Concord. The road into Concord follows the route that the British troops took. At the time of the Revolution Concord was the largest inland town in Massachusetts so it was an important town for the British to secure. The action happened around the North Bridge. But do not be fooled, the current bridge is the 2005 restoration of the 1954 replica of the earlier 1875, 1889 and 1909 replicas! Nevertheless it is a poignant spot. One of the plaques near the bridge states: “They came 3,000 miles and died to keep the past upon the throne.” The bridge spans the Concord River. Five companies of colonial Minute Men and five companies of local militia totalling 400 confronted about 100 trained British troops. The battle here was so significant because the Americans managed to defeat the British and turn them away from the town. There is another statue of the Minute Man at the North Bridge and a large visitor Centre with displays and media presentations of the battle. Nearby and still in the National Historic Park is the Wayside House, dating from 1717. The house had a number of owners including two Concord literary families: Louisa May Alcott of Little Women fame (a Civil War tale); and Nathaniel Hawthorn a major American novelist who was born in Salem and wrote moralistic novels reflecting his puritan heritage. We will also visit The Orchard, the home that Louisa May Alcott lived in when she actually wrote Little Women which is next door to the Wayside. Alcott lived here from 1858 to 1877. This well known book tells the story of life in a middle class New England family whilst the father is away fighting for the Union forces in the Civil War. Alcott was an Abolitionist and she applauded the 1848 Seneca Falls Convention statement on the rights of women.

Concord has many literary personalities and so we will also visit the home of Ralph Waldo Emerson called the Old Manse. This typical New England farm house was built in 1770 and still contains the original furnishing and furniture of Emerson. Nathaniel Hawthorn lived in the house after Emerson. Emerson is best described as a moral essayist, and poet who championed the environment – nature - and founded the American philosophical movement known as Transcendentalism. Emerson and his followers believed in the experience and reflection, the unity of nature and God, and that men could discover truths and insights without reference to religion and preaching. Henry David Thoreau was another transcendentalist, and ardent Abolitionist and a well known writer of essays, philosophical books and articles. He also loved nature and was best known for his book on Walden – Life in the Woods. He lived in a woodman’s cabin on the edge of Walden Pond and longed for a simple life which was in harmony with nature and the environment. We will visit Thoreau’s log cabin beside Walden Pond which is pictured above. Fall foliage season is the best time to visit Walden Pond. We have a lunch break to explore and enjoy the centre of Concord with its village green, white wooden houses and churches, antique shops, cafes and red maples.

Concord. The road into Concord follows the route that the British troops took. At the time of the Revolution Concord was the largest inland town in Massachusetts so it was an important town for the British to secure. The action happened around the North Bridge. But do not be fooled, the current bridge is the 2005 restoration of the 1954 replica of the earlier 1875, 1889 and 1909 replicas! Nevertheless it is a poignant spot. One of the plaques near the bridge states: “They came 3,000 miles and died to keep the past upon the throne.” The bridge spans the Concord River. Five companies of colonial Minute Men and five companies of local militia totalling 400 confronted about 100 trained British troops. The battle here was so significant because the Americans managed to defeat the British and turn them away from the town. There is another statue of the Minute Man at the North Bridge and a large visitor Centre with displays and media presentations of the battle. Nearby and still in the National Historic Park is the Wayside House, dating from 1717. The house had a number of owners including two Concord literary families: Louisa May Alcott of Little Women fame (a Civil War tale); and Nathaniel Hawthorn a major American novelist who was born in Salem and wrote moralistic novels reflecting his puritan heritage. We will also visit The Orchard, the home that Louisa May Alcott lived in when she actually wrote Little Women which is next door to the Wayside. Alcott lived here from 1858 to 1877. This well known book tells the story of life in a middle class New England family whilst the father is away fighting for the Union forces in the Civil War. Alcott was an Abolitionist and she applauded the 1848 Seneca Falls Convention statement on the rights of women.

Concord has many literary personalities and so we will also visit the home of Ralph Waldo Emerson called the Old Manse. This typical New England farm house was built in 1770 and still contains the original furnishing and furniture of Emerson. Nathaniel Hawthorn lived in the house after Emerson. Emerson is best described as a moral essayist, and poet who championed the environment – nature - and founded the American philosophical movement known as Transcendentalism. Emerson and his followers believed in the experience and reflection, the unity of nature and God, and that men could discover truths and insights without reference to religion and preaching. Henry David Thoreau was another transcendentalist, and ardent Abolitionist and a well known writer of essays, philosophical books and articles. He also loved nature and was best known for his book on Walden – Life in the Woods. He lived in a woodman’s cabin on the edge of Walden Pond and longed for a simple life which was in harmony with nature and the environment. We will visit Thoreau’s log cabin beside Walden Pond which is pictured above. Fall foliage season is the best time to visit Walden Pond. We have a lunch break to explore and enjoy the centre of Concord with its village green, white wooden houses and churches, antique shops, cafes and red maples.

This is a reconstruction of the cabin in a slightly different location near the pond. Henry David Thoreau spent two years living close to nature in the cabin in the 1840's and his resulting book "Walden" is a reflection on simple living in natural srroundings. It is amazing to think that this experience was well before the civil war and before Laura Ingalls Wilder went west in the Little House on the Prairie.

Part 1 // Soundboy in Distress /

In which Our Hero takes it upon himself to chant down Babylon-Mart.

Juana Molina - El Vestido

Portishead - Hunter (12th Planet of NFC Remix)

Zomby - The Lie

Manual - Oracle Night

Deadbeat - Rise Again (feat Paul St. Hilaire)

Skream - Dutch Flowerz

The Knife - Forest Families (Stop Time Edit)

Vampire Weekend - The Kids Don't Stand a Chance (Dub Edit)

Part 2 // The Animating Force /

See Also: Phillip K Dick, The I Ching, Transcendentalism on the

Dancefloor, R.I.P. ODB.

M.I.A. - Paper Planes (DFA Remix)

The Clash - Straight to Hell (Unedited Edit)

The Glimmers - Music for Dreams

Ol Dirty Bastard - Recognize

Donnacha Costello - It Simply Is

Grace Jones - Williams Blood (Aeroplane Rejected Remix)

Akron/Family - How Do I Know?

Friendly Fires - Paris (Aeroplane Remix)

Radiohead - Nude (Ripperton Remix)

Fleet Foxes vs Carl Craig - Winter White Hymal In The Trees (Edit)

Part 3 // Spacewalk with Al Green /

Once captured the animal belongs to its captor unless the animal

escapes and returns to its natural liberty.

Kayne West - Paranoid (Choppy Edit)

Jose Gonzalez - Killing for Love (Todd Terje Brokemack Mix)

Hercules & Love Affair - Blind (Frankie Knucles Remix)

Ricardo Villalobos vs Mathew Johnson - Enfants Symphony (Edit)

Andy Stott - Handle with Care

Tony Allen - Ole (Moritz van Oswald Remix)

Bvdub - The Road Home

Ricardo Villalobos - Minimoonstar (Shackleton Remix)

Bohren & der Club of Gore - Schwarze Biene (Black Maja)

Al Green - Lay it Down (Spacewalkin' Edit)

Part 4 // Epilogue (A Year On Fire) /

Ezekiel Honig - Broken Marching Band

Stars of the Lid - Apreludes (In C Sharp Major)

Sufjan Stevens - Riffs and Variations on a Single Note

Valet - We Went There

Akron/Family - Interlude

Burial - Dog Shelter

Tape - Iluminations

Bon Iver vs Deerhunter - Woods Aux Out (edit)

"More than anything, The Collapse is a new opportunity to for

groove-based electronic music. This is a creative opportunity that

must be seized. What is to be invented is an extra-technological

context for electronic music, one that is beyond drugged raving and

amphetamine nightlife. But nobody wants to wake up. People just keep

ripping, dropping, downloading and dancing around like it's 1999.

Meanwhile it's 2008, and something's on fire."

Lumber Schooners at Evening on Penobscot Bay

•Lane, Fitz Henry

•American, 1804-1865

•1863

•Oil on Canvas

•Dimensions:

oOverall: 62.5 × 96.8 cm (24⅝ × 38⅛ in.)

oFramed: 97.8 × 129.5 x 10.2 cm (38½ × 51 × 4 in.)

•Gift of Mr. and Mrs. Francis W. Hatch, Sr.

•1980.29.1

•On View

Overview

Despite its meticulous draftsmanship and precise detail, Lane’s work is far more than a simple inventory of harbor activity. The diminutive figures and carefully rendered vessels remain secondary to the vast expanse of sky, where shimmering light creates a tranquil, idyllic mood. Lane’s rarefied landscapes epitomize man’s harmonious union with the natural world.

Some scholars have used the term “luminism” to describe the artist’s subtle use of light and atmospheric effects to convey nature’s intangible spirit. Ralph Waldo Emerson, the foremost exponent of American Transcendentalism, believed that poets and painters should serve as conduits through which the experience of nature might be transmitted directly to their audience. With a similarly self-effacing artistic temperament, Lane minimized his autographic presence, using translucent glazes rather than heavily impastoed surfaces to underscore the scene’s pervasive stillness. His elegiac paintings differ profoundly from the more explosive exuberance expressed by Cole and Church, though he shared these artists’ reverence for nature and their belief in its inherent divinity.

Inscription

•Lower Right: F. H. Lane / 1863

Provenance

(Harvey Additon, Boston), until c. 1940; Mr. and Mrs. Francis Whiting Hatch, Sr., Boston, and Castine, Maine;[1] gift 1980 to NGA.

[1] According to Francis Hatch, Jr. (letter of 9 September 1982 in NGA curatorial files), his father purchased the painting from Harvey Additon’s store on LaGrange Street in Boston about “forty years ago.” Hatch adds: “By coincidence it was the same Additon who found many of the paintings in Maxim Karolik’s collection.”

Exhibition History

•1963—Maine and Its Artists, 1710-1963, Colby College Art Museum, Waterville, Maine; Museum of Fine Arts, Boston; Whitney Museum of American Art, New York, 1963-1964, no. 81.

•1966—Fitz Hugh Lane, The First Major Exhibition, De Cordova Museum, Lincoln, Massachusetts; Colby College Art Museum, Waterville, Maine, 1966, no. 48.

•1969—American Paintings of Ports and Harbors, 1774-1968, Cummer Gallery of Art, Jacksonville, Florida; Norfold Museum of Arts and Sciences, Virginia, 1969, no. 19.

•1974—Fitz Hugh Lane, 1804-1865, The William A. Farnsworth Library and Art Museum, Rockland, Maine, 1974, no. 43.

•1980—American Light: The Luminist Movement, 1850-1875, National Gallery of Art, Washington, D.C., 1980, 12, fig. 1, frontispiece.

•1983—A New World: Masterpieces of American Painting 1760-1910, Museum of Fine Arts, Boston; Corcoran Gallery of Art, Washington, D.C.; Grand Palais, Paris, 1983-1984, no. 34, repro.

•1988—Paintings by Fitz Hugh Lane, National Gallery of Art, Washington, D.C.; Museum of Fine Arts, Boston, 1988, no. 61.

•1990—Loan for display with permanent collection, Wadsworth Atheneum, Hartford, Connecticut, 1990.

•1999—America: The New World in 19th-Century Painting, Österreichische Galerie Belvedere, Vienna, 1999, no. 36, repro.

•1999—An Enduring Legacy: Masterpieces from the Collection of Mr. and Mrs. Paul Mellon, National Gallery of Art, Washington, D.C., 1999-2000, no cat.

•2002—American Sublime: Landscape Painting in the United States 1820-1880, Tate Britain, London; Museum of American Art of the Pennsylvania Academy of the Fine Arts, Philadelphia; Minneapolis Institute of Arts, 2002, no. 72, repro. (shown only in London).

Technical Summary

The support is a tight, plain-weave fabric that has been lined. The original tacking margins have been retained. A thick layer of pale pink priming was applied by the artist. Infrared reflectography reveals little evidence of distinct underdrawing, although the lower and large yard of the foreground ship was originally positioned slightly lower. The paint layer was thinly applied, with virtually no impasted areas other than in the clouds at left. The surface is slightly abraded, most noticeably in the sea and along the top and bottom edges. The varnish has not discolored, however, numerous areas of inpainting scattered throughout have discolored.

