordsworth and other Lake Poets, Beatrix Potter, and John Ruskin.
The Cumbrian mountains, or fells, include England's tallest mountains: Scafell Pike (978 m (3,209 ft)), Helvellyn (950 m (3,120 ft)), Skiddaw (931 m (3,054 ft)), and Cross Fell (893 m (2,930 ft)), which all have a topographical prominence of more than 600m. The region contains sixteen major lakes. They include Windermere, which with a length of 18 km (11 miles) and an area of 14.73 km2 (5.69 square miles) is both the longest and largest lake in England, and Wast Water, which at 79 metres (259 ft) is the deepest lake in England.
The Lake District National Park was established in 1951, and covers an area of 2,362 km2 (912 square miles), the bulk of the region. It was designated a UNESCO World Heritage Site in 2017.
National Park
The Lake District National Park includes all of the central Lake District, though the town of Kendal, some coastal areas, and the Lakeland Peninsulas are outside the park boundary. The area was designated a national park on 9 May 1951, a month after the Peak District, the first UK national park. It retained its original boundaries until 2016 when it was extended by 3% in the direction of the Yorkshire Dales National Park to incorporate areas land of high landscape value around the Lune Valley.
The national park received 18.14 million tourist visitors in 2022. This equates to 29.15 million tourist days, counting visits of greater than three hours. It is the largest of the thirteen national parks in England and Wales and the second largest in the UK after the Cairngorms National Park. Its aim is to protect the landscape by restricting unwelcome change by industry or commerce. The area of the national park, with the exception of the 2016 extension, was designated a World Heritage Site in 2017 as a cultural landscape. This was the fourth attempt to list the park, after two attempts in the 1980s and one in 2012 failed.
The park is governed by the National Park Authority, which is based at offices in Kendal. It runs a visitor centre on Windermere at a former country house called Brockhole, Coniston Boating Centre, and Information Centres. The Park Authority has 20 members: six appointed by Westmorland and Furness Council, four by Cumberland Council, and ten by the Secretary of State for Environment, Food, and Rural Affairs.
Human geography
The precise extent of the Lake District was not defined traditionally, but is slightly larger than that of the National Park[citation needed], the total area of which is about 2,362 square kilometres (912 sq mi). The park extends just over 51 kilometres (32 mi) from east to west and nearly 64 kilometres (40 mi) from north to south, with areas such as the Lake District Peninsulas to the south lying outside the National Park.
Settlement
There are only a few major settlements within this mountainous area: the towns of Keswick, Windermere, Ambleside, and Bowness-on-Windermere are the four largest. Significant settlements close to the boundary of the national park include Carlisle, Barrow-in-Furness, Kendal, Ulverston, Dalton-in-Furness, Whitehaven, Workington, Cockermouth, Penrith, Millom and Grange-over-Sands; each of these has important economic links with the area. Other villages are Coniston, Threlkeld, Glenridding, Pooley Bridge, Broughton-in-Furness, Grasmere, Newby Bridge, Staveley, Lindale, Gosforth and Hawkshead. The economies of almost all are intimately linked with tourism. Beyond these are a scattering of hamlets and many isolated farmsteads, some of which are still tied to agriculture;[citation needed] others now function as part of the tourist economy.
Communications
Roads
The Lake District is very nearly contained within a box of trunk routes and major A roads. It is flanked to the east by the A6 road, which runs from Kendal to Penrith (though the National Park extension approved in 2015 is east of the A6); across its southern fringes by the A590, which connects the M6 to Barrow-in-Furness, and the A5092, and across its northern edge by the A66 trunk road between Penrith and Workington. The A595 (linking the A66 with the A5092) forms the park boundary from Calder Bridge to Holmrook, then crosses the coastal plain of the park until turning inland at the Whicham Valley, forming much of the park boundary again until joining the A5092 at Grizebeck.
Besides these, a few A roads penetrate the area itself, notably the A591 which runs north-westwards from Kendal to Windermere and then on to Keswick. It continues up the east side of Bassenthwaite Lake. "The A591, Grasmere, Lake District" was short-listed in the 2011 Google Street View awards in the Most Romantic Street category. The A593 and A5084 link the Ambleside and Coniston areas with the A590 to the south whilst the A592 and A5074 similarly link Windermere with the A590. The A592 also continues northwards from Windermere to Ullswater and Penrith by way of the Kirkstone Pass.
Some valleys which are not penetrated by A roads are served by B roads. The B5289 serves Lorton Vale and Buttermere and links via the Honister Pass with Borrowdale. The B5292 ascends the Whinlatter Pass from Lorton Vale before dropping down to Braithwaite near Keswick. The B5322 serves the valley of St John's in the Vale whilst Great Langdale is served by the B5343. Other valleys such as Little Langdale, Eskdale and Dunnerdale are served by minor roads. The last of these is connected with the first two by the Wrynose and Hardknott passes respectively; both of these passes are known for their steep gradients and are together one of the most popular climbs in the United Kingdom for cycling enthusiasts. A minor road through the Newlands Valley connects via Newlands Hause with the B5289 at Buttermere. Wasdale is served by a cul-de-sac minor road,[a] as is Longsleddale and the valleys at Haweswater and Kentmere. There are networks of minor roads in the lower-lying southern part of the area, connecting numerous communities between Kendal, Windermere, and Coniston.
Railways and ferries
The West Coast Main Line skirts the eastern edge of the Lake District and the Cumbrian Coast Line passes through the southern and western fringes of the area. A single railway line, the Windermere Branch Line, penetrates from Kendal to Windermere via Staveley. Railways once served Broughton-in-Furness and Coniston (closed to passengers in 1958) and another ran from Penrith to Cockermouth via Keswick (closed west of Keswick in 1966 and completely in 1972). Part of the track of the latter is used by the improved A66 trunk road.
The Cumbrian Coast line has three stations within the boundaries of the national park (and additionally Drigg, about a third of a mile from the park boundary). The line gives railway enthusiasts and others a flavour of a pre-Beeching railway line, with features like manually operated level crossing gates, as well as giving a good connection to the steam railway into Eskdale and providing access for cyclists and serious walkers to the Western Fells.
The narrow gauge Ravenglass and Eskdale Railway runs from Ravenglass on the west coast up Eskdale as far as Dalegarth Station near the hamlet of Boot, catering for tourists. Another heritage railway, the Lakeside and Haverthwaite Railway, runs between Lake Windermere and Haverthwaite, and tourists can connect at Lakeside with the boats up the lake to Bowness.
A vehicle-carrying cable ferry, the Windermere Ferry, runs frequent services across Windermere. There are also seasonal passenger boats on Coniston Water, Derwent Water, and Ullswater.
Footpaths and bridleways
There are many paths over which the public has a right of way, all of which are signposted at their origin on public roads and at some other points. Within the area of the National Park in 2012 there were 2,159 km (1,342 mi) of public footpaths, 875 km (544 mi) of public bridleways, 15 km (9 mi) of restricted byways and 30 km (19 mi) of byways open to all traffic. There is also a general "right to roam" in open country, which includes approximately 50% of the national park.
Many of these tracks arose centuries ago and were used either as ridge highways (such as along High Street) or as passes for travelling across the ridges between settlements in the valleys. Historically these paths were not planned for reaching summits, but more recently they are used by fell walkers for that purpose. The Coast to Coast Walk, which crosses the north of England from the Irish Sea to the North Sea, traverses the national park from west to east.
Bridleways are intended for horse riding and walkers, with cyclists also permitted to use them. Cyclists must give way to all other bridleway users. Motor vehicles are only allowed on "byways open to all traffic" (green lanes) but in practice Traffic Regulation Orders have been brought in on several prohibiting motor traffic, although a system of permits operates on Gatesgarth Pass.
Land ownership
Most of the land within the national park is in private ownership, with about 55% registered as agricultural land. Landowners include:
Individual farmers and other private landowners, with more than half of the agricultural land farmed by the owners.
The National Trust owns around 25% of the total area (including some lakes and land of significant landscape value).
The Forestry Commission and other investors in forests and woodland.
United Utilities (owns 8%)
Lake District National Park Authority (owns 3.9%)
Physical geography
The Lake District is a roughly circular upland massif, deeply dissected by a broadly radial pattern of major valleys which are largely the result of repeated glaciations over the last 2 million years. The apparent radial pattern is not from a central dome, but from an axial watershed extending from St Bees Head in the west to Shap in the east. Most of these valleys display the U-shaped cross-section characteristic of glacial origin and often contain long narrow lakes in bedrock hollows, with tracts of relatively flat ground at their infilled heads, or where they are divided by lateral tributaries (Buttermere-Crummock Water; Derwent Water-Bassenthwaite Lake).[b] Smaller lakes known as tarns occupy glacial cirques at higher elevations. It is the abundance of both which has led to the area becoming known as the Lake District.
Many of the higher fells are rocky, while moorland predominates lower down. Vegetation cover in better-drained areas includes bracken and heather, although much of the land is boggy, due to the high rainfall. Deciduous native woodland occurs on many of the steeper slopes below the tree line, but with native oak supplemented by extensive conifer plantations in many areas, particularly Grizedale Forest in the generally lower southern part of the area. The Lake District extends to the sea to the west and south.
The highest mountain in England, Scafell Pike (978m/3210'), has a far-reaching view on a clear day, ranging from the Galloway Hills of Scotland, the Mourne Mountains in Northern Ireland, the Isle of Man, and Snowdonia in Wales.
Cumbrian Mountains
Lake District is located in the Lake DistrictScafell PikeScafell PikeScafellScafellScafellScafellHelvellynHelvellynSkiddawSkiddawHigh StreetHigh StreetGrasmoorGrasmoorConiston Old ManConiston Old ManGreat GableGreat GableKendalKendalPenrithPenrithKeswickKeswickAmblesideAmblesideCockermouthCockermouthWindermereWindermereGrasmereGrasmere
Major fells and towns shown within the National Park
Lake District
The mountains (or 'fells') of the Lake District are known as the "Cumbrian Mountains", "Cumbrian Fells" or "Lakeland Fells". The four highest fells exceed 3,000 feet (914 m). These are:
Scafell Pike, 978 m (3,209 ft)
Scafell, 965 m (3,166 ft)
Helvellyn, 951 m (3,120 ft)
Skiddaw, 931 m (3,054 ft)
Northern Fells
The Northern Fells are a clearly defined range of hills contained within a 13 km (8 mi) diameter circle between Keswick in the southwest and Caldbeck in the northeast. They culminate in the 931 m (3,054 ft) peak of Skiddaw. Other notable peaks are Blencathra (also known as Saddleback) (868 m (2,848 ft)) and Carrock Fell. Bassenthwaite Lake occupies the valley between this massif and the North Western Fells.
North Western Fells
The North Western Fells lie between Borrowdale and Bassenthwaite Lake to the east and Buttermere and Lorton Vale to the west. Their southernmost point is at Honister Pass. This area includes the Derwent Fells above the Newlands Valley and hills to the north amongst which are Dale Head, Robinson. To the north stand Grasmoor, highest in the range at 852 m (2,795 ft), Grisedale Pike and the hills around the valley of Coledale, and in the far northwest is Thornthwaite Forest and Lord's Seat. The fells in this area are rounded Skiddaw slate, with few tarns and relatively few rock faces.
Western Fells
The Western Fells lie between Buttermere and Wasdale, with Sty Head forming the apex of a large triangle. Ennerdale bisects the area, which consists of the High Stile ridge north of Ennerdale, the Loweswater Fells in the far northwest, the Pillar group in the southwest, and Great Gable (899 m (2,949 ft)) near Sty Head. Other tops include Seatallan, Haystacks and Kirk Fell. This area is craggy and steep, with the impressive pinnacle of Pillar Rock its showpiece. Wastwater, located in this part, is England's deepest lake.
Central Fells
The Central Fells are lower in elevation than surrounding areas of fell, peaking at 762 m (2,500 ft) at High Raise. They take the form of a ridge running between Derwent Water in the west and Thirlmere in the east, from Keswick in the north to Langdale Pikes in the south. A spur extends southeast to Loughrigg Fell above Ambleside. The central ridge running north over High Seat is exceptionally boggy.