Amos Bronson Alcott (November 29, 1799 – March 4, 1888) was an American teacher, writer, philosopher, and reformer. As an educator, Alcott pioneered new ways of interacting with young students, focusing on a conversational style, and avoided traditional punishment. He hoped to perfect the human spirit and, to that end, advocated a vegan diet before the term was coined. He was also an abolitionist and an advocate for women's rights.

In 1868, Alcott met with publisher Thomas Niles, an admirer of Hospital Sketches. Alcott asked Niles if he would publish a book of short stories by his daughter; instead, he suggested she write a book about girls. Louisa May was not interested initially but agreed to try. "They want a book of 200 pages or more", Alcott told his daughter. The result was Little Women, published later that year. The book, which fictionalized the Alcott family during the girls' coming-of-age years, recast the father figure as a soldier, away from home while he fought in the Civil War.

“Write it on your heart that every day is the best day in the new year”

-x-x-x-

Finish each day and be done with it. You have done what you could. Some blunders and absurdities no doubt crept in; forget them as soon as you can. Tomorrow is a new day; begin it well and serenely and with too high a spirit to be encumbered with your old nonsense.

Ralph Waldo Emerson

Transcendentalism: A core belief is in the inherent goodness of people and nature, and while society and its institutions have corrupted the purity of the individual, people are at their best when truly "self-reliant" and independent.

The ancient pre Buddhist Hindu texts known as the Upanishads are considered core documents of Transcendentalists who are spiritual seekers.

Instead of believing in a distant heaven, a transcendentalist sees their own physical and spiritual phenomena as part of a universe of dynamic processes. This awakening has room to allow an architecture of the universe with traditional discrete deities but your path of enlightenment can move past these religious patterns as well. Are you a transcendentalist?

www.pinterest.com/carnavalbz/quoting-forever/

May 12, 2019 - Frank Lloyd Wright's Unity Temple located at 875 Lake Street, Oak Park, Illinois. "Commissioned by the congregation of Oak Park Unity Church in 1905, Wright’s Unity Temple is the greatest public building of the architect’s Chicago years. Wright’s family on his mother’s side were Welsh Unitarians, and his uncle Jenkin Lloyd Jones was a distinguished Unitarian preacher with a parish on Chicago’s south side where Wright and his wife Catherine were married. Wright identified with the rational humanism of Unitarianism, particularly as influenced by Ralph Waldo Emerson’s transcendentalism, uniting all beings as one with the divine presence.

Wright’s father had been a Universalist preacher. With their emphasis on a loving God, Universalists were early advocates of abolitionism and were the first church to ordain women. In 1886 Universalist Augusta Chapin became minister of the Oak Park Unity Church, attracting new members to the congregation including Frank Lloyd Wright’s mother Anna. Unitarian Universalist minister Rodney Johonnot succeeded Chapin when she joined the Parliament of World Religions in 1893. A lawyer and graduate of Harvard Divinity School, Johonnot was known for his liberal views, even more extreme than those of Jenkin Lloyd Jones with whom he sometimes took issue.

When Unity Church burned to the ground in June 1905, Wright was awarded the commission, and in 1906 Johonnot published a booklet titled, A New Edifice for Unity Church. He wanted a modern building that would embody the principles of “unity, truth, beauty, simplicity, freedom and reason.”

Wright was a perfect match to these requirements. The design he submitted to the congregation broke with almost every existing convention for traditional Western ecclesiastic architecture. On the novel choice of construction material Wright states, “There was only one material to choose—as church funds were $45,000. Concrete was cheap.” Wright’s bold concept for the building enabled a series of concrete forms to be repeated multiple times.

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings."

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings.”

Approached from Lake Street, Unity Temple is a massive and monolithic cube of concrete, sheltered beneath an expansive flat roof. The introspective nature of the building is in part a response to its corner site situated along a busy thoroughfare. No entrance is apparent and the building appears impenetrable, save for a band of high clerestory windows recessed behind decorative piers and shadowed by overhanging eaves.

Entry to the building is via a low hall that connects Unity Temple and Unity House. Above the bank of doors leading into the hall, an inscription in bronze declares, “For the worship of God and the service of man.” The low, dimly lit hall that unites the buildings is a transitional space. To the south it opens directly onto Unity House. Designed for “the service of man,” this secular space includes a central meeting hall, flanking balconies for use as open classrooms, and other special purpose rooms for daily operation. Like Wright’s residential architecture, this congregational parish house is centered on a fireplace hearth.

Situated across the hall from Unity House is the temple. In contrast to the open entrance into Unity House, access to the sanctuary is complex. Wright masterfully manipulates the sequence of entrance; guiding the visitor through low dark passages he termed “cloisters,” before they ascend into the open, brightly lit sanctuary.

The sanctuary is the heart and anchor of the building. At once grand yet intimate, the sanctuary is a masterful composition in light and space. Its elegant articulation and warm colors stand in bold contrast to the grey concrete exterior. Devoid of overt religious iconography, its precise geometric proportions declare a harmonious whole.

The uppermost portion of the sanctuary appears light and transparent. A continuous band of clerestory windows of Wright’s signature leaded glass encircle the flat, coffered ceiling. Set in a concrete grid are twenty-five square skylights of amber tinted leaded glass The effect, Wright states, was intended “to get a sense of a happy cloudless day into the room… daylight sifting through between the intersecting concrete beams, filtering through amber glass ceiling lights. Thus managed, the light would, rain or shine, have the warmth of sunlight.”

While Wright’s innovative use of concrete was chosen for its economy, the completed building ultimately cost nearly twice the contracted price due to complications encountered during construction. In September of 1909, the new building was dedicated. Because its unique design bore little resemblance to the other churches along Lake Street, it was decided to rename it Unity Temple.

The congregation’s board of trustees issued a statement thanking Wright. “We extend to the architect, Mr. Frank Lloyd Wright, our most hearty congratulations upon the wonderful achievement embodied in the new edifice and further extend to him our most sincere thanks for the great service which, through the building, he has rendered to the parish and to the community. We believe the building will long endure as a monument to his artistic genius and that, so long as it endures, it will stand forth as a masterpiece of art and architecture.” Their words were prophetic."

Previous text from the following website: flwright.org/researchexplore/unitytemple

May 12, 2019 - Frank Lloyd Wright's Unity Temple located at 875 Lake Street, Oak Park, Illinois. "Commissioned by the congregation of Oak Park Unity Church in 1905, Wright’s Unity Temple is the greatest public building of the architect’s Chicago years. Wright’s family on his mother’s side were Welsh Unitarians, and his uncle Jenkin Lloyd Jones was a distinguished Unitarian preacher with a parish on Chicago’s south side where Wright and his wife Catherine were married. Wright identified with the rational humanism of Unitarianism, particularly as influenced by Ralph Waldo Emerson’s transcendentalism, uniting all beings as one with the divine presence.

Wright’s father had been a Universalist preacher. With their emphasis on a loving God, Universalists were early advocates of abolitionism and were the first church to ordain women. In 1886 Universalist Augusta Chapin became minister of the Oak Park Unity Church, attracting new members to the congregation including Frank Lloyd Wright’s mother Anna. Unitarian Universalist minister Rodney Johonnot succeeded Chapin when she joined the Parliament of World Religions in 1893. A lawyer and graduate of Harvard Divinity School, Johonnot was known for his liberal views, even more extreme than those of Jenkin Lloyd Jones with whom he sometimes took issue.

When Unity Church burned to the ground in June 1905, Wright was awarded the commission, and in 1906 Johonnot published a booklet titled, A New Edifice for Unity Church. He wanted a modern building that would embody the principles of “unity, truth, beauty, simplicity, freedom and reason.”

Wright was a perfect match to these requirements. The design he submitted to the congregation broke with almost every existing convention for traditional Western ecclesiastic architecture. On the novel choice of construction material Wright states, “There was only one material to choose—as church funds were $45,000. Concrete was cheap.” Wright’s bold concept for the building enabled a series of concrete forms to be repeated multiple times.

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings."

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings.”

Approached from Lake Street, Unity Temple is a massive and monolithic cube of concrete, sheltered beneath an expansive flat roof. The introspective nature of the building is in part a response to its corner site situated along a busy thoroughfare. No entrance is apparent and the building appears impenetrable, save for a band of high clerestory windows recessed behind decorative piers and shadowed by overhanging eaves.

Entry to the building is via a low hall that connects Unity Temple and Unity House. Above the bank of doors leading into the hall, an inscription in bronze declares, “For the worship of God and the service of man.” The low, dimly lit hall that unites the buildings is a transitional space. To the south it opens directly onto Unity House. Designed for “the service of man,” this secular space includes a central meeting hall, flanking balconies for use as open classrooms, and other special purpose rooms for daily operation. Like Wright’s residential architecture, this congregational parish house is centered on a fireplace hearth.

Situated across the hall from Unity House is the temple. In contrast to the open entrance into Unity House, access to the sanctuary is complex. Wright masterfully manipulates the sequence of entrance; guiding the visitor through low dark passages he termed “cloisters,” before they ascend into the open, brightly lit sanctuary.

The sanctuary is the heart and anchor of the building. At once grand yet intimate, the sanctuary is a masterful composition in light and space. Its elegant articulation and warm colors stand in bold contrast to the grey concrete exterior. Devoid of overt religious iconography, its precise geometric proportions declare a harmonious whole.

The uppermost portion of the sanctuary appears light and transparent. A continuous band of clerestory windows of Wright’s signature leaded glass encircle the flat, coffered ceiling. Set in a concrete grid are twenty-five square skylights of amber tinted leaded glass The effect, Wright states, was intended “to get a sense of a happy cloudless day into the room… daylight sifting through between the intersecting concrete beams, filtering through amber glass ceiling lights. Thus managed, the light would, rain or shine, have the warmth of sunlight.”

While Wright’s innovative use of concrete was chosen for its economy, the completed building ultimately cost nearly twice the contracted price due to complications encountered during construction. In September of 1909, the new building was dedicated. Because its unique design bore little resemblance to the other churches along Lake Street, it was decided to rename it Unity Temple.

The congregation’s board of trustees issued a statement thanking Wright. “We extend to the architect, Mr. Frank Lloyd Wright, our most hearty congratulations upon the wonderful achievement embodied in the new edifice and further extend to him our most sincere thanks for the great service which, through the building, he has rendered to the parish and to the community. We believe the building will long endure as a monument to his artistic genius and that, so long as it endures, it will stand forth as a masterpiece of art and architecture.” Their words were prophetic."

Previous text from the following website: flwright.org/researchexplore/unitytemple

Emerson Among the Eccentrics: A Group Portrait ... Carlos Baker

Henry David Thoreau: Three Complete Books... Henry David Thoreau

The Maine Woods ... Henry David Thoreau

Thoreau on Land: Nature's Canvas ... Henry David Thoreau, J.O. Valentine, and the Thoreau Society

Walden ... Henry David Thoreau and Harold Bloom

Henry David Thoreau ... Harold Bloom

Searching for Thoreau: On the Trails and Shores of Wild New England ... Tom Slayton

Walden, or, Life in the Woods ... Henry David Thoreau

The Thoreau You Don't Know: What the Prophet of Environmentalism Really Meant ... Robert Sullivan

Self-Reliance: An Excerpt From Collected Essays, First Series ... Ralph Waldo Emerson

American Bloomsbury: Louisa May Alcott, Ralph Waldo Emerson, Margaret Fuller, Nathaniel Hawthorne, and Henry David Thoreau: Their Lives, Their Loves, Their Work ... Susan Cheever

Ralph Waldo Emerson ... Harold Bloom

Selected Tales and Sketches ... Nathaniel Hawthorne and Michael J. Colacurio

The Woman and the Myth: Margaret Fuller's Life and Writings ... Bell Gale Chevigny

Emerson: The Mind on Fire: A Biography ... Robert D. Richardson

Margaret Fuller: From Transcendentalism to Revolution ... Paula Blanchard

Representative Men: Nature, Addresses and Lectures ... Ralph Waldo Emerson

Essays ... Ralph Waldo Emerson

Selected Prose and Poetry ... Ralph Waldo Emerson

Rose in Bloom ... Louisa May Alcott

Little Men ... Louisa May Alcott

Under the Lilacs ... Louisa May Alcott

Little Women, or, Meg, Jo, Beth, and Amy ... Louisa May Alcott and Anna Quindlen

Jo's Boys ... Louisa May Alcott

Little Women ... Louisa May Alcott and James Prunier

The Inheritance ... Louisa May Alcott

The Journal of Henry D. Thoreau ... Henry David Thoreau, Bradford Torrey and Francis Allen

Nathaniel Hawthorne: Three Complete Novels ... Nathaniel Hawthorne

May 12, 2019 - Frank Lloyd Wright's Unity Temple located at 875 Lake Street, Oak Park, Illinois. "Commissioned by the congregation of Oak Park Unity Church in 1905, Wright’s Unity Temple is the greatest public building of the architect’s Chicago years. Wright’s family on his mother’s side were Welsh Unitarians, and his uncle Jenkin Lloyd Jones was a distinguished Unitarian preacher with a parish on Chicago’s south side where Wright and his wife Catherine were married. Wright identified with the rational humanism of Unitarianism, particularly as influenced by Ralph Waldo Emerson’s transcendentalism, uniting all beings as one with the divine presence.

Wright’s father had been a Universalist preacher. With their emphasis on a loving God, Universalists were early advocates of abolitionism and were the first church to ordain women. In 1886 Universalist Augusta Chapin became minister of the Oak Park Unity Church, attracting new members to the congregation including Frank Lloyd Wright’s mother Anna. Unitarian Universalist minister Rodney Johonnot succeeded Chapin when she joined the Parliament of World Religions in 1893. A lawyer and graduate of Harvard Divinity School, Johonnot was known for his liberal views, even more extreme than those of Jenkin Lloyd Jones with whom he sometimes took issue.

When Unity Church burned to the ground in June 1905, Wright was awarded the commission, and in 1906 Johonnot published a booklet titled, A New Edifice for Unity Church. He wanted a modern building that would embody the principles of “unity, truth, beauty, simplicity, freedom and reason.”

Wright was a perfect match to these requirements. The design he submitted to the congregation broke with almost every existing convention for traditional Western ecclesiastic architecture. On the novel choice of construction material Wright states, “There was only one material to choose—as church funds were $45,000. Concrete was cheap.” Wright’s bold concept for the building enabled a series of concrete forms to be repeated multiple times.

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings."

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings.”

Approached from Lake Street, Unity Temple is a massive and monolithic cube of concrete, sheltered beneath an expansive flat roof. The introspective nature of the building is in part a response to its corner site situated along a busy thoroughfare. No entrance is apparent and the building appears impenetrable, save for a band of high clerestory windows recessed behind decorative piers and shadowed by overhanging eaves.

Entry to the building is via a low hall that connects Unity Temple and Unity House. Above the bank of doors leading into the hall, an inscription in bronze declares, “For the worship of God and the service of man.” The low, dimly lit hall that unites the buildings is a transitional space. To the south it opens directly onto Unity House. Designed for “the service of man,” this secular space includes a central meeting hall, flanking balconies for use as open classrooms, and other special purpose rooms for daily operation. Like Wright’s residential architecture, this congregational parish house is centered on a fireplace hearth.

Situated across the hall from Unity House is the temple. In contrast to the open entrance into Unity House, access to the sanctuary is complex. Wright masterfully manipulates the sequence of entrance; guiding the visitor through low dark passages he termed “cloisters,” before they ascend into the open, brightly lit sanctuary.

The sanctuary is the heart and anchor of the building. At once grand yet intimate, the sanctuary is a masterful composition in light and space. Its elegant articulation and warm colors stand in bold contrast to the grey concrete exterior. Devoid of overt religious iconography, its precise geometric proportions declare a harmonious whole.

The uppermost portion of the sanctuary appears light and transparent. A continuous band of clerestory windows of Wright’s signature leaded glass encircle the flat, coffered ceiling. Set in a concrete grid are twenty-five square skylights of amber tinted leaded glass The effect, Wright states, was intended “to get a sense of a happy cloudless day into the room… daylight sifting through between the intersecting concrete beams, filtering through amber glass ceiling lights. Thus managed, the light would, rain or shine, have the warmth of sunlight.”

While Wright’s innovative use of concrete was chosen for its economy, the completed building ultimately cost nearly twice the contracted price due to complications encountered during construction. In September of 1909, the new building was dedicated. Because its unique design bore little resemblance to the other churches along Lake Street, it was decided to rename it Unity Temple.

The congregation’s board of trustees issued a statement thanking Wright. “We extend to the architect, Mr. Frank Lloyd Wright, our most hearty congratulations upon the wonderful achievement embodied in the new edifice and further extend to him our most sincere thanks for the great service which, through the building, he has rendered to the parish and to the community. We believe the building will long endure as a monument to his artistic genius and that, so long as it endures, it will stand forth as a masterpiece of art and architecture.” Their words were prophetic."

Previous text from the following website: flwright.org/researchexplore/unitytemple

Lumber Schooners at Evening on Penobscot Bay

•Lane, Fitz Henry

•American, 1804-1865

•1863

•Oil on Canvas

•Dimensions:

oOverall: 62.5 × 96.8 cm (24⅝ × 38⅛ in.)

oFramed: 97.8 × 129.5 x 10.2 cm (38½ × 51 × 4 in.)

•Gift of Mr. and Mrs. Francis W. Hatch, Sr.

•1980.29.1

•On View

Overview

Despite its meticulous draftsmanship and precise detail, Lane’s work is far more than a simple inventory of harbor activity. The diminutive figures and carefully rendered vessels remain secondary to the vast expanse of sky, where shimmering light creates a tranquil, idyllic mood. Lane’s rarefied landscapes epitomize man’s harmonious union with the natural world.

Some scholars have used the term “luminism” to describe the artist’s subtle use of light and atmospheric effects to convey nature’s intangible spirit. Ralph Waldo Emerson, the foremost exponent of American Transcendentalism, believed that poets and painters should serve as conduits through which the experience of nature might be transmitted directly to their audience. With a similarly self-effacing artistic temperament, Lane minimized his autographic presence, using translucent glazes rather than heavily impastoed surfaces to underscore the scene’s pervasive stillness. His elegiac paintings differ profoundly from the more explosive exuberance expressed by Cole and Church, though he shared these artists’ reverence for nature and their belief in its inherent divinity.

Inscription

•Lower Right: F. H. Lane / 1863

Provenance

(Harvey Additon, Boston), until c. 1940; Mr. and Mrs. Francis Whiting Hatch, Sr., Boston, and Castine, Maine;[1] gift 1980 to NGA.

[1] According to Francis Hatch, Jr. (letter of 9 September 1982 in NGA curatorial files), his father purchased the painting from Harvey Additon’s store on LaGrange Street in Boston about “forty years ago.” Hatch adds: “By coincidence it was the same Additon who found many of the paintings in Maxim Karolik’s collection.”

Exhibition History

•1963—Maine and Its Artists, 1710-1963, Colby College Art Museum, Waterville, Maine; Museum of Fine Arts, Boston; Whitney Museum of American Art, New York, 1963-1964, no. 81.

•1966—Fitz Hugh Lane, The First Major Exhibition, De Cordova Museum, Lincoln, Massachusetts; Colby College Art Museum, Waterville, Maine, 1966, no. 48.

•1969—American Paintings of Ports and Harbors, 1774-1968, Cummer Gallery of Art, Jacksonville, Florida; Norfold Museum of Arts and Sciences, Virginia, 1969, no. 19.

•1974—Fitz Hugh Lane, 1804-1865, The William A. Farnsworth Library and Art Museum, Rockland, Maine, 1974, no. 43.

•1980—American Light: The Luminist Movement, 1850-1875, National Gallery of Art, Washington, D.C., 1980, 12, fig. 1, frontispiece.

•1983—A New World: Masterpieces of American Painting 1760-1910, Museum of Fine Arts, Boston; Corcoran Gallery of Art, Washington, D.C.; Grand Palais, Paris, 1983-1984, no. 34, repro.

•1988—Paintings by Fitz Hugh Lane, National Gallery of Art, Washington, D.C.; Museum of Fine Arts, Boston, 1988, no. 61.

•1990—Loan for display with permanent collection, Wadsworth Atheneum, Hartford, Connecticut, 1990.

•1999—America: The New World in 19th-Century Painting, Österreichische Galerie Belvedere, Vienna, 1999, no. 36, repro.

•1999—An Enduring Legacy: Masterpieces from the Collection of Mr. and Mrs. Paul Mellon, National Gallery of Art, Washington, D.C., 1999-2000, no cat.

•2002—American Sublime: Landscape Painting in the United States 1820-1880, Tate Britain, London; Museum of American Art of the Pennsylvania Academy of the Fine Arts, Philadelphia; Minneapolis Institute of Arts, 2002, no. 72, repro. (shown only in London).

Technical Summary

The support is a tight, plain-weave fabric that has been lined. The original tacking margins have been retained. A thick layer of pale pink priming was applied by the artist. Infrared reflectography reveals little evidence of distinct underdrawing, although the lower and large yard of the foreground ship was originally positioned slightly lower. The paint layer was thinly applied, with virtually no impasted areas other than in the clouds at left. The surface is slightly abraded, most noticeably in the sea and along the top and bottom edges. The varnish has not discolored, however, numerous areas of inpainting scattered throughout have discolored.

May 12, 2019 - Frank Lloyd Wright's Unity Temple located at 875 Lake Street, Oak Park, Illinois. "Commissioned by the congregation of Oak Park Unity Church in 1905, Wright’s Unity Temple is the greatest public building of the architect’s Chicago years. Wright’s family on his mother’s side were Welsh Unitarians, and his uncle Jenkin Lloyd Jones was a distinguished Unitarian preacher with a parish on Chicago’s south side where Wright and his wife Catherine were married. Wright identified with the rational humanism of Unitarianism, particularly as influenced by Ralph Waldo Emerson’s transcendentalism, uniting all beings as one with the divine presence.

Wright’s father had been a Universalist preacher. With their emphasis on a loving God, Universalists were early advocates of abolitionism and were the first church to ordain women. In 1886 Universalist Augusta Chapin became minister of the Oak Park Unity Church, attracting new members to the congregation including Frank Lloyd Wright’s mother Anna. Unitarian Universalist minister Rodney Johonnot succeeded Chapin when she joined the Parliament of World Religions in 1893. A lawyer and graduate of Harvard Divinity School, Johonnot was known for his liberal views, even more extreme than those of Jenkin Lloyd Jones with whom he sometimes took issue.

When Unity Church burned to the ground in June 1905, Wright was awarded the commission, and in 1906 Johonnot published a booklet titled, A New Edifice for Unity Church. He wanted a modern building that would embody the principles of “unity, truth, beauty, simplicity, freedom and reason.”

Wright was a perfect match to these requirements. The design he submitted to the congregation broke with almost every existing convention for traditional Western ecclesiastic architecture. On the novel choice of construction material Wright states, “There was only one material to choose—as church funds were $45,000. Concrete was cheap.” Wright’s bold concept for the building enabled a series of concrete forms to be repeated multiple times.

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings."

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings.”

Approached from Lake Street, Unity Temple is a massive and monolithic cube of concrete, sheltered beneath an expansive flat roof. The introspective nature of the building is in part a response to its corner site situated along a busy thoroughfare. No entrance is apparent and the building appears impenetrable, save for a band of high clerestory windows recessed behind decorative piers and shadowed by overhanging eaves.