Eastern Fells
The Eastern Fells consist of a long north-to-south ridge, the Helvellyn range, running from Clough Head to Seat Sandal with the 950 m (3,118 ft) Helvellyn at its highest point. The western slopes of these summits tend to be grassy, with rocky corries and crags on the eastern side. The Fairfield group lies to the south of the range and forms a similar pattern with towering rock faces and hidden valleys spilling into the Patterdale valley. It culminates in the height of Red Screes overlooking the Kirkstone Pass.
Far Eastern Fells
The Far Eastern Fells refers to all of the Lakeland fells to the east of Ullswater and the A592 road running south to Windermere. At 828 m (2,717 ft), the peak known as High Street is the highest point on a complex ridge that runs broadly north-south and overlooks the hidden valley of Haweswater to its east. In the north of this region are the lower fells of Martindale Common and Bampton Common whilst in the south are the fells overlooking the Kentmere valley. Further to the east, beyond Mardale and Longsleddale is Shap Fell, an extensive area consisting of high moorland, more rolling and Pennine in nature than the mountains to the west.
Southern Fells
The Southern Fells occupy the southwestern quarter of the Lake District. They can be regarded as comprising a northern grouping between Wasdale, Eskdale, and the two Langdale valleys, a southeastern group east of Dunnerdale and south of Little Langdale, and a southwestern group bounded by Eskdale to the north and Dunnerdale to the east.
The first group includes England's highest mountains: Scafell Pike in the centre, at 978 m (3,209 ft) and Scafell one mile (1.6 km) to the southwest. Though it is slightly lower, Scafell has a 700 ft (210 m) rockface, Scafell Crag, on its northern side. This group also includes the Wastwater Screes overlooking Wasdale, the Glaramara ridge overlooking Borrowdale, the three tops of Crinkle Crags, Bowfell and Esk Pike. The core of the area is drained by the infant River Esk. Collectively these are some of the Lake District's most rugged hillsides.
The second group, otherwise known as the Furness Fells or Coniston Fells, have as their northern boundary the steep and narrow Hardknott and Wrynose passes. The highest are Old Man of Coniston and Swirl How which slightly exceed 800 m (2,600 ft).
The third group to the west of the Duddon includes Harter Fell and the long ridge leading over Whitfell to Black Combe and the sea. The south of this region consists of lower forests and knolls, with Kirkby Moor on the southern boundary. The southwestern Lake District ends near the Furness peninsula and Barrow-in-Furness, a town which many Lake District residents rely on for basic amenities.
Southeastern area
The southeastern area is the territory between Coniston Water and Windermere and east of Windermere towards Kendal and south to Lindale. There are no high summits in this area which are mainly low hills, knolls and limestone cuestas such as Gummer's How and Whitbarrow. Indeed, it rises only as high as 333 m (1,093 ft) at Top o' Selside east of Coniston Water; the wide expanse of Grizedale Forest stands between the two lakes. Kendal and Morecambe Bay stand at the eastern and southern edges of the area.
Valleys
The main radial valleys are (clockwise from the south) Dunnerdale, Eskdale, Wasdale, Ennerdale, the Vale of Lorton, and Buttermere valley, the Derwent Valley and Borrowdale, the Ullswater valley, Haweswater valley, Longsleddale, the Kentmere valley, those converging on the head of Windermere - Grasmere, Great Langdale and Little Langdale, and the Coniston Water valley. The valleys break the mountains up into blocks, which have been described by various authors in different ways. The most frequently encountered approach is that made popular by Alfred Wainwright who published seven separate area guides to the Lakeland Fells.
Only one of the lakes in the Lake District is called by that name, Bassenthwaite Lake. All the others such as Windermere, Coniston Water, Ullswater and Buttermere are meres, tarns and waters, with mere being the least common and water being the most common. The major lakes and reservoirs in the National Park are given below.
Bassenthwaite Lake
Brotherswater
Buttermere
Coniston Water
Crummock Water
Derwent Water
Devoke Water
Elter Water
Ennerdale Water
Esthwaite Water
Grasmere
Haweswater Reservoir
Hayeswater
Loweswater
Rydal Water
Thirlmere
Ullswater
Wast Water
Windermere
Woodlands
Below the tree line are wooded areas, including British and European native oak woodlands and introduced softwood plantations. The woodlands provide habitats for native English wildlife. The native red squirrel is found in the Lake District and a few other parts of England. In parts of the Lake District, the rainfall is higher than in any other part of England. This gives Atlantic mosses, ferns, lichen, and liverworts the chance to grow. There is some ancient woodland in the National Park. Management of the woodlands varies: some are coppiced, some pollarded, some left to grow naturally, and some provide grazing and shelter.
Coast
The Lake District extends to the coast of the Irish Sea from Drigg in the north to Silecroft in the south, encompassing the estuaries of the Esk and its tributaries, the Irt and the Mite. The intertidal zone of the combined estuaries includes sand, shingle and mudflats, and saltmarsh. The dune systems on either side of the estuary are protected as nature reserves; Drigg Dunes and Gullery to the north and Eskmeals Dunes[31] to the south. South of the estuary, the coast is formed in low cliffs of glacial till, sands, and gravels.
The district also extends to the tidal waters of Morecambe Bay and several of its estuaries alongside the Furness and Cartmel Peninsulas, designated on M6 motorway signposts as the "Lake District Peninsulas", and the southern portions of which lie outside the park. These are the Duddon Estuary, the Leven Estuary, and the western banks and tidal flats of the Kent Estuary. These areas are each characterised by sand and mudflats of scenic and wildlife interest. The coast is backed by extensive flats of raised marine deposits left when the relative sea level was higher.
In 1704 accusations made by a sixteen-year-old youth Patrick Morton (Peter Morton in some accounts) brought several persons to trial on charges of practising witchcraft at Pittenweem, a coastal town in the east of Scotland. Though none of the accused was condemned to death by the court, a mob, enraged by the escape of one of the prisoners, Janet Corphat (or Cornfoot), pursued her and pressed her to death.
A true and full relation of the witches at Pittenweem. Edinburgh, John Reid Junior, 1704; duodecimo (Sp Coll Mu56-h.29)
Week 6
First, to describe the relation with Mark's shot from week 5: the person in the picture is somebody we love very much.
As I mentioned in my previous shot, my grandfather was about to make his final journey. A journey to find peace for his body and his soul. On Monday February 6th 2012 our beloved grandfather passed away. In this picture he lies so peacefully, he could've opened his eyes any time... but he didn't :-(
Opa was een groot fan van Toon Hermans. Uit oogpunt van Toon heb ik dit gedichtje geschreven op de ochtend voor zijn heengaan. Gelukkig heeft hij dit nog meegekregen en hopelijk ontmoet hij Toon daarboven.
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Beste Chris,
in het leven wordt gelachen
daardoor ken je mij,
maar af en toe huilen
dat hoort er ook bij
blijf bij je familie
zolang je het kan,
wanneer je tijd gekomen is
dat merken we pas dan
het is aangenaam hierboven
ben niet bang,
vertel je liefje Mien
dat ik jou hier opvang
Toon Hermans
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For the people who are already lost in the project you can follow the
two different relation lines by clicking the links shown below.
Follow: Bart's line
Follow: Mark's line
2012-12-28 Sichtbar werden mit Folie Gradinger, AUDI FIS Ski World Cup Semmering, Riesentorlauf Damen, SMPR - Public Relation - Stefan Steinacher - Daniela Maier - Moderation, Athleten, Sport, Interviews, Redaktion PR Services, Eventmoderation, Photografer Gerhard Möhsner, Bilderdatenbank Fotoblitz hier klicken
Fenninger rast am Zauberberg zum überlegenem Sieg. Die ÖSV Rennläuferin Anna Fenninger gewann überlegen den Riesentorlauf am Semmering. Die Salzburgerin setzte sich mit klarem Vorsprung auf RTL- Weltcup- Leaderin Tina Maze aus Slowenien (+1,10 Sekunden) und auf die Französin Tessa Worley (+ 1,18) durch und fixierte so den zweiten Weltcupsieg ihrer Karriere. Den ersten hatte sie vor exakt einem Jahr, am 28. Dezember 2011 in Lienz, gefeiert.
Endergebnis RTL Semmering:
01 FENNINGER Anna AUT 1:06.42 1:06.67 2:13.09
02 MAZE Tina SLO 1:07.32 1:06.87 2:14.19
03 WORLEY Tessa FRA 1:06.98 1:07.29 2:14.27
04 HÖFL- RIESCH Maria GER 1:07.56 1:07.20 2:14.76
05 REBENSBURG Viktoria GER 1:07.67 1:07.33 2:15.00
06 LINDELL- VIKARBY Jessica SWE 1:07.64 1:07.84 2:15.48
07 ZETTEL Kathrin AUT 1:08.28 1:07.21 2:15.49
08 SHIFFRIN Mikaela USA 1:08.56 1:07.21 2:15.77
09 GÖRGL Elisabeth AUT 1:08.38 1:07.71 2:16.09
10 PIETILÄ- HOLMNER Maria SWE 1:08.81 1:07.36 2:16.17
11 HANSDOTTER Frida SWE 1:08.18 1:08.00 2:16.18
12 FANCHINI Nadia ITA 1:09.18 1:07.14 2:16.32
13 GISIN Dominique SUI 1:09.07 1:07.32 2:16.39
14 GAGNON Marie- Michele CAN 1:08.75 1:07.73 2:16.48
15 KIRCHGASSER Michaela AUT 1:09.15 1:07.46 2:16.61
16 CURTONI Irene ITA 1:08.90 1:07.76 2:16.66
17 MARMOTTAN Anemone FRA 1:09.16 1:07.57 2:16.73
18 HRONEK Veronique GER 1:09.90 1:06.86 2:16.76
19 KARBON Denise ITA 1:09.60 1:07.19 2:16.79
20 POUTIAINEN Tanja FIN 1:08.74 1:08.16 2:16.90
21 KÖHLE Stefanie AUT 1:08.31 1:08.75 2:17.06
22 BARIOZ Taina FRA 1:09.09 1:08.03 2:17.12
23 BERTRAND Marion FRA 1:09.06 1:08.09 2:17.15
24 GUT Lara SUI 1:08.85 1:08.34 2:17.19
25 MANCUSO Julia USA 1:09.06 1:08.19 2:17.25
26 BREM Eva- Maria AUT 1:08.87 1:08.42 2:17.29
27 WEIRATHER Tina LIE 1:09.83 1:07.52 2:17.35
28 HECTOR Sara SWE 1:09.93 1:07.46 2:17.39
29 MÖLGG Manuela ITA 1:08.42 1:09.54 2:17.96
30 AGERER Lisa Magdalena ITA 1:09.93 1:08.07 2:18.00
Bericht: WSV Semmering, Fotorechte: Diese Fotos stammen von Gerhard Möhsner und sind urheberrechtlich geschützt. Kopien, Vervielfältigungen für Veröffentlichungen dürfen nur mit ausdrücklicher schriftlicher Zustimmung gemacht werden !! Bilderdatenbank Fotoblitz hier klicken
I find out about the Kentish churches I visit from various places, one is Google maps, as I scroll in all directions from my target church to see if there were any nearby.
Norton was one such church.
I had not heard of it, but I clicked on the icon on Google Kaps and an image of the church came up.
Anyway, onto postcodes: in urban areas a postcide and refer to as few as eight houses. In the country, anything goes.
So, I drive from Graveney to Norton, passing through the traffic jam that is Faversham, arriving in the village of Norton and finding no churches in the few houses.
As there were only three rads into Norton, and I had been down two, that narrowed my choices, and indeed, I saw the tower of St Mary from over the fields.
Mist un-Kentlike.
But to find it.
The road wound through farmyards and fields, until I came to a wide entrance, and through an orchard, was the church.
I drove in, past row and row of apple trees, the air heavy with the scent of rotting apples, as windfalls turned brown on the ground.
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The nave and chancel of this isolated church are of equal length, providing a most unusual aspect when viewed from the east end, with their lovely roof timbers exposed. The church is rather dark, partly due to the close proximity of the surrounding trees and partly due to the poor quality stained glass. However, it is the monuments which are so appealing, nearly all of them to families who lived at Norton Court. The most eye-catching is to Benjamin Godfrey (d. 1704). The top of his monument was later utilised as a memorial to the Revd W. Lushington (d. 1842). This was not the first re-use of a Godfrey tomb, for in 1730 the name of Mrs Mary Godi was inscribed on an existing memorial nearby!
www.kentchurches.info/church.asp?p=Norton
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NORTON.
SOUTHWARD from Buckland, but on the opposite side of the high London road, lies Norton, written in antient records Northtune, that is the north town, a name it took seemingly from its situation northward of Newnham, both places belonging to the bishop of Baieux, and held of him by the same tenant.
IT LIES close to the south side of the high London road, a little beyond the 44th mile-stone, whence the land rises southward to the hilly country, for about two miles and an half, to Stuppington, a little beyond which it joins to Newnham; its width is about a mile and a half, it joins to Ospringe eastwards at Syndal bottom, near which it is mostly woodland. The land in the lower, or northern part of the parish, is very good, but as it extends to the high ground it becomes gradually less so, being both chalky and much covered with flints. The church, with the seat of Norton-court near it, stands at the western edge of the parish, close to Lewson-street in Tenham, a little more than a quarter of a mile from the London road; at the same distance from which, eastward of the church, is Provenders, a low indifferent house, situated close to the woods, though it is open in front, having a good prospect north-westward; at no great distance above it is Rushitt, once part of the demesnes of Norton manor, as such it now pays part of the rent of castle-guard to Rochester castle, it is now the property of Mr. Richard Mount, who resides in it; and still further on the hills are the estates of Loiterton and Stuppington, where the country, as it becomes poor, becomes, by degrees, tolerably healthy. A small part of the parish extends to the opposite side of the London road, where it adjoins to Stone and Buckland.
MR. JACOB observed the Hypericum and rosæmum, tutsan, or park leaves, in a hedge near Provenders wood, in this parish.
THE MANOR of Norton, in the reign of the Conqueror, was part of the possessions of Odo, bishop of Baieux, the king's half-brother, accordingly it is thus entered in the survey of Domesday, under the general title of that prelate's lands:
Hugo de Porth holds of the bishop (of Baieux) Nortone. It was taxed at four sulings.The arable land is four carucates. In demesne there are three carucates, and eighteen villeins, with six borderers, having five carucates. There are three churches, and three mills without tallage, and two fisheries of twelve pence. Wood for the pannage of forty hogs. In the time of king Edward the Confessor, it was worth eight pounds, and afterwards six pounds, now twelve pounds. Osuuard held it of king Edward.
Four years after the taking of this survey, the bishop of Baieux was disgraced, and all his possessions became confiscated to the crown.
Upon which Hugo de Port, who before held this estate of the bishop, became immediate tenant to the king for it, as his supreme lord. His descendant William, son of Adam de Port, assumed the name of St. John, of which family, as lords paramount, it was held by Hugh de Newenham, and afterwards by his son Fulk de Newenham, whose daughter Juliana, in the reign of Henry II. carried this manor of Norton in marriage to Sir Robert de Campania, or Champion, who resided at Champions court, in Newenham, as part of her inheritance. His descendant John de Campania held it at the latter end of king Edward the 1st.'s reign, and in the 31st year of it had a charter of freewarren granted to him for this manor, as did the lady Champion, or de Campania, in the 20th year of king Edward III. at which time there was a rent of thirty shillings paid from it, for ward to Rochester castle. After this family was become extinct here, which was soon afterwards, the Frogenhalls were become possessed of it, one of whom, John de Frogenhall, died possessed of it, as appears by the escheat-rolls in the reign of king Henry IV. from which name it passed by marriage into that of Boteler, whence it was again carried in marriage by Anne, daughter and sole heir of John Boteler, of Graveney, to John Martin, one of the judges of the common pleas, who died possessed of it in 1436, and was buried in that church. One of his descendants sold this manor, in the reign of Henry VII. to Fynche, descended from those of Sewards, in Linsted, whose descendant Nicholas Fynche left a son and heir George Fynche, esq. who resided at Norton-court, and died in 1584, leaving one daughter and heir Mary, who carried this manor in marriage to Sir Michael Sonds, of Throwley, who in the latter end of queen Elizabeth's reign, sold it to Mr. Thomas Milles, who afterwards resided here for some time, till he removed to Davington-hall, but dying without male issue, his only daughter and heir Anne carried it in marriage to John Milles, esq. of Hampshire, who afterwards conveyed it to his brother Dr. Milles, who in the reign of king Charles I. alienated it to his relation Mr. Thomas Milles, of Sussex, and he afterwards, in the next reign of Charles II. sold it to Mr. Baptist Piggott, gent. afterwards of Norton-court, who died in 1677, and was buried in this church. He left Mary, his sole surviving heir, married to Benjamin Godfrey, merchant, of London, who was the twelfth and last surviving son of Thomas Godfrey, esq. of Hodiford, in Sellinge, descended from the Godfreys, of Lyd, whose arms he bore, Sable, a chevron between three pelicans heads, erased, or. He became, in right of his wife, entitled to this manor, and resided at Norton court, and dying in 1704, was buried in this church; he left two sons, John and Baptist surviving, and a daughter Catherine, who married Stephen Lushington, esq. of Sittingborne, who died in 1700, leaving only one son Thomas Godfrey Lushington. Upon the death of Benjamin Godfrey, the fee of it became vested in John Godfrey, esq. the eldest surviving son, who resided here, and was a gentleman of literature, and well versed in antiquities, especially such as related to this county. He died in 1737, s. p. having by his will devised this manor to his nephew Thomas Godfrey Lushington, esq. above-mentioned, who afterwards resided at Canterbury, where he died in 1757, leaving by Dorothy his first wife, daughter of John Gisburne, esq. of Derbyshire, three sons, and one daughter Catherine, then the wife of John Cockin Sole, esq. of Bobbing, on whom he had settled this manor in 1754, on her marriage in his life-time. (fn. 1)
John Cockin Sole, esq. becoming thus possessed of Norton-court, removed hither about the year 1765. He died in 1790, leaving an only surviving daughter by his first wife. Soon after his death this manor and seat were sold under the directions of his will to John Bennett, esq. of Faversham, who now owns it.
Norton-court is charged with a rent of castle-guard to Rochester-castle.
PROVENDERS is an antient seat in this parish, situated about half a mile eastward of the church, which was once the residence of a family of that name, one of whom, John de Provender, was possessed of it in the reign of Henry III. as appeared by an old dateless deed of about that time; but they were extinct here before the reign of Edward III. when Lucas de Vienna, or Vienne, was in the possession of it. His descendant Edward de Vienna paid aid for it, together with lands in this parish, called Viend-garden. From this name this seat passed into that of Quadring, who was possessed of it in the beginning of the reign of king Richard II. and thence again about the latter end of that of Henry IV. to the antient family of Goldwell, of Great Chart, and from them to the Drylands, of Cooksditch, one of which name alienated it, in the reign of Henry VIII. to Robert Atwater, esq. a justice of the peace of this county, and he sold it to Sir James Hales, one of the justices of the common pleas, and son of John Hales, of the Dungeon, one of the barons of the exchequer. He died anno 1555, 2 and 3 of Philip and Mary, whose descendant, in the next reign of queen Elizabeth, passed it away by sale to Thomas Sare, who afterwards resided here.
He was the eldest son of Laurence Sare, gent. of Lenham, and married Joane, daughter of John Adye, of Greet, in Doddington, by whom he had one son Adye, and three daughters. Adye Sare, esq the son, likewise resided here, to whom William Camden, clarencieux, in the 10th of James I. confirmed the arms of his ancestors, being Gules, two bars ermine, in chief three martlets or. He had two sons, Thomas and Archdale, and three daughters, Susan, Sarah and Jane, who afterwards became his heirs. (fn. 2)
His heirs seem to have sold this seat to Mr. James Hugessen, merchant adventurer, of Dover, who died possessed of it in 1637, and was buried in Linsted church, in which parish his son Mr. James Hugessen resided, at Sewards, where he kept his shrievalty for this county anno 17 Charles I. He died possessed of Provenders in 1646, and was buried in the chapel on the north side of Linsted church, which has continued the burial place of his descendants ever since. (fn. 3)
In them this seat continued down to William Hugessen, esq. who likewise resided at Provenders, where he died in 1719, having had three sons and three daughters; of the former, William became his heir, and John was of Stodmarsh, and ancestor of William Hugessen, esq. now of Stodmarsh Court.
William Hugessen, esq. the eldest son, resided at Provenders, and died there in 1753. He was twice married, first to Martha, daughter of Peter Gott, esq. who died s. p. and secondly to Dorothy, daughter of Francis Tyssen, esq. of Hackney, by whom he left an only son and heir William Western Hugessen, esq who resided at Provenders, where he died in 1764, leaving by Thomasine his wife, second daughter of Sir John Honywood, bart. three daughters his coheirs, Dorothy, Mary, and Sarah. His widow survived him, and possessed this seat till her death, in 1774, on which their three daughters became entitled to the property of it; of whom Sarah, the youngest daughter, died in 1777, æt. 14, unmarried; upon which her two sisters, Dorothy and Mary, became jointly entitled to this seat, among the rest of their inheritance. Dorothy married in 1779, Joseph Banks, esq. of Reavesby-abbey, in Lincolnshire, since elected president of the royal society, and created a baronet, and Mary, married Edward Knatchbull, esq. now Sir Edward Knatchbull, bart. of Mersham, who in right of their wives became jointly entitled to this seat, among the rest of their inheritance, and continue so at this time. Sir Joseph Banks is descended from ancestors who have resided for several generations at Reavesby-abbey, one of them Robert Banks, esq. was a younger son of the Banks's, of Banke Newton, in Yorkshire, who had been seated there ever since the beginning of Edward the IIId.'s reign, when Sir Simon de Banke acquired that estate by marriage with the daughter and heir of Robert de Catherton, the arms of Banks being Sable, a cross between four fleurs de lis, argent, with which the family have since usually quartered the coat of Catherton, A chevron, between three annulets. Sir Joseph Banks was the first man of scientific education who undertook a voyage of discovery, and that the first, which turned out satisfactory to this enlightened age. He was in some measure the first who gave a turn to such voyages, or rather to their commander Capt. Cooke, as guided and directed, as well those which came after, as those in which he was personally concerned, and botany being his favorite science, he has since his last voyage been preparing for the public, with infinite pains and expence, and account of all the new plants discovered in his voyage round the world. In 1779 he was elected, president of the royal society, and on March 24, 1781, created a baronet; since which, in 1797, he has been made a knight of the bath, and a privy consellor.
A further account of Sir Edward Knatchbull, bart. who is M. P. for this county, and at times resides at Provenders, and of his ancestors, may be seen under the description of their family seat at Mersham.
STUPPINGTON, antiently written Stependone, is an estate in this parish on the southern extremity of it, and about half a mile eastward of Lodge-house, which was formerly esteemed a manor, and of such account as to be recorded in the general survey of Domesday, at which time it was part of the possessions of Odo, bishop of Baieux, under the general title of whose estates it is thus entered in it:
Hugo de Porth holds of the bishop of Baieux Stependone. Osuuard held it in the time of Edward the Confessor, and then it was taxed at one suling all but one yoke. The arable land is two carucates. In demesne there is. . . . with one servant and five borderers. It is worth thirty shillings.
Four years after which, the bishop was disgraced, and all his possessions were confiscated to the crown.
Upon which, Hugo, who had before been the bishop's tenant, came to hold it immediately, or in capite, of the king; of his descendants, who had assumed the name of St. John, it was held successively by the Cheneys (fn. 4) and Apulderfields, in which latter it continued, till at length about the end of king Edward the IVth.'s reign, Elizabeth, only daughter of Sir William de Apulderfield, of Badmangore, in Linsted, carried this estate in marriage to Sir John Fineux, chief justice of the king's bench, who died possessed of it in 1525, leaving two daughters his coheirs, of whom Jane, the eldest, carried it in marriage to John Roper, esq. of Eltham, who gave it to his second son Christopher Roper, esq. of Badmangore, whose son Sir John Roper, removed his residence to his new-built seat of Lodge, and was created Lord Teynham, in whose descendants lords Teynham, this estate of Stuppington has continued down to the present right hon. Henry, lord Teynham, the present owner of it.