Entry to the building is via a low hall that connects Unity Temple and Unity House. Above the bank of doors leading into the hall, an inscription in bronze declares, “For the worship of God and the service of man.” The low, dimly lit hall that unites the buildings is a transitional space. To the south it opens directly onto Unity House. Designed for “the service of man,” this secular space includes a central meeting hall, flanking balconies for use as open classrooms, and other special purpose rooms for daily operation. Like Wright’s residential architecture, this congregational parish house is centered on a fireplace hearth.

Situated across the hall from Unity House is the temple. In contrast to the open entrance into Unity House, access to the sanctuary is complex. Wright masterfully manipulates the sequence of entrance; guiding the visitor through low dark passages he termed “cloisters,” before they ascend into the open, brightly lit sanctuary.

The sanctuary is the heart and anchor of the building. At once grand yet intimate, the sanctuary is a masterful composition in light and space. Its elegant articulation and warm colors stand in bold contrast to the grey concrete exterior. Devoid of overt religious iconography, its precise geometric proportions declare a harmonious whole.

The uppermost portion of the sanctuary appears light and transparent. A continuous band of clerestory windows of Wright’s signature leaded glass encircle the flat, coffered ceiling. Set in a concrete grid are twenty-five square skylights of amber tinted leaded glass The effect, Wright states, was intended “to get a sense of a happy cloudless day into the room… daylight sifting through between the intersecting concrete beams, filtering through amber glass ceiling lights. Thus managed, the light would, rain or shine, have the warmth of sunlight.”

While Wright’s innovative use of concrete was chosen for its economy, the completed building ultimately cost nearly twice the contracted price due to complications encountered during construction. In September of 1909, the new building was dedicated. Because its unique design bore little resemblance to the other churches along Lake Street, it was decided to rename it Unity Temple.

The congregation’s board of trustees issued a statement thanking Wright. “We extend to the architect, Mr. Frank Lloyd Wright, our most hearty congratulations upon the wonderful achievement embodied in the new edifice and further extend to him our most sincere thanks for the great service which, through the building, he has rendered to the parish and to the community. We believe the building will long endure as a monument to his artistic genius and that, so long as it endures, it will stand forth as a masterpiece of art and architecture.” Their words were prophetic."

Previous text from the following website: flwright.org/researchexplore/unitytemple

May 12, 2019 - Frank Lloyd Wright's Unity Temple located at 875 Lake Street, Oak Park, Illinois. "Commissioned by the congregation of Oak Park Unity Church in 1905, Wright’s Unity Temple is the greatest public building of the architect’s Chicago years. Wright’s family on his mother’s side were Welsh Unitarians, and his uncle Jenkin Lloyd Jones was a distinguished Unitarian preacher with a parish on Chicago’s south side where Wright and his wife Catherine were married. Wright identified with the rational humanism of Unitarianism, particularly as influenced by Ralph Waldo Emerson’s transcendentalism, uniting all beings as one with the divine presence.

Wright’s father had been a Universalist preacher. With their emphasis on a loving God, Universalists were early advocates of abolitionism and were the first church to ordain women. In 1886 Universalist Augusta Chapin became minister of the Oak Park Unity Church, attracting new members to the congregation including Frank Lloyd Wright’s mother Anna. Unitarian Universalist minister Rodney Johonnot succeeded Chapin when she joined the Parliament of World Religions in 1893. A lawyer and graduate of Harvard Divinity School, Johonnot was known for his liberal views, even more extreme than those of Jenkin Lloyd Jones with whom he sometimes took issue.

When Unity Church burned to the ground in June 1905, Wright was awarded the commission, and in 1906 Johonnot published a booklet titled, A New Edifice for Unity Church. He wanted a modern building that would embody the principles of “unity, truth, beauty, simplicity, freedom and reason.”

Wright was a perfect match to these requirements. The design he submitted to the congregation broke with almost every existing convention for traditional Western ecclesiastic architecture. On the novel choice of construction material Wright states, “There was only one material to choose—as church funds were $45,000. Concrete was cheap.” Wright’s bold concept for the building enabled a series of concrete forms to be repeated multiple times.

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings."

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings.”

Approached from Lake Street, Unity Temple is a massive and monolithic cube of concrete, sheltered beneath an expansive flat roof. The introspective nature of the building is in part a response to its corner site situated along a busy thoroughfare. No entrance is apparent and the building appears impenetrable, save for a band of high clerestory windows recessed behind decorative piers and shadowed by overhanging eaves.

Entry to the building is via a low hall that connects Unity Temple and Unity House. Above the bank of doors leading into the hall, an inscription in bronze declares, “For the worship of God and the service of man.” The low, dimly lit hall that unites the buildings is a transitional space. To the south it opens directly onto Unity House. Designed for “the service of man,” this secular space includes a central meeting hall, flanking balconies for use as open classrooms, and other special purpose rooms for daily operation. Like Wright’s residential architecture, this congregational parish house is centered on a fireplace hearth.

Situated across the hall from Unity House is the temple. In contrast to the open entrance into Unity House, access to the sanctuary is complex. Wright masterfully manipulates the sequence of entrance; guiding the visitor through low dark passages he termed “cloisters,” before they ascend into the open, brightly lit sanctuary.

The sanctuary is the heart and anchor of the building. At once grand yet intimate, the sanctuary is a masterful composition in light and space. Its elegant articulation and warm colors stand in bold contrast to the grey concrete exterior. Devoid of overt religious iconography, its precise geometric proportions declare a harmonious whole.

The uppermost portion of the sanctuary appears light and transparent. A continuous band of clerestory windows of Wright’s signature leaded glass encircle the flat, coffered ceiling. Set in a concrete grid are twenty-five square skylights of amber tinted leaded glass The effect, Wright states, was intended “to get a sense of a happy cloudless day into the room… daylight sifting through between the intersecting concrete beams, filtering through amber glass ceiling lights. Thus managed, the light would, rain or shine, have the warmth of sunlight.”

While Wright’s innovative use of concrete was chosen for its economy, the completed building ultimately cost nearly twice the contracted price due to complications encountered during construction. In September of 1909, the new building was dedicated. Because its unique design bore little resemblance to the other churches along Lake Street, it was decided to rename it Unity Temple.

The congregation’s board of trustees issued a statement thanking Wright. “We extend to the architect, Mr. Frank Lloyd Wright, our most hearty congratulations upon the wonderful achievement embodied in the new edifice and further extend to him our most sincere thanks for the great service which, through the building, he has rendered to the parish and to the community. We believe the building will long endure as a monument to his artistic genius and that, so long as it endures, it will stand forth as a masterpiece of art and architecture.” Their words were prophetic."

Previous text from the following website: flwright.org/researchexplore/unitytemple

Concord. The road into Concord follows the route that the British troops took. At the time of the Revolution Concord was the largest inland town in Massachusetts so it was an important town for the British to secure. The action happened around the North Bridge. But do not be fooled, the current bridge is the 2005 restoration of the 1954 replica of the earlier 1875, 1889 and 1909 replicas! Nevertheless it is a poignant spot. One of the plaques near the bridge states: “They came 3,000 miles and died to keep the past upon the throne.” The bridge spans the Concord River. Five companies of colonial Minute Men and five companies of local militia totalling 400 confronted about 100 trained British troops. The battle here was so significant because the Americans managed to defeat the British and turn them away from the town. There is another statue of the Minute Man at the North Bridge and a large visitor Centre with displays and media presentations of the battle. Nearby and still in the National Historic Park is the Wayside House, dating from 1717. The house had a number of owners including two Concord literary families: Louisa May Alcott of Little Women fame (a Civil War tale); and Nathaniel Hawthorn a major American novelist who was born in Salem and wrote moralistic novels reflecting his puritan heritage. We will also visit The Orchard, the home that Louisa May Alcott lived in when she actually wrote Little Women which is next door to the Wayside. Alcott lived here from 1858 to 1877. This well known book tells the story of life in a middle class New England family whilst the father is away fighting for the Union forces in the Civil War. Alcott was an Abolitionist and she applauded the 1848 Seneca Falls Convention statement on the rights of women.

Concord has many literary personalities and so we will also visit the home of Ralph Waldo Emerson called the Old Manse. This typical New England farm house was built in 1770 and still contains the original furnishing and furniture of Emerson. Nathaniel Hawthorn lived in the house after Emerson. Emerson is best described as a moral essayist, and poet who championed the environment – nature - and founded the American philosophical movement known as Transcendentalism. Emerson and his followers believed in the experience and reflection, the unity of nature and God, and that men could discover truths and insights without reference to religion and preaching. Henry David Thoreau was another transcendentalist, and ardent Abolitionist and a well known writer of essays, philosophical books and articles. He also loved nature and was best known for his book on Walden – Life in the Woods. He lived in a woodman’s cabin on the edge of Walden Pond and longed for a simple life which was in harmony with nature and the environment. We will visit Thoreau’s log cabin beside Walden Pond which is pictured above. Fall foliage season is the best time to visit Walden Pond. We have a lunch break to explore and enjoy the centre of Concord with its village green, white wooden houses and churches, antique shops, cafes and red maples.

May 12, 2019 - Frank Lloyd Wright's Unity Temple located at 875 Lake Street, Oak Park, Illinois. "Commissioned by the congregation of Oak Park Unity Church in 1905, Wright’s Unity Temple is the greatest public building of the architect’s Chicago years. Wright’s family on his mother’s side were Welsh Unitarians, and his uncle Jenkin Lloyd Jones was a distinguished Unitarian preacher with a parish on Chicago’s south side where Wright and his wife Catherine were married. Wright identified with the rational humanism of Unitarianism, particularly as influenced by Ralph Waldo Emerson’s transcendentalism, uniting all beings as one with the divine presence.

Wright’s father had been a Universalist preacher. With their emphasis on a loving God, Universalists were early advocates of abolitionism and were the first church to ordain women. In 1886 Universalist Augusta Chapin became minister of the Oak Park Unity Church, attracting new members to the congregation including Frank Lloyd Wright’s mother Anna. Unitarian Universalist minister Rodney Johonnot succeeded Chapin when she joined the Parliament of World Religions in 1893. A lawyer and graduate of Harvard Divinity School, Johonnot was known for his liberal views, even more extreme than those of Jenkin Lloyd Jones with whom he sometimes took issue.

When Unity Church burned to the ground in June 1905, Wright was awarded the commission, and in 1906 Johonnot published a booklet titled, A New Edifice for Unity Church. He wanted a modern building that would embody the principles of “unity, truth, beauty, simplicity, freedom and reason.”

Wright was a perfect match to these requirements. The design he submitted to the congregation broke with almost every existing convention for traditional Western ecclesiastic architecture. On the novel choice of construction material Wright states, “There was only one material to choose—as church funds were $45,000. Concrete was cheap.” Wright’s bold concept for the building enabled a series of concrete forms to be repeated multiple times.

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings."

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings.”

Approached from Lake Street, Unity Temple is a massive and monolithic cube of concrete, sheltered beneath an expansive flat roof. The introspective nature of the building is in part a response to its corner site situated along a busy thoroughfare. No entrance is apparent and the building appears impenetrable, save for a band of high clerestory windows recessed behind decorative piers and shadowed by overhanging eaves.

Entry to the building is via a low hall that connects Unity Temple and Unity House. Above the bank of doors leading into the hall, an inscription in bronze declares, “For the worship of God and the service of man.” The low, dimly lit hall that unites the buildings is a transitional space. To the south it opens directly onto Unity House. Designed for “the service of man,” this secular space includes a central meeting hall, flanking balconies for use as open classrooms, and other special purpose rooms for daily operation. Like Wright’s residential architecture, this congregational parish house is centered on a fireplace hearth.

Situated across the hall from Unity House is the temple. In contrast to the open entrance into Unity House, access to the sanctuary is complex. Wright masterfully manipulates the sequence of entrance; guiding the visitor through low dark passages he termed “cloisters,” before they ascend into the open, brightly lit sanctuary.

The sanctuary is the heart and anchor of the building. At once grand yet intimate, the sanctuary is a masterful composition in light and space. Its elegant articulation and warm colors stand in bold contrast to the grey concrete exterior. Devoid of overt religious iconography, its precise geometric proportions declare a harmonious whole.