There are no parochial charities. The poor constantly relieved are about twenty, casually thirty.
NORTON is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.
The church, which is dedicated to St. Mary, consists of one isle and a chancel, having a square tower at the west end, in which there is one bell. In it, in the chancel, there is a monument for Benjamin Godfrey, esq. of Norton-court; and among others, memorials for the Piggots, of the same place, and of the Sares, of Provenders.
The church of Norton was antiently an appendage to the manor, and as such was the property of the family of Newenham. Hugh de Newenham, lord of the manor of Norton, about the latter end of the reign of Henry I. gave, with the consent of his son, to the monks of St. Andrew, in Rochester, this church, with all the land belonging to it, and the half of the tithe of the demesne of the manor, and all other its appurtenances, in perpetual alms; (fn. 5) which gift was made in the presence of archbishop Ralph, who confirmed it to them.
Fulk de Newenham confirmed this church, with its appurtenances, in perpetual alms, and the archbishop granted, that Nicholas his chaplain should pay them yearly, in the name of this church, ten shillings annual pension, and that after his secession the whole church of Norton should pass to the perpetual uses of the monks, which was confirmed by archbishops Theobald and Richard, among the rest of the possessions of that monastery. And there was a final concord made in the king's court of exchequer at Westminster, in the 29th year of Henry II. by which the gift made of the appropriation of this church by him and his heirs afterwards, was acknowledged. After which this church was again confirmed to the church and monks of St. Andrew, by the archbishops Richard and Baldwin.
Archbishop Hubert, in the 1st year of king John, admitted and instituted Gilbert, bishop of Rochester, and the prior and convent of St. Andrew there, canonically into the parsonage of this church, so that they should always have a perpetual vicar in it, who should possess it with its appurtenances, and should pay to them yearly twenty shillings only, in the name of an annual pension; and every vicar, in order to his being instituted to it, should be elected and presented by the bishop and monks, and so to be instituted perpetual vicar in it by him and his successors, saving always to the church of Rochester the annual pension above-mentioned.
On bishop Gilbert de Glanville's coming to the see of Rochester anno 31 Henry II. he decreed, that in all such churches as belonged to the church of Rochester, situated out of the bishopric, the bishop should have the election of the person to be instituted, and after that the bishop and monks together should present him to the bishop of the respective diocese, saving the pensions in those churches to be paid to the monks, to the performance of which, the person instituted should take an oath in the chapter-house of Rochester; which pensions, and that of twenty shillings in particular from this church, he afterwards, by a separate instrument, confirmed to them.
It appears by several records, that from the time of the above-mentioned decree, the bishops of Rochester enjoyed the sole right of presentation to this church, exclusive of the prior and convent; and this appears further, among the rights and privileges of the bishopric of Rochester, taken in the year 1360, in which there is an account of those churches which belonged to the joint presentation of the bishop and the chapter, wherein it is said that the chapter had no other right, but only to affix their seal, the bishop nominating and presenting, and the chapter putting their seal; these churches were those of Rotherfield, in the diocese of Chichester, Mixbury and Henle, in the diocese of Lincoln, and Stourmouth and Norton, in the diocese of Canterbury. (fn. 6)
The church of Norton remained, after this, a rectory, of the patronage of the bishops of Rochester, uninterrupted by any claims from the monks of St. Andrew's, and continues so at this time, the right Rev. the bishop of Rochester being the present patron of it.
The annual pension of twenty shillings before-mentioned, decreed to be paid from this church to the monks of St. Andrew's, seems, sometime before the dissolution of their monastery, to have been lessened to ten shillings, the original sum, as may be seen before. After that event, this pension came into the king's hands, among the rest of the revenues of it, and was, next year, settled by his dotation-charter, on his newfounded dean and chapter of Rochester, who are now entitled to it.
This rectory is valued in the king's books at 10l. 18s. 4d. and the yearly tenths at 1l. 1s. 10d. In 1640 it was valued at one hundred pounds. Communicants thirty.
One moiety of the tithes of the manor of Norton has been mentioned as having been given, with the church, to the monks of St. Andrew, by the family of Newenham. The other moiety of them seems to have been given by Juliana de Newenham, about the reign of Henry II. to the Benedictine priory of Davington, and were valued anno 17 king Edward III. at sixty shillings.
These tithes remained with the priory at the time of its escheating to the crown, anno 27 Henry VIII. and were afterwards, in the 35th year of that reign, granted to Sir Thomas Cheney, whose son Henry afterwards became possessed of them, among the rest of his inheritance, in the 3d year of queen Elizabeth.
¶These tithes at that time were compounded for at the yearly sum of 26s. 8d. which was paid to the possessor of Davington priory by the rector of this parish, as appears by a rental of the late revenues of the priory made for that year. How the property of these tithes came to be vested in the rector, or the composition for them annihilated, I cannot find; but the rector of Norton now enjoys the tithes of this whole parish, both great and small, without any exemption, and without any compensation or payment, made to or by him in lieu of any tithes whatsoever, the above pension of ten shillings only excepted.
Shanghai Art Chase
A classroom blog, on contemporary art and new media in relation to China, with focus on Shanghai. Managed by NYU in Shanghai Contemporary Art & New Media Class Participants. Instructor: Defne Ayas, Zhao Chuan. Past lecturers included: Yang Zhenzhong, Qiu Anxiong, Gu Wenda, Ding Yi, Hu Jueming, Birdhead, Lu Yuanmin, Yang Fudong, Davide Quadrio, Phil Tinari, Liu Ying Mei, Barbara Pollack, Lisa Movius, Binghui Huangfu. Since Fall 2006.
Friday, May 15, 2009
Does a Future Lie in Typography?
“In the long run, China will endure the turbulent and unprecedented upheavals of urbanization and internationalization. Art inspired by these times is consequently sure to be especially engaging and dazzling”
- Speech given at An International Discourse on New Chinese Video and Photography, 31 January 2004, San Diego Museum of Art Curator, Betti-Sue Hertz
A current running through the discussion on the impact of new media on contemporary art has been a question of how art can engage in the issues and problems that pervade society in an age of desensitization, disconnection and image overload. For Chinese contemporary art, this question is especially important.
How can Chinese artists address what is going on around them in China and in the world, while trying to maintain a regional identity? How can their work engage with the issues that face contemporary Chinese society? Not only must their work respond to the simultaneous launch of China into the international scene and rapid domestic development, it must also grapple with the issue of how to do so in a world ruled by techonology.
The 2004 Shanghai Biennale, which opened on September 28th 2004, focused on this question and, more specifically, the influence of new media on Chinese art and international art. It was entitled Techniques of the Visible in English and yingxiang shengcun (Media Existence) in Chinese. This title was meant to show the complexity of the issues by illustrating the parallel between the two phrases and the shared interest in both the east and west. The show centers on two main questions: how does contemporary art reflect and evaluate the influence of technology on humanity? How may art use technology to enrich human experience?
In order to answer these questions the Biennale utilizes the Chinese concept of “ying” which encompasses all phenomena related to sight. Here “ying” can be used to mean the way in which artists can create work that engages and connects with its viewer, instead of only providing the viewer with something to see. “Ying” is where artwork can be transformed from merely an image (among so many others) to something truly “visible.” It is here where the visible and the invisible meet. The concept of “ying” is particularly useful in relation to an essay written by art critic John Berger entitled Small Steps Towards a Theory of the Visible. In the essay, Berger argues that as the world becomes more and more image saturated “appearances have become volatile” (Berger). Art does not provoke, it entertains. How can artists create work that puts “ying” into practice by engaging its viewer and bringing him or her on a journey with the artist through the work.
The Shanghai Biennale aimed to show that with the increasing relevance of this concern, attention is directed away from the “east/west dichotomy” and more towards “the relationship between technology and human existence” (Course Reader, Ying, Xu Jiang) As new media’s role in contemporary art becomes increasingly important, the conceptual understanding of art (What constitutes art? How can art be distinguished from other forms of expression?) is becoming more and more global. In an article entitled Ying by Xu Jiang, the President of China Academy of Art, a more in depth discussion of the role “ying” in Chinese contemporary art takes place. He writes that the 2004 Biennale also aimed to emphasize that for Chinese artists, this global issue must be addressed in the context of maintaining a regional identity. They suggest that perhaps the use of the concept “ying” can be the vehicle by which Chinese contemporary art can develop domestically and internationally.
When looking at contemporary Chinese art, especially in the past 10 years, we can see the rapid rise of a number of artists on the international scene. Particularly, we can look at Xu Bing who has exhibited in numerous museums and galleries all around the world. In an interview with Xu, he discusses the role of globalization in Chinese art. He states that “contemporary art” in China has become boring. Instead of creating what Berger would call the “visible,” it is wrought with themes and images that have become somewhat trite. To him, artists working within the contemporary Chinese art scene have taken on the idea that “you are an artist, so whatever you do is valuable.” In doing so, they forget the “ultimate goal of art,” which is to create something involving “creative superiority” (Course Reader, Interview with Xu Bing). In using the word “artist” in reference to themselves, they have allowed themselves to create “substandard work.”
According to Xu, artists today have become too narrow and have “increasingly lost touch with the times and the social context.” As art becomes more and more global, it has become easier and easier for artists to see what kind of art is valuable on the international market and create something to that effect. Young artists see the successes of older artists like Xu and try to mold themselves into a similar model. Thus, the scene is dominated by a huge influx of the same kinds of art work, much without any of what Xu would call “creative superiority.” Xu Bing sees the future of Chinese art, not in “contemporary art,” but in the world of “practical or commercial art” such as graphic design and typography. In this way, the use of new media can be looked at as a place for Chinese artists to create something fresh or something that is able to more genuinely connect with the current social context China is facing.
The idea that contemporary art in China has become “boring” echoes with many Chinese artists. Another such artist is Lu Jie, who has also risen to stardom in the contemporary art scene. Like Xu Bing, Lu Jie has become internationally recognized. Lu Jie and Xu Bing share similar views, although Lu Jie seems to be much more critical of the contemporary art scene in China. In 1999 he and Qiu Zhijie curated the Long March Project: A Walking Visual Exhibition, which was a five-month traveling art show that followed the route of the original long march. In the description of the Long March Project written by Lu Jie and Qui Zhijie, many concerns and grievances with the direction Chinese art has moved are expressed. They write that contemporary art has moved from 1. masses to elite 2. private studios to hierarchal structures (such as the biennale and blockbuster exhibitions) and 3. China to the international world. They also express apprehension about the future of the contemporary art scene in China, a scene that exists in an increasingly global spotlight. The aim of the project was to address these concerns by bringing contemporary art to the people or “peripheral population” of China through a moving exhibit.
In an interview with Lu Jie, he explains the aim of the project and his thoughts on the development of contemporary art. He blames the international market for inserting western intellectual jargon (issues like post colonialism and globalization) into Chinese contemporary artwork, standardizing a set of topics that all “Chinese contemporary art work” must deal with, but that most actually fail to truly engage with. Like Xu Bing, Lu also feels that contemporary art has lost a sense of “creative superiority.” Although it might have attained elite status on the international scene, its ability to engage with Chinese history and society has become “shallower and shallower.” He argues that a deeper understanding of the local context is necessary for the future of the art scene. He calls for subtle exploration of this “period’s traces, rescuing it from canonized discourse” (Course Reader, Interview with Lu Jie).
Perhaps Lu Jie would agree with Xu Bing in his conviction that the future lies in commercial art. After attending the typography lecture during the Shanghai Literary Festival, I have to agree that art forms such as graphic design have momentous potential. Maybe it will be in such art forms that the concept of “ying” can be utilized, creating art work that is able to maintain a cultural and regional identity, while still acting within a global context.
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
Best known for his contributions to evolutionary theory and one of the most influential figures in human history, Charles Darwin established that all species of life on earth descended over time from common ancestors through a process that he called natural selection. Darwin published his theory of evolution with compelling evidence in his 1859 book “On the Origin of Species.”