The uppermost portion of the sanctuary appears light and transparent. A continuous band of clerestory windows of Wright’s signature leaded glass encircle the flat, coffered ceiling. Set in a concrete grid are twenty-five square skylights of amber tinted leaded glass The effect, Wright states, was intended “to get a sense of a happy cloudless day into the room… daylight sifting through between the intersecting concrete beams, filtering through amber glass ceiling lights. Thus managed, the light would, rain or shine, have the warmth of sunlight.”

While Wright’s innovative use of concrete was chosen for its economy, the completed building ultimately cost nearly twice the contracted price due to complications encountered during construction. In September of 1909, the new building was dedicated. Because its unique design bore little resemblance to the other churches along Lake Street, it was decided to rename it Unity Temple.

The congregation’s board of trustees issued a statement thanking Wright. “We extend to the architect, Mr. Frank Lloyd Wright, our most hearty congratulations upon the wonderful achievement embodied in the new edifice and further extend to him our most sincere thanks for the great service which, through the building, he has rendered to the parish and to the community. We believe the building will long endure as a monument to his artistic genius and that, so long as it endures, it will stand forth as a masterpiece of art and architecture.” Their words were prophetic."

Previous text from the following website: flwright.org/researchexplore/unitytemple

Press L.

British collector card, no. A 53. Photo: Warner Bros.

Betsy Drake (1923-2015) was a French-born American actress, writer, and psychotherapist. She played in films such as The Second Woman (1950), Will Success Spoil Rock Hunter? (1957) with Jayne Mansfield. She was also known for being the third wife of Cary Grant, with whom she co-starred in Every Girl Should Be Married (1948) and Room for One More (1952).

Betsy Drake was born in Paris in 1923. She was the eldest child of two American expatriates. Her grandfather, Tracy Drake, and his brother had opened the Drake Hotel in Chicago on New Year's Eve in 1920. The Drakes lost their money in the 1929 stock market crash. As a result, she returned to the U.S. on the SS Île de France with her parents, brothers, and a nanny. She grew up in five different cities and went to 12 different schools, both private and public. Then, she concentrated on theatre and acting at the National Park Seminary. Drake began looking for work as an actress in New York City, supporting herself by working as a Conover model. She met the playwright Horton Foote, who offered her a job as an understudy in his play 'Only the Heart', which enabled her to join the Actors' Equity Association and thus become a professional actress. After coming to the attention of the producer Hal Wallis, Drake was pressured by her agent to sign a Hollywood contract. She hated Hollywood and managed to be released from the contract by declaring herself insane. She returned to New York City and, in 1947, read for the director Elia Kazan for the lead role in the London company of the play 'Deep Are the Roots'. Later that year, Drake was selected by Kazan as one of the founding members of the Actors Studio. Cary Grant spotted her in 1947 while she was performing in London. The two, who both happened to be returning to the U.S. on the RMS Queen Mary, struck up an instant rapport. At the insistence of Grant, Drake was subsequently signed to a film contract by RKO Pictures and David Selznick, where she appeared, opposite Grant, in her first film, the romantic comedy Every Girl Should Be Married (Don Hartman, 1948). New York Times film critic Bosley Crowther called her performance “foxily amusing”. On Christmas Day 1949, Drake and Grant married in a private ceremony organised by Grant's best man, Howard Hughes. They chose a low-key, introspective private life. They delved into transcendentalism, mysticism, and yoga. She took up causes including the plight of homeless children in Los Angeles. The couple co-starred in the radio series 'Mr. and Mrs. Blandings' (1951). They appeared together in the comedy drama Room for One More (Norman Taurog, 1952), and Drake appeared in more leading roles.

Betsy Drake was with her husband, Cary Grant, in Cannes in 1954 while he made To Catch a Thief (Alfred Hitchcock, 1955). In 1954, they bought the 'Las Palomas' estate in the Movie Colony neighbourhood of Palm Springs, California. Betsy was also with him in Spain in 1956, when Grant filmed The Pride and the Passion (Stanley Kramer, 1957). In Spain, she learned Grant was reportedly in love with co-star Sophia Loren. Drake left before the press found out and sailed back to New York on the ill-fated Italian liner Andrea Doria in July 1956. She boarded it along with dozens of other wealthy travellers and tourists at Gibraltar, which was one of many stops the ship made between her home port of Genoa and her final destination of New York City. Drake sailed as a first-class passenger, occupying a single cabin on the ship's boat deck. When the SS Andrea Doria collided with the Stockholm, Drake waited with the other passengers for rescue, as the ship's severe list rendered half of its lifeboats useless. She was among more than 1600 people rescued from the ship by the famed French passenger liner SS Île de France. She lost more than $200,000 worth of jewellery as well as a book manuscript on which she had been working.

Betsy Drake had written the original script for the film Houseboat (Melville Shavelson, 1958) under a pseudonym, basing it on an unpublished story she had written. Starring Grant, Drake anticipated co-starring in the film. Grant, who indeed had begun an affair with Sophia Loren while filming The Pride and the Passion (Stanley Kramer, 1957), arranged for Loren to take Drake's place in Houseboat. For the rewritten script, Drake did not receive credit. The affair ended in bitterness before The Pride and the Passion's filming ended, causing problems on the Houseboat set. Grant and Drake separated in 1958, remaining friends, and divorced in 1962. She was awarded more than $1 million in cash plus a percentage of the earnings from the 13 films Grant had made during their marriage. Their marriage constituted his longest union. Grant credited her with broadening his interests beyond his career and with introducing him to the then-legal LSD therapy and hypnosis. Later, Drake took LSD as a way of recovering from the trauma of divorce. Betsy Drake had a supporting role in the satirical comedy Will Success Spoil Rock Hunter? (Frank Tashlin, 1957) with Tom Ewell and Jayne Mansfield, and a leading role in the British thriller Intent to Kill (Jack Cardiff, 1958) with Richard Todd. She subsequently gave up acting and pursued other career interests. She earned a Master of Education degree from Harvard University and became a children's therapist. Drake was a director of psychodrama at the UCLA Neuropsychiatric Institute, worked at Cedars-Sinai Hospital, and maintained a private therapy practice. She taught at UCLA, Pepperdine University and presented research at the 52nd Annual Meeting American Orthopsychiatric Association in 1975. She made one more film, Clarence, the Cross-Eyed Lion (Andrew Marton, 1965). Under the name Betsy Drake Grant, her novel 'Children, You Are Very Little' (1971) was published by Atheneum Books. Drake did not have children with Grant and did not remarry. Her last screen appearance was in the documentary film 'Cary Grant: A Class Apart' (2005), in which she reflected on Grant and their time together, and denied rumours alleging he was bisexual. Betsy Drake spent the latter part of her life in London, where she died, aged 92, in 2015. Upon her death, she was cremated and her ashes scattered at sea.

Sources: Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards..

May 12, 2019 - Frank Lloyd Wright's Unity Temple located at 875 Lake Street, Oak Park, Illinois. "Commissioned by the congregation of Oak Park Unity Church in 1905, Wright’s Unity Temple is the greatest public building of the architect’s Chicago years. Wright’s family on his mother’s side were Welsh Unitarians, and his uncle Jenkin Lloyd Jones was a distinguished Unitarian preacher with a parish on Chicago’s south side where Wright and his wife Catherine were married. Wright identified with the rational humanism of Unitarianism, particularly as influenced by Ralph Waldo Emerson’s transcendentalism, uniting all beings as one with the divine presence.

Wright’s father had been a Universalist preacher. With their emphasis on a loving God, Universalists were early advocates of abolitionism and were the first church to ordain women. In 1886 Universalist Augusta Chapin became minister of the Oak Park Unity Church, attracting new members to the congregation including Frank Lloyd Wright’s mother Anna. Unitarian Universalist minister Rodney Johonnot succeeded Chapin when she joined the Parliament of World Religions in 1893. A lawyer and graduate of Harvard Divinity School, Johonnot was known for his liberal views, even more extreme than those of Jenkin Lloyd Jones with whom he sometimes took issue.

When Unity Church burned to the ground in June 1905, Wright was awarded the commission, and in 1906 Johonnot published a booklet titled, A New Edifice for Unity Church. He wanted a modern building that would embody the principles of “unity, truth, beauty, simplicity, freedom and reason.”

Wright was a perfect match to these requirements. The design he submitted to the congregation broke with almost every existing convention for traditional Western ecclesiastic architecture. On the novel choice of construction material Wright states, “There was only one material to choose—as church funds were $45,000. Concrete was cheap.” Wright’s bold concept for the building enabled a series of concrete forms to be repeated multiple times.

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings."

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings.”

Approached from Lake Street, Unity Temple is a massive and monolithic cube of concrete, sheltered beneath an expansive flat roof. The introspective nature of the building is in part a response to its corner site situated along a busy thoroughfare. No entrance is apparent and the building appears impenetrable, save for a band of high clerestory windows recessed behind decorative piers and shadowed by overhanging eaves.

Entry to the building is via a low hall that connects Unity Temple and Unity House. Above the bank of doors leading into the hall, an inscription in bronze declares, “For the worship of God and the service of man.” The low, dimly lit hall that unites the buildings is a transitional space. To the south it opens directly onto Unity House. Designed for “the service of man,” this secular space includes a central meeting hall, flanking balconies for use as open classrooms, and other special purpose rooms for daily operation. Like Wright’s residential architecture, this congregational parish house is centered on a fireplace hearth.

Situated across the hall from Unity House is the temple. In contrast to the open entrance into Unity House, access to the sanctuary is complex. Wright masterfully manipulates the sequence of entrance; guiding the visitor through low dark passages he termed “cloisters,” before they ascend into the open, brightly lit sanctuary.

The sanctuary is the heart and anchor of the building. At once grand yet intimate, the sanctuary is a masterful composition in light and space. Its elegant articulation and warm colors stand in bold contrast to the grey concrete exterior. Devoid of overt religious iconography, its precise geometric proportions declare a harmonious whole.

The uppermost portion of the sanctuary appears light and transparent. A continuous band of clerestory windows of Wright’s signature leaded glass encircle the flat, coffered ceiling. Set in a concrete grid are twenty-five square skylights of amber tinted leaded glass The effect, Wright states, was intended “to get a sense of a happy cloudless day into the room… daylight sifting through between the intersecting concrete beams, filtering through amber glass ceiling lights. Thus managed, the light would, rain or shine, have the warmth of sunlight.”

While Wright’s innovative use of concrete was chosen for its economy, the completed building ultimately cost nearly twice the contracted price due to complications encountered during construction. In September of 1909, the new building was dedicated. Because its unique design bore little resemblance to the other churches along Lake Street, it was decided to rename it Unity Temple.

The congregation’s board of trustees issued a statement thanking Wright. “We extend to the architect, Mr. Frank Lloyd Wright, our most hearty congratulations upon the wonderful achievement embodied in the new edifice and further extend to him our most sincere thanks for the great service which, through the building, he has rendered to the parish and to the community. We believe the building will long endure as a monument to his artistic genius and that, so long as it endures, it will stand forth as a masterpiece of art and architecture.” Their words were prophetic."

Previous text from the following website: flwright.org/researchexplore/unitytemple

May 12, 2019 - Frank Lloyd Wright's Unity Temple located at 875 Lake Street, Oak Park, Illinois. "Commissioned by the congregation of Oak Park Unity Church in 1905, Wright’s Unity Temple is the greatest public building of the architect’s Chicago years. Wright’s family on his mother’s side were Welsh Unitarians, and his uncle Jenkin Lloyd Jones was a distinguished Unitarian preacher with a parish on Chicago’s south side where Wright and his wife Catherine were married. Wright identified with the rational humanism of Unitarianism, particularly as influenced by Ralph Waldo Emerson’s transcendentalism, uniting all beings as one with the divine presence.