Darwin’s second book on evolutionary theory, “The Descent of Man, and Selection in Relation to Sex,” was published in 1871. In this work Darwin applies evolutionary theory to human evolution, and details his theory of sexual selection, a form of biological adaptation distinct from, yet interconnected with, natural selection. The book discusses many related issues, including evolutionary psychology, evolutionary ethics, differences between human races, differences between sexes, the dominant role of women in choosing mating partners, and the relevance of evolutionary theory to society. [Source: Wikipedia]
celebrate relation in best way by ordering cakes in online cake delivery in Jaipur. Winni also offers unique services like midnight cake delivery in Jaipur along with same day cake delivery in Jaipur.
18 October 2019, Rome, Italy - CFS 46 Side Event: SE123 Naming food: The intrinsic relation between indigenous food systems, traditional knowledge and language diversity. Organizers: FAO; Indonesia; UN Permanent Forum on Indigenous Issues (UNPFII); Asia Indigenous Peoples Pact (AIPP); United Nations Framework Convention on Climate Change (UNFCCC). Committee on World Food Security, 46th Session, 14-18 October 2019, FAO headquarters (Green Room).
Photo credit must be given: ©FAO/Giulio Napolitano. Editorial use only. Copyright ©FAO.
Then the beauty of
the oak and the chestnut-fan and the sky
is a mixture of
likeness and difference or
consistency and variety or
symmetry and change....
And if we did not feel the likeness
we should not think them so beautiful,
or if we did not feel the difference
we should not think them so beautiful.
The beauty we find is from the comparison we make....
Beauty therefore is a relation,
and the apprehension of it a comparison.
[Gerard Manley Hopkins, "On the Origin of Beauty: A Platonic Dialogue" 1865]
texture courtesy Evelyn Flint www.flickr.com/photos/texturetime/8700395441
Martebo Church (Swedish: Martebo kyrka) is a medieval Lutheran church on the Swedish island of Gotland, in the Diocese of Visby.
Little is known about the origins and oldest history of the church. The stone church may have been pre-dated by a stave church. Of the presently visible church, the tower is the oldest part, dating from the middle of the 13th century and Romanesque in style. The Gothic nave and choir are from the early 14th century and replaced and earlier and smaller Romanesque building.
The church is of a type which is rather characteristic for Gotland, in which the nave and choir were rebuilt during the High Gothic, but where the older tower remains, resulting in an unproportionally short tower in relation to the rest of the building. Adjacent to the tower there is a rather unusual detail, a small chamber which has a window onto the nave but lacks any other connection. It probably functioned as a hagioscope (perhaps for sick members of the congregation) and which was added during the 14th century.
The external façade of the church, notably the three portals, display some of the most accomplished medieval sculpture on Gotland. They date from the 14th century and were made when the church was rebuilt in Gothic style. On some of the sculptures traces of the original paint still survive. The sculptures were probably executed by the local stonemason's workshop which is sometimes referred to as Master Egypticus. They depict the life of Jesus as told in the New Testament, with scenes following each other chronologically and from one portal to the other, so that the three portals together make out an entire sculpted narrative.
Inside the church are the remains of medieval frescos and a baptismal font from the 13th century. Two medieval tombstones are placed in the floor of the choir. The pulpit is one of the oldest on Gotland, dating from middle of the 16th century.
Source: Wikipedia
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Martebo kyrka är en kyrkobyggnad i Martebo på Gotland. Den är församlingskyrka i Stenkyrka församling i Visby stift.
Den medeltida kalkstenskyrkan består av ett rektangulärt långhus med smalare rakt avslutat kor i öster, smalt kyrktorn i väster, sakristia på korets nordsida samt en bönekammare i sydvästra hörnet. Tornet, som är oproportionerligt litet jämfört med långhuset, kvarstår från en romansk kyrka. Under 1300-talet uppfördes det befintliga långhuset med kor och sakristia, samt bönekammaren (med hagioskop). Sakristian tillbyggdes med ett magasin i början av 1800-talet. De putsade fasaderna pryds av hörnkedjor, och de spetsbågiga fönstren har huggna omfattningar. Tornet, som har rundbågiga, kolonettförsedda ljudgluggar, kröns av en åttkantig tornspira. Av särskilt intresse är kyrkans tre gotiska portaler (två i söder och en på norra sidan) med sina rikt skulpterade kapitälband som berättar Kristi levnadshistoria. Figurskulpturerna härstammar troligen från den anonyme stenmästaren "Egypticus" verkstad, 1300-talets förra hälft. Det enskeppiga långhuset täcks invändigt av två kryssvalv. En vid spetsbågig muröppning leder till koret, som också kröns av ett kryssvalv. Två spetsbågefönster lyser upp koret (i öster och söder) medan långhuset endast har ett sydfönster. Vid arkitekt Åke Pornes restaurering 1971-1972 framtogs kalkmålningar från 1300-talet.
Dopfunten är från 1200-talet.
Den färgrika predikstolen är från 1500-talet och en av de äldsta i Sverige.
Altaruppsatsen av trä är från 1675.
Läktaren där orgeln står är från 1682.
År 1915 byggde Eskil Lundén, Göteborg, en orgel med sju stämmor.
Nuvarande mekaniska orgel från 1973 är tillverkad av Anders Perssons Orgelbyggeri.
Källa: Wikipedia
This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Advertising posters are part of the urban environment, like characters of the city life they find their accomodation and a different meaning in relation to the surroundings.
Shanghai Art Chase
A classroom blog, on contemporary art and new media in relation to China, with focus on Shanghai. Managed by NYU in Shanghai Contemporary Art & New Media Class Participants. Instructor: Defne Ayas, Zhao Chuan. Past lecturers included: Yang Zhenzhong, Qiu Anxiong, Gu Wenda, Ding Yi, Hu Jueming, Birdhead, Lu Yuanmin, Yang Fudong, Davide Quadrio, Phil Tinari, Liu Ying Mei, Barbara Pollack, Lisa Movius, Binghui Huangfu. Since Fall 2006.
Friday, May 15, 2009
Does a Future Lie in Typography?
“In the long run, China will endure the turbulent and unprecedented upheavals of urbanization and internationalization. Art inspired by these times is consequently sure to be especially engaging and dazzling”
- Speech given at An International Discourse on New Chinese Video and Photography, 31 January 2004, San Diego Museum of Art Curator, Betti-Sue Hertz
A current running through the discussion on the impact of new media on contemporary art has been a question of how art can engage in the issues and problems that pervade society in an age of desensitization, disconnection and image overload. For Chinese contemporary art, this question is especially important.
How can Chinese artists address what is going on around them in China and in the world, while trying to maintain a regional identity? How can their work engage with the issues that face contemporary Chinese society? Not only must their work respond to the simultaneous launch of China into the international scene and rapid domestic development, it must also grapple with the issue of how to do so in a world ruled by techonology.
The 2004 Shanghai Biennale, which opened on September 28th 2004, focused on this question and, more specifically, the influence of new media on Chinese art and international art. It was entitled Techniques of the Visible in English and yingxiang shengcun (Media Existence) in Chinese. This title was meant to show the complexity of the issues by illustrating the parallel between the two phrases and the shared interest in both the east and west. The show centers on two main questions: how does contemporary art reflect and evaluate the influence of technology on humanity? How may art use technology to enrich human experience?
In order to answer these questions the Biennale utilizes the Chinese concept of “ying” which encompasses all phenomena related to sight. Here “ying” can be used to mean the way in which artists can create work that engages and connects with its viewer, instead of only providing the viewer with something to see. “Ying” is where artwork can be transformed from merely an image (among so many others) to something truly “visible.” It is here where the visible and the invisible meet. The concept of “ying” is particularly useful in relation to an essay written by art critic John Berger entitled Small Steps Towards a Theory of the Visible. In the essay, Berger argues that as the world becomes more and more image saturated “appearances have become volatile” (Berger). Art does not provoke, it entertains. How can artists create work that puts “ying” into practice by engaging its viewer and bringing him or her on a journey with the artist through the work.
The Shanghai Biennale aimed to show that with the increasing relevance of this concern, attention is directed away from the “east/west dichotomy” and more towards “the relationship between technology and human existence” (Course Reader, Ying, Xu Jiang) As new media’s role in contemporary art becomes increasingly important, the conceptual understanding of art (What constitutes art? How can art be distinguished from other forms of expression?) is becoming more and more global. In an article entitled Ying by Xu Jiang, the President of China Academy of Art, a more in depth discussion of the role “ying” in Chinese contemporary art takes place. He writes that the 2004 Biennale also aimed to emphasize that for Chinese artists, this global issue must be addressed in the context of maintaining a regional identity. They suggest that perhaps the use of the concept “ying” can be the vehicle by which Chinese contemporary art can develop domestically and internationally.
When looking at contemporary Chinese art, especially in the past 10 years, we can see the rapid rise of a number of artists on the international scene. Particularly, we can look at Xu Bing who has exhibited in numerous museums and galleries all around the world. In an interview with Xu, he discusses the role of globalization in Chinese art. He states that “contemporary art” in China has become boring. Instead of creating what Berger would call the “visible,” it is wrought with themes and images that have become somewhat trite. To him, artists working within the contemporary Chinese art scene have taken on the idea that “you are an artist, so whatever you do is valuable.” In doing so, they forget the “ultimate goal of art,” which is to create something involving “creative superiority” (Course Reader, Interview with Xu Bing). In using the word “artist” in reference to themselves, they have allowed themselves to create “substandard work.”
According to Xu, artists today have become too narrow and have “increasingly lost touch with the times and the social context.” As art becomes more and more global, it has become easier and easier for artists to see what kind of art is valuable on the international market and create something to that effect. Young artists see the successes of older artists like Xu and try to mold themselves into a similar model. Thus, the scene is dominated by a huge influx of the same kinds of art work, much without any of what Xu would call “creative superiority.” Xu Bing sees the future of Chinese art, not in “contemporary art,” but in the world of “practical or commercial art” such as graphic design and typography. In this way, the use of new media can be looked at as a place for Chinese artists to create something fresh or something that is able to more genuinely connect with the current social context China is facing.
The idea that contemporary art in China has become “boring” echoes with many Chinese artists. Another such artist is Lu Jie, who has also risen to stardom in the contemporary art scene. Like Xu Bing, Lu Jie has become internationally recognized. Lu Jie and Xu Bing share similar views, although Lu Jie seems to be much more critical of the contemporary art scene in China. In 1999 he and Qiu Zhijie curated the Long March Project: A Walking Visual Exhibition, which was a five-month traveling art show that followed the route of the original long march. In the description of the Long March Project written by Lu Jie and Qui Zhijie, many concerns and grievances with the direction Chinese art has moved are expressed. They write that contemporary art has moved from 1. masses to elite 2. private studios to hierarchal structures (such as the biennale and blockbuster exhibitions) and 3. China to the international world. They also express apprehension about the future of the contemporary art scene in China, a scene that exists in an increasingly global spotlight. The aim of the project was to address these concerns by bringing contemporary art to the people or “peripheral population” of China through a moving exhibit.
In an interview with Lu Jie, he explains the aim of the project and his thoughts on the development of contemporary art. He blames the international market for inserting western intellectual jargon (issues like post colonialism and globalization) into Chinese contemporary artwork, standardizing a set of topics that all “Chinese contemporary art work” must deal with, but that most actually fail to truly engage with. Like Xu Bing, Lu also feels that contemporary art has lost a sense of “creative superiority.” Although it might have attained elite status on the international scene, its ability to engage with Chinese history and society has become “shallower and shallower.” He argues that a deeper understanding of the local context is necessary for the future of the art scene. He calls for subtle exploration of this “period’s traces, rescuing it from canonized discourse” (Course Reader, Interview with Lu Jie).
Perhaps Lu Jie would agree with Xu Bing in his conviction that the future lies in commercial art. After attending the typography lecture during the Shanghai Literary Festival, I have to agree that art forms such as graphic design have momentous potential. Maybe it will be in such art forms that the concept of “ying” can be utilized, creating art work that is able to maintain a cultural and regional identity, while still acting within a global context.
Kent Senior Trophy
Crockenhill 1
Pheonix Sports 8
Plenty of rogering, loads of booze, partying, gang bangs and symptons of syphilis were the subjects covered during the Pheonix Sports Managers pre-match players meeting in the bar in relation to the teams trip to Benidorm at the end of season. "all in for 130 nicker boys .... booking monday" !