Wright’s father had been a Universalist preacher. With their emphasis on a loving God, Universalists were early advocates of abolitionism and were the first church to ordain women. In 1886 Universalist Augusta Chapin became minister of the Oak Park Unity Church, attracting new members to the congregation including Frank Lloyd Wright’s mother Anna. Unitarian Universalist minister Rodney Johonnot succeeded Chapin when she joined the Parliament of World Religions in 1893. A lawyer and graduate of Harvard Divinity School, Johonnot was known for his liberal views, even more extreme than those of Jenkin Lloyd Jones with whom he sometimes took issue.

When Unity Church burned to the ground in June 1905, Wright was awarded the commission, and in 1906 Johonnot published a booklet titled, A New Edifice for Unity Church. He wanted a modern building that would embody the principles of “unity, truth, beauty, simplicity, freedom and reason.”

Wright was a perfect match to these requirements. The design he submitted to the congregation broke with almost every existing convention for traditional Western ecclesiastic architecture. On the novel choice of construction material Wright states, “There was only one material to choose—as church funds were $45,000. Concrete was cheap.” Wright’s bold concept for the building enabled a series of concrete forms to be repeated multiple times.

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings."

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings.”

Approached from Lake Street, Unity Temple is a massive and monolithic cube of concrete, sheltered beneath an expansive flat roof. The introspective nature of the building is in part a response to its corner site situated along a busy thoroughfare. No entrance is apparent and the building appears impenetrable, save for a band of high clerestory windows recessed behind decorative piers and shadowed by overhanging eaves.

Entry to the building is via a low hall that connects Unity Temple and Unity House. Above the bank of doors leading into the hall, an inscription in bronze declares, “For the worship of God and the service of man.” The low, dimly lit hall that unites the buildings is a transitional space. To the south it opens directly onto Unity House. Designed for “the service of man,” this secular space includes a central meeting hall, flanking balconies for use as open classrooms, and other special purpose rooms for daily operation. Like Wright’s residential architecture, this congregational parish house is centered on a fireplace hearth.

Situated across the hall from Unity House is the temple. In contrast to the open entrance into Unity House, access to the sanctuary is complex. Wright masterfully manipulates the sequence of entrance; guiding the visitor through low dark passages he termed “cloisters,” before they ascend into the open, brightly lit sanctuary.

The sanctuary is the heart and anchor of the building. At once grand yet intimate, the sanctuary is a masterful composition in light and space. Its elegant articulation and warm colors stand in bold contrast to the grey concrete exterior. Devoid of overt religious iconography, its precise geometric proportions declare a harmonious whole.

The uppermost portion of the sanctuary appears light and transparent. A continuous band of clerestory windows of Wright’s signature leaded glass encircle the flat, coffered ceiling. Set in a concrete grid are twenty-five square skylights of amber tinted leaded glass The effect, Wright states, was intended “to get a sense of a happy cloudless day into the room… daylight sifting through between the intersecting concrete beams, filtering through amber glass ceiling lights. Thus managed, the light would, rain or shine, have the warmth of sunlight.”

While Wright’s innovative use of concrete was chosen for its economy, the completed building ultimately cost nearly twice the contracted price due to complications encountered during construction. In September of 1909, the new building was dedicated. Because its unique design bore little resemblance to the other churches along Lake Street, it was decided to rename it Unity Temple.

The congregation’s board of trustees issued a statement thanking Wright. “We extend to the architect, Mr. Frank Lloyd Wright, our most hearty congratulations upon the wonderful achievement embodied in the new edifice and further extend to him our most sincere thanks for the great service which, through the building, he has rendered to the parish and to the community. We believe the building will long endure as a monument to his artistic genius and that, so long as it endures, it will stand forth as a masterpiece of art and architecture.” Their words were prophetic."

Previous text from the following website: flwright.org/researchexplore/unitytemple

www.youtube.com/watch?v=xh4rfwBcRjY

May 12, 2019 - Frank Lloyd Wright's Unity Temple located at 875 Lake Street, Oak Park, Illinois. "Commissioned by the congregation of Oak Park Unity Church in 1905, Wright’s Unity Temple is the greatest public building of the architect’s Chicago years. Wright’s family on his mother’s side were Welsh Unitarians, and his uncle Jenkin Lloyd Jones was a distinguished Unitarian preacher with a parish on Chicago’s south side where Wright and his wife Catherine were married. Wright identified with the rational humanism of Unitarianism, particularly as influenced by Ralph Waldo Emerson’s transcendentalism, uniting all beings as one with the divine presence.

Wright’s father had been a Universalist preacher. With their emphasis on a loving God, Universalists were early advocates of abolitionism and were the first church to ordain women. In 1886 Universalist Augusta Chapin became minister of the Oak Park Unity Church, attracting new members to the congregation including Frank Lloyd Wright’s mother Anna. Unitarian Universalist minister Rodney Johonnot succeeded Chapin when she joined the Parliament of World Religions in 1893. A lawyer and graduate of Harvard Divinity School, Johonnot was known for his liberal views, even more extreme than those of Jenkin Lloyd Jones with whom he sometimes took issue.

When Unity Church burned to the ground in June 1905, Wright was awarded the commission, and in 1906 Johonnot published a booklet titled, A New Edifice for Unity Church. He wanted a modern building that would embody the principles of “unity, truth, beauty, simplicity, freedom and reason.”

Wright was a perfect match to these requirements. The design he submitted to the congregation broke with almost every existing convention for traditional Western ecclesiastic architecture. On the novel choice of construction material Wright states, “There was only one material to choose—as church funds were $45,000. Concrete was cheap.” Wright’s bold concept for the building enabled a series of concrete forms to be repeated multiple times.

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings."

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings.”

Approached from Lake Street, Unity Temple is a massive and monolithic cube of concrete, sheltered beneath an expansive flat roof. The introspective nature of the building is in part a response to its corner site situated along a busy thoroughfare. No entrance is apparent and the building appears impenetrable, save for a band of high clerestory windows recessed behind decorative piers and shadowed by overhanging eaves.

Entry to the building is via a low hall that connects Unity Temple and Unity House. Above the bank of doors leading into the hall, an inscription in bronze declares, “For the worship of God and the service of man.” The low, dimly lit hall that unites the buildings is a transitional space. To the south it opens directly onto Unity House. Designed for “the service of man,” this secular space includes a central meeting hall, flanking balconies for use as open classrooms, and other special purpose rooms for daily operation. Like Wright’s residential architecture, this congregational parish house is centered on a fireplace hearth.

Situated across the hall from Unity House is the temple. In contrast to the open entrance into Unity House, access to the sanctuary is complex. Wright masterfully manipulates the sequence of entrance; guiding the visitor through low dark passages he termed “cloisters,” before they ascend into the open, brightly lit sanctuary.

The sanctuary is the heart and anchor of the building. At once grand yet intimate, the sanctuary is a masterful composition in light and space. Its elegant articulation and warm colors stand in bold contrast to the grey concrete exterior. Devoid of overt religious iconography, its precise geometric proportions declare a harmonious whole.

The uppermost portion of the sanctuary appears light and transparent. A continuous band of clerestory windows of Wright’s signature leaded glass encircle the flat, coffered ceiling. Set in a concrete grid are twenty-five square skylights of amber tinted leaded glass The effect, Wright states, was intended “to get a sense of a happy cloudless day into the room… daylight sifting through between the intersecting concrete beams, filtering through amber glass ceiling lights. Thus managed, the light would, rain or shine, have the warmth of sunlight.”

While Wright’s innovative use of concrete was chosen for its economy, the completed building ultimately cost nearly twice the contracted price due to complications encountered during construction. In September of 1909, the new building was dedicated. Because its unique design bore little resemblance to the other churches along Lake Street, it was decided to rename it Unity Temple.

The congregation’s board of trustees issued a statement thanking Wright. “We extend to the architect, Mr. Frank Lloyd Wright, our most hearty congratulations upon the wonderful achievement embodied in the new edifice and further extend to him our most sincere thanks for the great service which, through the building, he has rendered to the parish and to the community. We believe the building will long endure as a monument to his artistic genius and that, so long as it endures, it will stand forth as a masterpiece of art and architecture.” Their words were prophetic."

Previous text from the following website: flwright.org/researchexplore/unitytemple

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Walter Whitman (May 31, 1819 – March 26, 1892) was an American poet, essayist, journalist, and humanist. He was a part of the transition between Transcendentalism and realism, incorporating both views in his works. Whitman is among the most influential poets in the American canon, often called the father of free verse. His work was very controversial in its time, particularly his poetry collection Leaves of Grass, which was described as obscene for its overt sexuality.

Born on Long Island, Whitman worked as a journalist, a teacher, a government clerk, and a volunteer nurse during the American Civil War in addition to publishing his poetry. Early in his career, he also produced a temperance novel, Franklin Evans (1842). Whitman's major work, Leaves of Grass, was first published in 1855 with his own money. The work was an attempt at reaching out to the common person with an American epic. He continued expanding and revising it until his death in 1892. After a stroke towards the end of his life, he moved to Camden, New Jersey where his health further declined. He died at age 72 and his funeral became a public spectacle.

Whitman's sexuality is often discussed alongside his poetry. Though he is usually labeled as either homosexual or bisexual, it is unclear if Whitman ever had a sexual relationship with another man and biographers continue to debate his sexuality. Whitman was concerned with politics throughout his life. He supported the Wilmot Proviso and opposed the extension of slavery generally, but did not believe in the abolitionist movement....Source: Wikipedia

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British postcard in the Picturegoer Series, London, no. W 659. Photo: R.K.O. Radio.

Betsy Drake (1923-2015) was a French-born American actress, writer, and psychotherapist. She played in films such as The Second Woman (1950), Will Success Spoil Rock Hunter? (1957) with Jayne Mansfield. She was also known for being the third wife of Cary Grant, with whom she co-starred in Every Girl Should Be Married (1948) and Room for One More (1952).

Betsy Drake was born in Paris in 1923. She was the eldest child of two American expatriates. Her grandfather, Tracy Drake, and his brother had opened the Drake Hotel in Chicago on New Year's Eve in 1920. The Drakes lost their money in the 1929 stock market crash. As a result, she returned to the U.S. on the SS Île de France with her parents, brothers, and a nanny. She grew up in five different cities and went to 12 different schools, both private and public. Then, she concentrated on theatre and acting at the National Park Seminary. Drake began looking for work as an actress in New York City, supporting herself by working as a Conover model. She met the playwright Horton Foote, who offered her a job as an understudy in his play 'Only the Heart', which enabled her to join the Actors' Equity Association and thus become a professional actress. After coming to the attention of the producer Hal Wallis, Drake was pressured by her agent to sign a Hollywood contract. She hated Hollywood and managed to be released from the contract by declaring herself insane. She returned to New York City and, in 1947, read for the director Elia Kazan for the lead role in the London company of the play 'Deep Are the Roots'. Later that year, Drake was selected by Kazan as one of the founding members of the Actors Studio. Cary Grant spotted her in 1947 while she was performing in London. The two, who both happened to be returning to the U.S. on the RMS Queen Mary, struck up an instant rapport. At the insistence of Grant, Drake was subsequently signed to a film contract by RKO Pictures and David Selznick, where she appeared, opposite Grant, in her first film, the romantic comedy Every Girl Should Be Married (Don Hartman, 1948). New York Times film critic Bosley Crowther called her performance “foxily amusing”. On Christmas Day 1949, Drake and Grant married in a private ceremony organised by Grant's best man, Howard Hughes. They chose a low-key, introspective private life. They delved into transcendentalism, mysticism, and yoga. She took up causes including the plight of homeless children in Los Angeles. The couple co-starred in the radio series 'Mr. and Mrs. Blandings' (1951). They appeared together in the comedy drama Room for One More (Norman Taurog, 1952), and Drake appeared in more leading roles.

Betsy Drake was with her husband, Cary Grant, in Cannes in 1954 while he made To Catch a Thief (Alfred Hitchcock, 1955). In 1954, they bought the 'Las Palomas' estate in the Movie Colony neighbourhood of Palm Springs, California. Betsy was also with him in Spain in 1956, when Grant filmed The Pride and the Passion (Stanley Kramer, 1957). In Spain, she learned Grant was reportedly in love with co-star Sophia Loren. Drake left before the press found out and sailed back to New York on the ill-fated Italian liner Andrea Doria in July 1956. She boarded it along with dozens of other wealthy travellers and tourists at Gibraltar, which was one of many stops the ship made between her home port of Genoa and her final destination of New York City. Drake sailed as a first-class passenger, occupying a single cabin on the ship's boat deck. When the SS Andrea Doria collided with the Stockholm, Drake waited with the other passengers for rescue, as the ship's severe list rendered half of its lifeboats useless. She was among more than 1600 people rescued from the ship by the famed French passenger liner SS Île de France. She lost more than $200,000 worth of jewellery as well as a book manuscript on which she had been working.

Betsy Drake had written the original script for the film Houseboat (Melville Shavelson, 1958) under a pseudonym, basing it on an unpublished story she had written. Starring Grant, Drake anticipated co-starring in the film. Grant, who indeed had begun an affair with Sophia Loren while filming The Pride and the Passion (Stanley Kramer, 1957), arranged for Loren to take Drake's place in Houseboat. For the rewritten script, Drake did not receive credit. The affair ended in bitterness before The Pride and the Passion's filming ended, causing problems on the Houseboat set. Grant and Drake separated in 1958, remaining friends, and divorced in 1962. She was awarded more than $1 million in cash plus a percentage of the earnings from the 13 films Grant had made during their marriage. Their marriage constituted his longest union. Grant credited her with broadening his interests beyond his career and with introducing him to the then-legal LSD therapy and hypnosis. Later, Drake took LSD as a way of recovering from the trauma of divorce. Betsy Drake had a supporting role in the satirical comedy Will Success Spoil Rock Hunter? (Frank Tashlin, 1957) with Tom Ewell and Jayne Mansfield, and a leading role in the British thriller Intent to Kill (Jack Cardiff, 1958) with Richard Todd. She subsequently gave up acting and pursued other career interests. She earned a Master of Education degree from Harvard University and became a children's therapist. Drake was a director of psychodrama at the UCLA Neuropsychiatric Institute, worked at Cedars-Sinai Hospital, and maintained a private therapy practice. She taught at UCLA, Pepperdine University and presented research at the 52nd Annual Meeting American Orthopsychiatric Association in 1975. She made one more film, Clarence, the Cross-Eyed Lion (Andrew Marton, 1965). Under the name Betsy Drake Grant, her novel 'Children, You Are Very Little' (1971) was published by Atheneum Books. Drake did not have children with Grant and did not remarry. Her last screen appearance was in the documentary film 'Cary Grant: A Class Apart' (2005), in which she reflected on Grant and their time together, and denied rumours alleging he was bisexual. Betsy Drake spent the latter part of her life in London, where she died, aged 92, in 2015. Upon her death, she was cremated and her ashes scattered at sea.

Sources: Wikipedia and IMDb.

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Lydia Jackson was born in 1802 in Plymouth, Massachusetts. She met Ralph Waldo Emerson - an essayist, lecturer and poet - when he gave a lecture in her hometown in 1834. On January 24, 1835, Emerson wrote a letter to Lydia proposing marriage, and she accepted. He wanted Lydia to have a less common name and asked her to become Lydian Emerson. He often called her Queenie, and she called him Mr. Emerson.

May 12, 2019 - Frank Lloyd Wright's Unity Temple located at 875 Lake Street, Oak Park, Illinois. "Commissioned by the congregation of Oak Park Unity Church in 1905, Wright’s Unity Temple is the greatest public building of the architect’s Chicago years. Wright’s family on his mother’s side were Welsh Unitarians, and his uncle Jenkin Lloyd Jones was a distinguished Unitarian preacher with a parish on Chicago’s south side where Wright and his wife Catherine were married. Wright identified with the rational humanism of Unitarianism, particularly as influenced by Ralph Waldo Emerson’s transcendentalism, uniting all beings as one with the divine presence.

Wright’s father had been a Universalist preacher. With their emphasis on a loving God, Universalists were early advocates of abolitionism and were the first church to ordain women. In 1886 Universalist Augusta Chapin became minister of the Oak Park Unity Church, attracting new members to the congregation including Frank Lloyd Wright’s mother Anna. Unitarian Universalist minister Rodney Johonnot succeeded Chapin when she joined the Parliament of World Religions in 1893. A lawyer and graduate of Harvard Divinity School, Johonnot was known for his liberal views, even more extreme than those of Jenkin Lloyd Jones with whom he sometimes took issue.

When Unity Church burned to the ground in June 1905, Wright was awarded the commission, and in 1906 Johonnot published a booklet titled, A New Edifice for Unity Church. He wanted a modern building that would embody the principles of “unity, truth, beauty, simplicity, freedom and reason.”

Wright was a perfect match to these requirements. The design he submitted to the congregation broke with almost every existing convention for traditional Western ecclesiastic architecture. On the novel choice of construction material Wright states, “There was only one material to choose—as church funds were $45,000. Concrete was cheap.” Wright’s bold concept for the building enabled a series of concrete forms to be repeated multiple times.

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings."

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings.”

Approached from Lake Street, Unity Temple is a massive and monolithic cube of concrete, sheltered beneath an expansive flat roof. The introspective nature of the building is in part a response to its corner site situated along a busy thoroughfare. No entrance is apparent and the building appears impenetrable, save for a band of high clerestory windows recessed behind decorative piers and shadowed by overhanging eaves.

Entry to the building is via a low hall that connects Unity Temple and Unity House. Above the bank of doors leading into the hall, an inscription in bronze declares, “For the worship of God and the service of man.” The low, dimly lit hall that unites the buildings is a transitional space. To the south it opens directly onto Unity House. Designed for “the service of man,” this secular space includes a central meeting hall, flanking balconies for use as open classrooms, and other special purpose rooms for daily operation. Like Wright’s residential architecture, this congregational parish house is centered on a fireplace hearth.

Situated across the hall from Unity House is the temple. In contrast to the open entrance into Unity House, access to the sanctuary is complex. Wright masterfully manipulates the sequence of entrance; guiding the visitor through low dark passages he termed “cloisters,” before they ascend into the open, brightly lit sanctuary.

The sanctuary is the heart and anchor of the building. At once grand yet intimate, the sanctuary is a masterful composition in light and space. Its elegant articulation and warm colors stand in bold contrast to the grey concrete exterior. Devoid of overt religious iconography, its precise geometric proportions declare a harmonious whole.

The uppermost portion of the sanctuary appears light and transparent. A continuous band of clerestory windows of Wright’s signature leaded glass encircle the flat, coffered ceiling. Set in a concrete grid are twenty-five square skylights of amber tinted leaded glass The effect, Wright states, was intended “to get a sense of a happy cloudless day into the room… daylight sifting through between the intersecting concrete beams, filtering through amber glass ceiling lights. Thus managed, the light would, rain or shine, have the warmth of sunlight.”

While Wright’s innovative use of concrete was chosen for its economy, the completed building ultimately cost nearly twice the contracted price due to complications encountered during construction. In September of 1909, the new building was dedicated. Because its unique design bore little resemblance to the other churches along Lake Street, it was decided to rename it Unity Temple.

The congregation’s board of trustees issued a statement thanking Wright. “We extend to the architect, Mr. Frank Lloyd Wright, our most hearty congratulations upon the wonderful achievement embodied in the new edifice and further extend to him our most sincere thanks for the great service which, through the building, he has rendered to the parish and to the community. We believe the building will long endure as a monument to his artistic genius and that, so long as it endures, it will stand forth as a masterpiece of art and architecture.” Their words were prophetic."

Previous text from the following website: flwright.org/researchexplore/unitytemple

As Antonio lays in the electrical conduits in one of the new casitas he is building in his compound, a lecture ensues.

The topics of El Maestro's remarks range from the effectiveness of Mariachi serenades on wooing women, to the internet, vintage aircraft, local history, apparitions of a miraculous nature, digital photography, spiritual transcendentalism, the arts, and philosophy.

Antonio is a sub-sheriff of his community, and is in charge of the building of our casita.

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May 12, 2019 - Frank Lloyd Wright's Unity Temple located at 875 Lake Street, Oak Park, Illinois. "Commissioned by the congregation of Oak Park Unity Church in 1905, Wright’s Unity Temple is the greatest public building of the architect’s Chicago years. Wright’s family on his mother’s side were Welsh Unitarians, and his uncle Jenkin Lloyd Jones was a distinguished Unitarian preacher with a parish on Chicago’s south side where Wright and his wife Catherine were married. Wright identified with the rational humanism of Unitarianism, particularly as influenced by Ralph Waldo Emerson’s transcendentalism, uniting all beings as one with the divine presence.

Wright’s father had been a Universalist preacher. With their emphasis on a loving God, Universalists were early advocates of abolitionism and were the first church to ordain women. In 1886 Universalist Augusta Chapin became minister of the Oak Park Unity Church, attracting new members to the congregation including Frank Lloyd Wright’s mother Anna. Unitarian Universalist minister Rodney Johonnot succeeded Chapin when she joined the Parliament of World Religions in 1893. A lawyer and graduate of Harvard Divinity School, Johonnot was known for his liberal views, even more extreme than those of Jenkin Lloyd Jones with whom he sometimes took issue.

When Unity Church burned to the ground in June 1905, Wright was awarded the commission, and in 1906 Johonnot published a booklet titled, A New Edifice for Unity Church. He wanted a modern building that would embody the principles of “unity, truth, beauty, simplicity, freedom and reason.”

Wright was a perfect match to these requirements. The design he submitted to the congregation broke with almost every existing convention for traditional Western ecclesiastic architecture. On the novel choice of construction material Wright states, “There was only one material to choose—as church funds were $45,000. Concrete was cheap.” Wright’s bold concept for the building enabled a series of concrete forms to be repeated multiple times.

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings."

In harmony with Wright’s philosophy of organic architecture, the concrete was left uncovered by plaster, brick, or stone. Wright’s sensitive handling of materials was a defining feature of his architecture from early in his career. “Bring out the nature of the materials,” Wright insisted in his seminal essay In the Cause of Architecture, “let their nature intimately into your scheme. Reveal the nature of wood, plaster, brick, or stone in your designs, they are all by nature friendly and beautiful. No treatment can be really a matter of fine art when those natural characteristics are, or their nature is, outraged or neglected.”

Unity Temple was a significant commission in Wright’s Oak Park Studio. Charles E. White, who worked as a draftsman for Wright from 1903 to 1906, details the collaborative effort of the Studio to secure the commission, “the chief thing at Wright’s is of course Unity Church, the sketches of which are at last accepted. We have all pleaded and argued with the committee, until we are well nigh worn out. All hands are working on the drawings.”

Approached from Lake Street, Unity Temple is a massive and monolithic cube of concrete, sheltered beneath an expansive flat roof. The introspective nature of the building is in part a response to its corner site situated along a busy thoroughfare. No entrance is apparent and the building appears impenetrable, save for a band of high clerestory windows recessed behind decorative piers and shadowed by overhanging eaves.

Entry to the building is via a low hall that connects Unity Temple and Unity House. Above the bank of doors leading into the hall, an inscription in bronze declares, “For the worship of God and the service of man.” The low, dimly lit hall that unites the buildings is a transitional space. To the south it opens directly onto Unity House. Designed for “the service of man,” this secular space includes a central meeting hall, flanking balconies for use as open classrooms, and other special purpose rooms for daily operation. Like Wright’s residential architecture, this congregational parish house is centered on a fireplace hearth.

Situated across the hall from Unity House is the temple. In contrast to the open entrance into Unity House, access to the sanctuary is complex. Wright masterfully manipulates the sequence of entrance; guiding the visitor through low dark passages he termed “cloisters,” before they ascend into the open, brightly lit sanctuary.

The sanctuary is the heart and anchor of the building. At once grand yet intimate, the sanctuary is a masterful composition in light and space. Its elegant articulation and warm colors stand in bold contrast to the grey concrete exterior. Devoid of overt religious iconography, its precise geometric proportions declare a harmonious whole.