A visit to 'Crock' is always great fun as this ramshackle gem in rural Kent never disappoints.
The Clubhouse is decorated from floor to ceiling with football memorabilia. The main stand is quirky to say the least. It has the narrowest players tunnel anywhere in football. Decent kitchen and bar in operation.
The club is held together by selotape and how it survives no one knows. The entrance to the ground is the narrowest ever seen. One spectator who was on the large side got so tired of trying to squeeze through he asked for a chair to sit down on to regain his breath.
The chap on the gate went and got one for him but could not fit it through the entrance. His solution was to throw the chair over the roof of the stand into the car park.
The score line explains the difference between the teams. Crocks goal was a penalty and was their first goal scored at home since last season. I actually lost count of the score as it was that one sided.
For the last 15 mins Crocks goalie went off and was replaced by what appeared to be an out of shape Sexagenarian who was unable to dive !.
All this in the fine company of Richiejen from this parish. After our mega breakfast (with extra bubble !) my travelling companion dropped me off at 'Crock' and then continued to watch Dartford v Aldershot just four miles away. Upon his return a few hours later after a mundane game he regreted missing the events at Crockenhill - he should of listened to me !
A visit to Crockenhill comes highly recommended to any football enthusiast.
Just make sure that you will be able to fit through the turnstile !
The Grassmarket is a historic market place and an event space in the Old Town of Edinburgh, Scotland. In relation to the rest of the city it lies in a hollow, well below surrounding ground levels.
The Grassmarket is located directly below Edinburgh Castle and forms part of one of the main east-west vehicle arteries through the city centre. It adjoins the Cowgate and Candlemaker Row at the east end, the West Bow (the lower end of Victoria Street) in the north-east corner, King's Stables Road to the north west and the West Port to the west. Leading off from the south-west corner is the Vennel, on the east side of which can still be seen some of the best surviving parts of the Flodden and Telfer town walls.
The Grassmarket tenements with the Castle shrouded in a typical Edinburgh haar. The view to the north, dominated by the castle, has long been a favourite subject of painters and photographers, making it one of the iconic views of the city.
First mentioned in the Registrum Magni Sigilii Regum Scotorum (1363) as "the street called Newbygging [new buildings] under the castle", the Grassmarket was, from 1477, one of Edinburgh's main market places, a part of which was given over to the sale of horse and cattle (the name apparently deriving from livestock grazing in pens beyond its western end).
Western end of Grassmarket, painted in 1845
Daniel Defoe, who visited Edinburgh in the 1720s, reports the place being used for two open air markets: the "Grass-market" and the "Horse-market". Of the West Bow at the north-east corner, considerably altered in the Victorian period, he wrote, "This street, which is called the Bow, is generally full of wholesale traders, and those very considerable dealers in iron, pitch, tar, oil, hemp, flax, linseed, painters' colours, dyers, drugs and woods, and such like heavy goods, and supplies country shopkeepers, as our wholesale dealers in England do. And here I may say, is a visible face of trade; most of them have also warehouses in Leith, where they lay up the heavier goods, and bring them hither, or sell them by patterns and samples, as they have occasion."
As a gathering point for market traders and cattle drovers, the Grassmarket was traditionally a place of taverns, hostelries and temporary lodgings, a fact still reflected in the use of some of the surrounding buildings. In the late 18th century the fly coach to London, via Dumfries and Carlisle, set out from an inn at the Cowgate Head at the eastern end of the market place. In 1803 William and Dorothy Wordsworth took rooms at the White Hart Inn, where the poet Robert Burns had stayed during his last visit to Edinburgh in 1791. In her account of the visit Dorothy described it as "not noisy, and tolerably cheap". In his 1961 film Greyfriars Bobby Walt Disney chose a lodging in the Grassmarket as the place where the Skye terrier's owner dies (depicting him as a shepherd hoping to be hired at the market rather than the real-life dog's owner, police night watchman John Gray).
The market closed in 1911 when a new municipal slaughter house at Tollcross replaced the old shambles in the western half of the Grassmarket (a road beyond the open market place) which joins King's Stables Road.
An inscribed flagstone in the central pavement in front of the White Hart Inn indicates the spot where a bomb exploded during a Zeppelin raid on the city on the night of 2–3 April 1916. Eleven people were killed in the raid, though none at this particular spot.
The Grassmarket was also a traditional place of public executions.
Shadow of the gibbet next to the Covenanters Memorial
A memorial near the site once occupied by the gibbet was created by public subscription in 1937. It commemorates over 100 Covenanters who died on the gallows between 1661 and 1688 during the period known as The Killing Time. Their names, where known, are recorded on a nearby plaque. One obdurate prisoner's refusal to escape death by swearing loyalty to the Crown prompted the snide remark by the Duke of Rothes that he had chosen to "glorify God in the Grassmarket".
In 1736 the Grassmarket formed the backdrop to the Porteous Riots which ended in the lynching of a captain of the Town Guard. A plaque near the traditional execution site now marks the spot where an enraged mob brought Captain Porteous's life to a brutal end.
Maggie Dickson's Pub
A popular story in Edinburgh is that of Margaret Dickson, a fishwife from Musselburgh who was hanged in the Grassmarket in 1724 for murdering her illegitimate baby shortly after birth. After the hanging, her body was taken back to Musselburgh on a cart. However, on the way there she awoke. Since, under Scots Law, her punishment had been carried out, she could not be executed for a second time for the same crime (only later were the words "until dead" added to the sentence of hanging). Her "resurrection" was also to some extent seen as divine intervention, and so she was allowed to go free. In later life (and legend) she was referred to as "half-hangit Maggie". There is now a pub in the Grassmarket named after her.
In 1775, the young advocate James Boswell's first criminal client, John Reid from Peeblesshire, was hanged in the Grassmarket for sheep-stealing. Boswell, convinced of his client's innocence and citing Maggie Dickson's miraculous recovery, hatched a plan to recover Reid's corpse immediately after execution and have it resuscitated by surgeons. He was finally dissuaded from this course of action by a friend who warned him that the condemned man had become resigned to his fate and might well curse Boswell for bringing him back to life.
Sir Walter Scott described his memory of the Grassmarket gibbet in his novel The Heart of Midlothian published in 1818.
The fatal day was announced to the public, by the appearance of a huge black gallows-tree towards the eastern end of the Grassmarket. This ill-omened apparition was of great height, with a scaffold surrounding it, and a double ladder placed against it, for the ascent of the unhappy criminal and the executioner. As this apparatus was always arranged before dawn, it seemed as if the gallows had grown out of the earth in the course of one night, like the production of some foul demon; and I well remember the fright with which the schoolboys, when I was one of their number, used to regard these ominous signs of deadly preparation. On the night after the execution the gallows again disappeared, and was conveyed in silence and darkness to the place where it was usually deposited, which was one of the vaults under the Parliament House, or courts of justice."
The old market area is surrounded by pubs, clubs, local retail shops, and two large Apex Hotels. Many students live in the Grassmarket, though its openness (due to the large market space) and proximity to the centre of town now tend to increase house prices.
North-east corner of the Grassmarket. Up until 1764 public hangings took place on a spot just to the left of the yellow traffic sign. Thereafter, they were carried out in the Lawnmarket until the last hanging there in 1864.
The building dates range from 17th century to 21st century. The White Hart Inn dates from the early 18th Century and claims to be the oldest public house in Edinburgh and is said to have been visited by Robert Burns (1759–96), the Wordsworths (1803), William Burke and William Hare in the late 1820s.
There are several modern buildings on its southern side. Some properties were used by Heriot-Watt University, and its predecessor college, for teaching and research until the university moved fully to its new Riccarton campus (1974–92). The Mountbatten Building of Heriot-Watt University was built in 1968) for the departments of electrical engineering, management and languages. The Mountbatten building was converted and reopened as the Apex International Hotel in 1996.
2012-12-28 Sichtbar werden mit Folie Gradinger, AUDI FIS Ski World Cup Semmering, Riesentorlauf Damen, SMPR - Public Relation - Stefan Steinacher - Daniela Maier - Moderation, Athleten, Sport, Interviews, Redaktion PR Services, Eventmoderation, Photografer Gerhard Möhsner, Bilderdatenbank Fotoblitz hier klicken
Fenninger rast am Zauberberg zum überlegenem Sieg. Die ÖSV Rennläuferin Anna Fenninger gewann überlegen den Riesentorlauf am Semmering. Die Salzburgerin setzte sich mit klarem Vorsprung auf RTL- Weltcup- Leaderin Tina Maze aus Slowenien (+1,10 Sekunden) und auf die Französin Tessa Worley (+ 1,18) durch und fixierte so den zweiten Weltcupsieg ihrer Karriere. Den ersten hatte sie vor exakt einem Jahr, am 28. Dezember 2011 in Lienz, gefeiert.
Endergebnis RTL Semmering:
01 FENNINGER Anna AUT 1:06.42 1:06.67 2:13.09
02 MAZE Tina SLO 1:07.32 1:06.87 2:14.19
03 WORLEY Tessa FRA 1:06.98 1:07.29 2:14.27
04 HÖFL- RIESCH Maria GER 1:07.56 1:07.20 2:14.76
05 REBENSBURG Viktoria GER 1:07.67 1:07.33 2:15.00
06 LINDELL- VIKARBY Jessica SWE 1:07.64 1:07.84 2:15.48
07 ZETTEL Kathrin AUT 1:08.28 1:07.21 2:15.49
08 SHIFFRIN Mikaela USA 1:08.56 1:07.21 2:15.77
09 GÖRGL Elisabeth AUT 1:08.38 1:07.71 2:16.09
10 PIETILÄ- HOLMNER Maria SWE 1:08.81 1:07.36 2:16.17
11 HANSDOTTER Frida SWE 1:08.18 1:08.00 2:16.18
12 FANCHINI Nadia ITA 1:09.18 1:07.14 2:16.32
13 GISIN Dominique SUI 1:09.07 1:07.32 2:16.39
14 GAGNON Marie- Michele CAN 1:08.75 1:07.73 2:16.48
15 KIRCHGASSER Michaela AUT 1:09.15 1:07.46 2:16.61
16 CURTONI Irene ITA 1:08.90 1:07.76 2:16.66
17 MARMOTTAN Anemone FRA 1:09.16 1:07.57 2:16.73
18 HRONEK Veronique GER 1:09.90 1:06.86 2:16.76
19 KARBON Denise ITA 1:09.60 1:07.19 2:16.79
20 POUTIAINEN Tanja FIN 1:08.74 1:08.16 2:16.90
21 KÖHLE Stefanie AUT 1:08.31 1:08.75 2:17.06
22 BARIOZ Taina FRA 1:09.09 1:08.03 2:17.12
23 BERTRAND Marion FRA 1:09.06 1:08.09 2:17.15
24 GUT Lara SUI 1:08.85 1:08.34 2:17.19
25 MANCUSO Julia USA 1:09.06 1:08.19 2:17.25
26 BREM Eva- Maria AUT 1:08.87 1:08.42 2:17.29
27 WEIRATHER Tina LIE 1:09.83 1:07.52 2:17.35
28 HECTOR Sara SWE 1:09.93 1:07.46 2:17.39
29 MÖLGG Manuela ITA 1:08.42 1:09.54 2:17.96
30 AGERER Lisa Magdalena ITA 1:09.93 1:08.07 2:18.00
Bericht: WSV Semmering, Fotorechte: Diese Fotos stammen von Gerhard Möhsner und sind urheberrechtlich geschützt. Kopien, Vervielfältigungen für Veröffentlichungen dürfen nur mit ausdrücklicher schriftlicher Zustimmung gemacht werden !! Bilderdatenbank Fotoblitz hier klicken
Financial District, Manhattan, New York City, New York, United States
The small, elegant cast-iron-fronted mansarded building at 90-94 Maiden Lane is the only remaining example in the Financial District of the many Second Empire style commercial buildings constructed in downtown Manhattan during the post-Civil War era. the southernmost cast-iron building in Manhattan, it is one of the rare survivors of this type between Fulton Street and the Battery.
Long associated with the Roosevelt family (which had a store at 94 Maiden Lane by 1786), the present building incorporates a mercantile building erected for James Roosevelt around 1810. In 1870-71 Roosevelt & Son, then the nation's leading importer of plate glass and mirrors, expanded from 90-94 Maiden Lane into the adjoining buildings at 90-92 Maiden Lane and 9-11 Cedar Street; a new cast-iron facade with mansard roof was erected on the Maiden lane buildings, as well as a new brick and iron facade on Cedar Street.
These alterations are attributed to Charles Wright, a mid-19th century architect known for his cast-iron buildings, who was associated with the prominent iron founders Michael Grosz & Son. The building's iron elements were cast by the Architectural Ironworks of New York, one of the leading iron foundries in the country, whose head Daniel D. Badger was a major force in the development and promotion of architectural cast iron.
The Roosevelt Family and 90-94 Maiden Lane
In the 18th century, Maiden Lane, set in a small valley which formed a natural connection between Broadway and the waterfront, was lined with the houses and stores of prosperous merchants. Following the Revolutionary War John Roosevelt established a business at 94 Maiden Lane, leasing the property for at least a year before purchasing it from Pierre Van Cortlandt in 1786.
John's brother Nicholas became a partner in the firm in 1787, but the brothers were soon in financial difficulties. In 1792, John Roosevelt was forced to sell his store and house to his second cousin Isaac Roosevelt.
The wealthiest of the 18th-century Roosevelts, Isaac immediately turned the store over to John and Nicholas's brother James J. Roosevelt. James opened a hardware business on the site which evolved into the family firm of Roosevelt & Son. His business quickly became a large-scale operation supplying imported hardware, mostly Dutch, to a burgeoning building trade.
By 1797 James was able to purchase 94 Maiden Lane from the heirs of Isaac Roosevelt and in 1809-10 he replaced the building on the site with a new store. To accommodate the widening of Maiden Lane in 1822-23, a portion of the store building was taken down and a new Greek Revival style facade was erected .
The 18th-century dwelling and stable erected by Abraham Duryea on the adjacent lot at 90-92 Maiden Lane were replaced by a brick and granite commercial building in 1827-28 which was later sold to James and John F. Trippe, dealers in medicines, paints, and oils.
The Trippes held the property until 1862 when it was repossessed by members of the Duryea family, who then leased the building to a plate-glass merchant.
Two buildings at 9 and 11 Cedar Street, immediately behind 90-92 and 94 Maiden Lane, were erected soon after the street was opened in 1828. Part of a group of eight buildings on Pearl and Cedar Streets erected for Otis Loomer as a speculative investment, they were leased to a variety of merchants over the years.
Throughout the early 19th century James Roosevelt's business continued to prosper, dealing in imported hardware and introducing a line of imported window glass and mirrors. Eventually, under the direction of James's son, Cornelius Van Schaack Roosevelt, who had joined the firm in 1819, it became the country's leading importer of British and French plate glass, crystal plate glass, and mirrors.
The considerable profits produced by the firm allowed C.V.S. Roosevelt to invest heavily in real estate following the Panic of 1837. Between 1842 and 1845 C.V.S. Roosevelt doubled his already comfortable fortune and by 1868 he could count himself among the Astors, Rhinelanders and Lorillartis as one of New York's ten wealthiest landowners.
Two of his sons, James Alfred and Theodore (father of the future president), joined the firm in the 1850s, and two others, Silas Weir and Robert Barnwell, became attorneys, establishing offices at 94 Maiden lane. Conditions at 94 Maiden lane had become sufficiently cramped to warrant leasing space at 7 and 9 Cedar Street, which by 1857 were connected to 94 Maiden Lane by narrow passages.
A decision was made to expand again in 1869 and James A. Roosevelt purchased 90-92 Maiden lane and 9 and 11 Cedar Streets.
In April 1870 plans were filed to join the buildings, alter them internally, and erect a new iron front with mansard roof on Maiden lane and a new brick facade with an iron storefront on Cedar Street.
Designed in the then fashionable Second Empire style, the Maiden lane facade featured corner pavilions framed by rusticated piers, arched window surrounds set off by half-columns and a roof covered with fishscale slates pierced by segmental pedimented dormers.
The Department of Building's Alterations Docket for 1870 lists Michael Grosz & Son, an iron foundry, as responsible for these alterations, but they are attributed to Charles Wright, an architect who was associated with the firm.
Charles Wright
A Long Island resident, Charles Wright was listed as an architect in the New York City directories between 1867 and 1878. In every year except 1873, his office address was given as 45 Greene Street, the location of the Grosz foundry; the termination of his practice in New York coincided with the closing of the foundry following the deaths of Michael and Frederick Grosz in 1878.
Wright's work in Manhattan included a number of tenements on the Lower East Side, stables in Greenwich Village (8 MacDougal Alley of 1871 and 134-36 West 10th Street of 1874), rowhouses in Mid town, and mercantile buildings in the old dry goods districts now known as Tribeca, SoHo, and Ladies' Mile.
His commercial works included a number of cast-iron buildings, among them 913 Broadway (1872, altered) for Peter Goelet, 13 East 19th Street (1874, demolished) for Robert Goelet, 34 Greene Street (1873) for Julius Leopold, and the Grosvenor Building, 385 Broadway (1875) for Matilda Grosvenor and Charlotte Goodridge.
The surviving buildings are all handsome Second Empire structures which like 90-94 Maiden lane feature flattened segmental arches supported by engaged columns. In several the treatment of ornament is also similar to that of 90-94 Maiden lane. No. 34 Greene Street, for example, also employs diamond-point rustication, spandrel panels decorated with paterae, unfluted columns, and paneled piers decorated with a pattern similar to that used on the frieze beneath the mansard at 90-94 Maiden lane.
In addition to this stylistic evidence, which strengthens the attribution of 90-94 Maiden Lane to Wright, it should be noted that he is known to have worked for the Roosevelts on at least two occasions: first in 1869 when he designed a one-story addition to the C.V.S. Roosevelt house at Broadway and 14 th Street and again in 1873 when he planned an alteration at 90-94 Maiden Lane that replaced wood supports in the mansard with iron girders. Michael Grosz & Son was listed as the builder for that alteration.
Michael Grosz & Son
Michael Grosz was first listed in the New York City directories in 1837 as a smith with a business at 8 Watts Street. By 1840 he had moved his business and residence to 45 Greene Street. Through the 1840s and early ' 50s he continued to be listed in the directories as a blacksmith or whitesmith. He began manufacturing iron railings, vault lights, and rolling shutters at some point in the 1850s and was listed as a dealer in iron railings in the directory of 1856.
His son, Frederick H. Grosz, established his own foundry at 45 Greene in 1856 and began manufacturing railings and vault lights. Father and son were listed separately in the directories until 1865 when they formed Michael Grosz & Son.
By that time Michael had begun manufacturing architectural ironwork and had conducted an extensive business with the government during the Civil War years. In the post-war period, under the direction of Michael Grosz and Frederick Grosz, who began taking over increasing responsibility from his father, the "firm built many of the iron buildings erected by the Goelets, Roosevelts and Astors."
According to Frederick Grosz's obituary in the New York Tribune their projects included Steinway Hall at 109 East 14th Street (1866, demolished) and the "Broadway store of Lord & Taylor" (presumably the cast-iron fronted building at Broadway and 20th Street designed by James H. Giles in 1869). The firm also specialized in the manufacture of bank vaults, including those of the Union Trust Company, the Bank of North America, and Chemical Bank.
In the 1870s Michael Grosz & Son also occasionally supplied architectural designs to clients. In addition to the alterations at 90-94 Maiden lane the firm is listed in the Building Department docket books as architect for a pair of iron warehouses at Thomas and Hudson Streets (1870-71, demolished), a four-story tenement at 64 Frankfort Street (1872, demolished), and a building for the Orthopaedic Dispensary and Hospital at 126 East 59th Street (1872-73, demolished).
Presumably these commissions were awarded to the firm because it maintained an architectural staff, who in addition to designing architectural elements such as columns and cornices for the foundry's stock, would also have been available to plan entire facades or buildings for clients who did not want to go to the expense of hiring their own architect.
Such an arrangement is known to have existed at the Architectural Ironworks, where the English architect George H. Johnson and Horace Badger were employed as designers.
As Charles Wright was the only architect listed in business directories of the period as working at 45 Greene Street, it can be deduced that he served in a similar capacity at Michael Grosz & Son and that some sort of agreement had been worked out that also allowed him to have private clients—hence the listings in his name in the Building Department records.
The Architectural Ironworks of New York
In addition to their business arrangements with Charles Wright, the Groszes apparently established a connection with Daniel Badger's Architectural Ironworks of New York, a leading innovator in the field of cast iron. Badger was a former blacksmith from Woburn, Massachusetts, who erected a cast-iron storefront in Boston in 1842, which he claimed was the first structure of iron ever seen in America. In 1843, he bought a patent from A.L. Johnson for rolling iron shutters, used to make windows burglar-proof.
The combination of iron storefront and shutters which came to be known as "Badger fronts" was highly successful. In 1846, Badger opened his business in New York, where his first major commission was for the storefronts of the A.T. Stewart Store at Broadway and Chambers Street.
It was not until the 1850s that Badger began to fabricate full cast-iron fronts.
His foundry was incorporated as the Architectural Ironworks in 1856. In 1865 he published a catalogue of the foundry's works, which listed hundreds of storefronts and over thirty full cast-iron fronts. These were shipped all over the United States and to several foreign countries.
Three extant buildings, 48-50 Walker Street (illustrated as plate XV, no. 7 in the catalogue), 93 Reade Street of 1857 (an almost exact copy of a building on Broadway illustrated as plate XV, no. 8), and 74 Reade Street (listed on page 32), have vault lights marked with the F.H. Grosz foundry plate suggesting that a long-standing relationship existed between the firms.
The Architectural Ironworks was also involved with 90-94 Maiden Lane, since its foundry plate is displayed on a rusticated pier on the Maiden Lane facade; however the exact nature of its role in relation to the Grosz foundry is unknown.
It seems possible that the Grosz firm may have elected to fabricate part of the ironwork for the building but sub-contracted part of the work (perhaps the larger pieces which would have been difficult to cast in the limited confines of 45 Greene Street) to the Architectural Ironworks which had extensive facilities at its 14th Street factory.
Alternatively Michael Grosz & Son may have acted primarily as designers, perhaps supplying wooden patterns from which the castings were made and overseeing construction, but leaving the actual casting up to the Architectural Ironworks.
Nos. 90-94 Maiden Lane, then, is an important late work of the Architectural Ironworks, a firm which must be regarded as one of the leading forces in the development and manufacture of architectural cast iron in this country during the 19th century.
Cast-iron Architecture and the Second Empire Style in lower Manhattan
Although never as numerous as in the mercantile districts now known as Tribeca and SoHo, at least thirty-eight cast-iron-fronted buildings were located in the downtown area of Manhattan from Fulton Street to the Battery by the mid-1880s.
The majority of these were located on Broadway, Fulton Street, and in the area around Wall and Pearl Streets. On Maiden Lane near Broadway, where the jewelry trade was concentrated, there were iron-fronted buildings at 5-7, 9-11, and 25 Maiden Lane. Further down the street, almost opposite 90-94 Maiden Lane, a cast-iron building had been erected by 1868 for Charles Pfizer & Company, manufacturers of chemicals and drugs.
Around the corner at William and Cedar Streets, Griffith Thomas's cast-iron-fronted Kemp Building was erected in 1870-71. Also in the surrounding area were the New York Real Estate Exchange at 59-65 Liberty Street, the Union Building at William and Pine Streets, and the Seaman's Bank Building at Pearl and Wall Streets, all with cast-iron fronts. Many of these buildings were erected in the post-Civil War era as earlier Greek Revival style counting houses in downtown Manhattan were replaced with more specialized structures.
The post-war buildings, whether cast-iron or masonry, usually incorporated elevators and employed the most up-to-date building techniques which made possible the construction of taller buildings than previously possible.
The majority were designed in the then fashionable Second Empire style, characterized by its use of French Renaissance style ornament and mansard roofs. The most notable of these new buildings was Arthur Gilman and Edward Kendall's masonry Equitable Building at Broadway and Cedar Streets (1868-72), which many scholars regard as the first skyscraper. Other masonry Second Empire style buildings included Griffith Thomas's Continental Life
Insurance Building of 1862-63 at 100-102 Broadway and National Park Bank of 1866-68 at 214-16 Broadway, Alfred B. Mullett's Courthouse and Post Office of 1869-80 at city Hall Park, and Henry Fembach's Staats-Zeitung Building of 1870-73 on Tryon Row.
Like 90-94 Maiden Lane, a number of other buildings were modernized during this period, including the Mutual Life Insurance Building at Nassau and Cedar Streets and the Bank of New York at Wall and William Streets, both of which had mansards added during the 1870s.
Today none of the above-mentioned buildings except 90-94 Maiden lane survive and only seven cast-iron fronted buildings remain standing in lower Manhattan between Fulton Street and the Battery.
These include: 63 Nassau Street, an 1830s building given a new cast-iron front around 1860, apparently by the cast-iron pioneer James Bogardus; the Italianate style Germania Building of 1865 at 151 Broadway; 90-94 Maiden Lane, remodeled in 1870-71; Arthur Gilman's Bennett Building at Nassau and Fulton Streets of 1872-73; 114-116 Fulton Street of c. 1880-85; James Farnsworth's 102-104 Fulton Street of 1895-96; and Francis Kimball's remodeling of 20 John Street of 1909, the latter two combining cast iron and pressed metal elements.
Of these, 90-94 Maiden Lane is the southernmost cast-iron-fronted building in Manhattan and due to the fact that the Bennett Building lost its original mansard when it was raised from six to ten stories in 1888, it is the only remaining mansarded Second Empire style business building in the Financial District.
Thus 90-94 Maiden lane is not only an elegant building but also a rare survivor of a once prolific type which flourished in the Financial District in the post-Civil War era.
Description
Four early 19th-century buildings were joined to form the present building at 90-94 Maiden lane, a four-story structure on a slightly irregular through-the-block lot which has a frontage of fifty-nine feet on Maiden Lane and forty-four feet on Cedar Street. On Maiden Lane the building is faced with cast iron and crowned by a mansard roof. Rusticated corner pavilions frame five central bays which are divided by unfluted engaged columns. Cornices set off the individual stories.
The first story is trabeated, the central bays on the second and third stories are crowned by flat arches, while the pavilions contain a trio of arches resting on slender pilasters. The column capitals and spandrels are decorated with paterae, modillions and stylized brackets enrich the first story cornice, there is a dentil course on the second story cornice, and console brackets and a paneled frieze are found above the third story.
The arrangement of windows and doors on the first story has been changed several times over the years. The wood and glass entrance is only a few months old, the window treatment of the center bays dates from about 1910, the window and transoms in the eastern end bay were installed in the 1920s; however, the paneled iron bulkhead beneath appears to be original to the facade and reflects the original tripartite arrangement of the window bays which is that of the upper stories.
A foundry plate labeled "Architectural Ironworks of N.Y." is clearly visible on the pier separating the eastern pavilion from the center bays. Though obscured by paint, there appear to be similar plates on the piers flanking the western entrance bay.
The second and third stories retain their original wood frames and double-hung wood one-over-one sash. The mansard is now covered with seamed sheet metal, instead of the original fishscale slates, and the dormers, now with triangular pediments, contain new windows, both the result of a 1960s alteration.
On Cedar Street the building has four full stories topped by a flat roof. The facade is faced with red brick (now painted) above a cast-iron storefront and is divided into six bays. On the ground story the bays are separated by iron piers which are articulated as pilasters with paterae on their capitals similar to those used to decorate the capitals and spandrels on the Maiden Lane facade.
The piers support a simple entablature with a projecting cornice. The openings between the piers has been sealed with brick infill. There is a modern metal and glass door in the first bay (from left to right) and a pair of steel doors surmounted by a wood transom bar in the fifth bay.
The upper stories originally had segmental arched windows with stone sills; all but the window openings in the first bay have brick infill. The remaining windows are wood-framed two-over-two double-hung sash. The facade is crowned by a corbeled brick cornice with projecting comer brackets.
Subsequent History
In the 1870s as the market for imported plate glass was contracting due to increased domestic production, the Roosevelts decided to leave the glass business. Reportedly the firm's last major commission was to supply plate glass to Chicago builders following the Great Fire.
In 1876, Roosevelt & Son moved from Maiden Lane, settling temporarily at 216 Pearl Street, before establishing itself permanently at 32 Pine Street. Led by James Alfred Roosevelt, who took control following the death of Theodore Roosevelt, Sr., in 1878, the firm turned to investment banking specializing in the underwriting of railroad and communication company bonds—notably the Great Northern Railroad and Atlantic and All American Cable Companies.
It is unclear how 90-94 Maiden Lane was used during the last quarter of the 19th century, though it remained in Roosevelt hands. In 1910 the building underwent a number of interior and storefront alterations to accommodate a new tenant, Sussfeld & Lorch & Co., importers of optical goods who moved there from a neighboring building on Maiden Lane.
In 1919 the Fire Company's Corporation, owner of the adjacent building at 80 Maiden Lane, purchased 90-94 Maiden Lane to prevent any future obstruction of the windows on the east side of its building. The buildings remain in common ownership today.
- From the 1989 NYCLPC Landmark Designation Report
Reformance: recycled performance festival.
This photo is a reinterpretation of Marina Abramovic & Ulay's "Relation in Time". Claremi and I, as Miranda & Mirón, organised the festival's first edition with 9 different pieces in spring 2010. We took these photos to accompany the call for submissions and inspire some reinterpretations using two well-known performances of art history. Info, photos and videos on the results at
www.fernandezmiron.com/reformance
Reformance: festival de performance reciclada
Esta foto es una reinterpretación de "Relation in Time", de Marina Abramovic & Ulay. Claremi y yo, como Miranda y Mirón, organizamos la primera edición del festival con 9 piezas diferentes en primavera de 2010 e hicimos estas fotos para acompañar la convocatoria e inspirar algunas reinterpretaciones mediante dos de las performance más conocidas de la historia del arte. Información, fotos y vídeos de los resultados en www.fernandezmiron.com/reformance
Jen contacted me in February 2011 while I was at the Carnevale in Venice. We discussed setting up a shoot when I got back to Alaska; I was struck by her creativity and enthusiasm. When Jen actually showed up for the first shoot I knew within about 0.023 seconds it was going to be a great shoot. Jen is not only drop dead gorgeous but her whole persona oozes sweetness, goodness, and classiness - you can't but like her as soon as you meet her - a real rare find.
Normally when I shoot with a model I like to take a shot or two and then try something new; with Jen she set the flow and I went with it. She moved with such ease from one pose to the next and I could barely keep up with her.
Wow - this has to be one of my all-time favorite shoots and hopefully one of many with Jen. We did this shoot in South Anchorage, Alaska, in March 2011.
Strobist info - I had two flash units, a Canon 580EX II and a Vivitar 285HV positioned about 45 degrees in relation to Jen; the Canon was sent on 1/2 power, the Vivitar at 1/4th power. I used a Cybersync transmitter and receivers to trigger the flash units.
Free for editorial use image, please credit: imagecomms
ParalympicsGB Swimmer, Jordan Catchpole aged 21, from Beccles, competing in the 100m Butterfly S14 - Men event, at the Tokyo 2020 Paralympic Games.
ParalympicsGB is the name for the Great Britain and Northern Ireland Paralympic Team that competes at the summer and winter Paralympic Games. The Team is selected and managed by the British Paralympic Association, in conjunction with the national governing bodies, and is made up of the best sportsmen and women who compete in the 22 summer and 4 winter sports on the Paralympic Programme.
For additional Images please visit: www.digitalcontentdownload.com/paralympicsgb_2020/
For more information please contact the ParalympicsGB Press Office via press@paralympics.org.uk
If you require a higher resolution image or you have any other photographic enquiries, please contact imagecomms on +44 (0)20 7160 6282 or email hello@imagecomms.com
This image is copyright imagecomms 2021©.
This image has been supplied by imagecomms and must be credited imagecomms. The author is asserting his full Moral rights in relation to the publication of this image. Rights for onward transmission of this image or file is not granted or implied. Changing or deleting Copyright information is illegal as specified in the Copyright, Design and Patents Act 1988. If you are in any way unsure of your right to publish this image please contact imagecomms on +44 (0)20 7160 6282 or email hello@imagecomms.com
2012-12-28 Sichtbar werden mit Folie Gradinger, AUDI FIS Ski World Cup Semmering, Riesentorlauf Damen, SMPR - Public Relation - Stefan Steinacher - Daniela Maier - Moderation, Athleten, Sport, Interviews, Redaktion PR Services, Eventmoderation, Photografer Gerhard Möhsner, Bilderdatenbank Fotoblitz hier klicken
Fenninger rast am Zauberberg zum überlegenem Sieg. Die ÖSV Rennläuferin Anna Fenninger gewann überlegen den Riesentorlauf am Semmering. Die Salzburgerin setzte sich mit klarem Vorsprung auf RTL- Weltcup- Leaderin Tina Maze aus Slowenien (+1,10 Sekunden) und auf die Französin Tessa Worley (+ 1,18) durch und fixierte so den zweiten Weltcupsieg ihrer Karriere. Den ersten hatte sie vor exakt einem Jahr, am 28. Dezember 2011 in Lienz, gefeiert.
Endergebnis RTL Semmering:
01 FENNINGER Anna AUT 1:06.42 1:06.67 2:13.09
02 MAZE Tina SLO 1:07.32 1:06.87 2:14.19
03 WORLEY Tessa FRA 1:06.98 1:07.29 2:14.27
04 HÖFL- RIESCH Maria GER 1:07.56 1:07.20 2:14.76
05 REBENSBURG Viktoria GER 1:07.67 1:07.33 2:15.00
06 LINDELL- VIKARBY Jessica SWE 1:07.64 1:07.84 2:15.48
07 ZETTEL Kathrin AUT 1:08.28 1:07.21 2:15.49
08 SHIFFRIN Mikaela USA 1:08.56 1:07.21 2:15.77
09 GÖRGL Elisabeth AUT 1:08.38 1:07.71 2:16.09
10 PIETILÄ- HOLMNER Maria SWE 1:08.81 1:07.36 2:16.17
11 HANSDOTTER Frida SWE 1:08.18 1:08.00 2:16.18
12 FANCHINI Nadia ITA 1:09.18 1:07.14 2:16.32
13 GISIN Dominique SUI 1:09.07 1:07.32 2:16.39
14 GAGNON Marie- Michele CAN 1:08.75 1:07.73 2:16.48
15 KIRCHGASSER Michaela AUT 1:09.15 1:07.46 2:16.61
16 CURTONI Irene ITA 1:08.90 1:07.76 2:16.66
17 MARMOTTAN Anemone FRA 1:09.16 1:07.57 2:16.73
18 HRONEK Veronique GER 1:09.90 1:06.86 2:16.76
19 KARBON Denise ITA 1:09.60 1:07.19 2:16.79
20 POUTIAINEN Tanja FIN 1:08.74 1:08.16 2:16.90
21 KÖHLE Stefanie AUT 1:08.31 1:08.75 2:17.06
22 BARIOZ Taina FRA 1:09.09 1:08.03 2:17.12
23 BERTRAND Marion FRA 1:09.06 1:08.09 2:17.15
24 GUT Lara SUI 1:08.85 1:08.34 2:17.19
25 MANCUSO Julia USA 1:09.06 1:08.19 2:17.25
26 BREM Eva- Maria AUT 1:08.87 1:08.42 2:17.29
27 WEIRATHER Tina LIE 1:09.83 1:07.52 2:17.35
28 HECTOR Sara SWE 1:09.93 1:07.46 2:17.39
29 MÖLGG Manuela ITA 1:08.42 1:09.54 2:17.96
30 AGERER Lisa Magdalena ITA 1:09.93 1:08.07 2:18.00
Bericht: WSV Semmering, Fotorechte: Diese Fotos stammen von Gerhard Möhsner und sind urheberrechtlich geschützt. Kopien, Vervielfältigungen für Veröffentlichungen dürfen nur mit ausdrücklicher schriftlicher Zustimmung gemacht werden !! Bilderdatenbank Fotoblitz hier klicken