The uppermost portion of the sanctuary appears light and transparent. A continuous band of clerestory windows of Wright’s signature leaded glass encircle the flat, coffered ceiling. Set in a concrete grid are twenty-five square skylights of amber tinted leaded glass The effect, Wright states, was intended “to get a sense of a happy cloudless day into the room… daylight sifting through between the intersecting concrete beams, filtering through amber glass ceiling lights. Thus managed, the light would, rain or shine, have the warmth of sunlight.”

While Wright’s innovative use of concrete was chosen for its economy, the completed building ultimately cost nearly twice the contracted price due to complications encountered during construction. In September of 1909, the new building was dedicated. Because its unique design bore little resemblance to the other churches along Lake Street, it was decided to rename it Unity Temple.

The congregation’s board of trustees issued a statement thanking Wright. “We extend to the architect, Mr. Frank Lloyd Wright, our most hearty congratulations upon the wonderful achievement embodied in the new edifice and further extend to him our most sincere thanks for the great service which, through the building, he has rendered to the parish and to the community. We believe the building will long endure as a monument to his artistic genius and that, so long as it endures, it will stand forth as a masterpiece of art and architecture.” Their words were prophetic."

Previous text from the following website: flwright.org/researchexplore/unitytemple

Concord. The road into Concord follows the route that the British troops took. At the time of the Revolution Concord was the largest inland town in Massachusetts so it was an important town for the British to secure. The action happened around the North Bridge. But do not be fooled, the current bridge is the 2005 restoration of the 1954 replica of the earlier 1875, 1889 and 1909 replicas! Nevertheless it is a poignant spot. One of the plaques near the bridge states: “They came 3,000 miles and died to keep the past upon the throne.” The bridge spans the Concord River. Five companies of colonial Minute Men and five companies of local militia totalling 400 confronted about 100 trained British troops. The battle here was so significant because the Americans managed to defeat the British and turn them away from the town. There is another statue of the Minute Man at the North Bridge and a large visitor Centre with displays and media presentations of the battle. Nearby and still in the National Historic Park is the Wayside House, dating from 1717. The house had a number of owners including two Concord literary families: Louisa May Alcott of Little Women fame (a Civil War tale); and Nathaniel Hawthorn a major American novelist who was born in Salem and wrote moralistic novels reflecting his puritan heritage. We will also visit The Orchard, the home that Louisa May Alcott lived in when she actually wrote Little Women which is next door to the Wayside. Alcott lived here from 1858 to 1877. This well known book tells the story of life in a middle class New England family whilst the father is away fighting for the Union forces in the Civil War. Alcott was an Abolitionist and she applauded the 1848 Seneca Falls Convention statement on the rights of women.

Concord has many literary personalities and so we will also visit the home of Ralph Waldo Emerson called the Old Manse. This typical New England farm house was built in 1770 and still contains the original furnishing and furniture of Emerson. Nathaniel Hawthorn lived in the house after Emerson. Emerson is best described as a moral essayist, and poet who championed the environment – nature - and founded the American philosophical movement known as Transcendentalism. Emerson and his followers believed in the experience and reflection, the unity of nature and God, and that men could discover truths and insights without reference to religion and preaching. Henry David Thoreau was another transcendentalist, and ardent Abolitionist and a well known writer of essays, philosophical books and articles. He also loved nature and was best known for his book on Walden – Life in the Woods. He lived in a woodman’s cabin on the edge of Walden Pond and longed for a simple life which was in harmony with nature and the environment. We will visit Thoreau’s log cabin beside Walden Pond which is pictured above. Fall foliage season is the best time to visit Walden Pond. We have a lunch break to explore and enjoy the centre of Concord with its village green, white wooden houses and churches, antique shops, cafes and red maples.

This hangs in my office. It was hand drawn by my high school English teacher. #englishteacher #calligraphy #handdrawn #certificate #deadpoetsociety #americanliterature #britishliterature #britlit #thoreau #waldenpond #transcendentalism #poets #inkandcolor

David Fichter, unknown date, exterior, Fletcher/Maynard Academy, The Port, Cambridge, Massachusetts, USA, mural. Photo 2 of 4.

A modest tribute to the great E. A. Poe.

"Poe's best known fiction works are Gothic, a genre he followed to appease the public taste. His most recurring themes deal with questions of death, including its physical signs, the effects of decomposition, concerns of premature burial, the reanimation of the dead, and mourning. Many of his works are generally considered part of the dark romanticism genre, a literary reaction to transcendentalism, which Poe strongly disliked. He referred to followers of the movement as "Frogpondians" after the pond on Boston Common. and ridiculed their writings as "metaphor-run", lapsing into "obscurity for obscurity's sake" or "mysticism for mysticism's sake."

Costa da morte. Galice. Spain.

Transcendentalism Project 2017-2018

Concord. The road into Concord follows the route that the British troops took. At the time of the Revolution Concord was the largest inland town in Massachusetts so it was an important town for the British to secure. The action happened around the North Bridge. But do not be fooled, the current bridge is the 2005 restoration of the 1954 replica of the earlier 1875, 1889 and 1909 replicas! Nevertheless it is a poignant spot. One of the plaques near the bridge states: “They came 3,000 miles and died to keep the past upon the throne.” The bridge spans the Concord River. Five companies of colonial Minute Men and five companies of local militia totalling 400 confronted about 100 trained British troops. The battle here was so significant because the Americans managed to defeat the British and turn them away from the town. There is another statue of the Minute Man at the North Bridge and a large visitor Centre with displays and media presentations of the battle. Nearby and still in the National Historic Park is the Wayside House, dating from 1717. The house had a number of owners including two Concord literary families: Louisa May Alcott of Little Women fame (a Civil War tale); and Nathaniel Hawthorn a major American novelist who was born in Salem and wrote moralistic novels reflecting his puritan heritage. We will also visit The Orchard, the home that Louisa May Alcott lived in when she actually wrote Little Women which is next door to the Wayside. Alcott lived here from 1858 to 1877. This well known book tells the story of life in a middle class New England family whilst the father is away fighting for the Union forces in the Civil War. Alcott was an Abolitionist and she applauded the 1848 Seneca Falls Convention statement on the rights of women.

Concord has many literary personalities and so we will also visit the home of Ralph Waldo Emerson called the Old Manse. This typical New England farm house was built in 1770 and still contains the original furnishing and furniture of Emerson. Nathaniel Hawthorn lived in the house after Emerson. Emerson is best described as a moral essayist, and poet who championed the environment – nature - and founded the American philosophical movement known as Transcendentalism. Emerson and his followers believed in the experience and reflection, the unity of nature and God, and that men could discover truths and insights without reference to religion and preaching. Henry David Thoreau was another transcendentalist, and ardent Abolitionist and a well known writer of essays, philosophical books and articles. He also loved nature and was best known for his book on Walden – Life in the Woods. He lived in a woodman’s cabin on the edge of Walden Pond and longed for a simple life which was in harmony with nature and the environment. We will visit Thoreau’s log cabin beside Walden Pond which is pictured above. Fall foliage season is the best time to visit Walden Pond. We have a lunch break to explore and enjoy the centre of Concord with its village green, white wooden houses and churches, antique shops, cafes and red maples.

Today's quotes are in honor of the anniversary of the birthday of Walter "Walt" Whitman (May 31, 1819 – March 26, 1892), "Uncle Walt" was an American poet, essayist and journalist. A humanist, he was a part of ...the transition between transcendentalism and realism, incorporating both views in his works. Whitman is among the most influential poets, (and indeed in this writer's humble opinion..THE most influential:)...

As for today's affirmations...it will suffice to say, that his words alone, ARE the most powerful of affirmations...

Happy Birthday "Uncle Walt!"

"A morning-glory at my window satisfies me more than the metaphysics of books."

"And your very flesh shall be a great poem."

"Every moment of Light and dark is a Miracle."

"Give me odorous at sunrise a garden of beautiful flowers where I can walk undisturbed."

"Henceforth I ask not good fortune. I myself am good fortune."

"I celebrate myself, and sing myself."

"I exist as I am, that is enough."

"I say to mankind, Be not curious about God. For I, who am curious about each, am not curious about God - I hear and behold God in every object, yet understand God not in the least."

"Keep your face always toward the sunshine - and shadows will fall behind you."

"Let your soul stand cool and composed before a million universes."

"Now I see the secret of making the best person: it is to grow in the open air and to eat and sleep with the earth."

"Oh while I live, to be the ruler of life, not a slave, to meet life as a powerful conqueror, and nothing exterior to me will ever take command of me."

"Re-examine all that you have been told... dismiss that which insults your soul."

"Seeing, hearing, feeling, are miracles, and each part and tag of me is a miracle."

"The art of art, the glory of expression and the sunshine of the light of letters, is simplicity."

"To its own impluse every creature stirs.

Live by thy Light, and Earth will live by Hers."

"To me, every hour of the day and night is an unspeakably perfect miracle."

"From this hour I ordain myself loos'd of limits and imaginary lines."

"Whatever satisfies the soul is truth."

"I swear to you there are Divine things more beautiful than words can tell."

"O ME! O life!... of the questions of these recurring;

Of the endless trains of the faithless—of cities fill’d with the foolish;

Of myself forever reproaching myself, (for who more foolish than I, and who more faithless?)

Of eyes that vainly crave the light—of the objects mean—of the struggle ever renew’d;

Of the poor results of all—of the plodding and sordid crowds I see around me;

Of the empty and useless years of the rest—with the rest me intertwined;

The question, O me! so sad, recurring—What good amid these, O me, O life?

~ Answer.~

That you are here—that life exists, and identity;

That the powerful play goes on, and you will contribute a verse."

~ WW

And so, Today I will leave you not with an affirmation but the ultimate question...

What will your verse Be?

Spinchat Healing - Gifted Revolution

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Credit: Linda Living Joj Lorenzo

Belgian postcard, no. 351. Photo: Warner Bros.

Betsy Drake (1923-2015) was a French-born American actress, writer, and psychotherapist. She played in films such as The Second Woman (James V. Kewrn, 1950), Will Success Spoil Rock Hunter? (1957) with Jayne Mansfield. She was also known for being the third wife of Cary Grant, with whom she co-starred in Every Girl Should Be Married (1948) and Room for One More (1952).

Betsy Drake was born in Paris in 1923. She was the eldest child of two American expatriates. Her grandfather, Tracy Drake, and his brother had opened the Drake Hotel in Chicago on New Year's Eve in 1920. The Drakes lost their money in the 1929 stock market crash. As a result, she returned to the U.S. on the SS Île de France with her parents, brothers, and a nanny. She grew up in five different cities and went to 12 different schools, both private and public. Then, she concentrated on theatre and acting at the National Park Seminary. Drake began looking for work as an actress in New York City, supporting herself by working as a Conover model. She met the playwright Horton Foote, who offered her a job as an understudy in his play 'Only the Heart', which enabled her to join the Actors' Equity Association and thus become a professional actress. After coming to the attention of the producer Hal Wallis, Drake was pressured by her agent to sign a Hollywood contract. She hated Hollywood and managed to be released from the contract by declaring herself insane. She returned to New York City and, in 1947, read for the director Elia Kazan for the lead role in the London company of the play 'Deep Are the Roots'. Later that year, Drake was selected by Kazan as one of the founding members of the Actors Studio. Cary Grant spotted her in 1947 while she was performing in London. The two, who both happened to be returning to the U.S. on the RMS Queen Mary, struck up an instant rapport. At the insistence of Grant, Drake was subsequently signed to a film contract by RKO Pictures and David Selznick, where she appeared, opposite Grant, in her first film, the romantic comedy Every Girl Should Be Married (Don Hartman, 1948). New York Times film critic Bosley Crowther called her performance “foxily amusing”. On Christmas Day 1949, Drake and Grant married in a private ceremony organised by Grant's best man, Howard Hughes. They chose a low-key, introspective private life. They delved into transcendentalism, mysticism, and yoga. She took up causes including the plight of homeless children in Los Angeles. The couple co-starred in the radio series 'Mr. and Mrs. Blandings' (1951). They appeared together in the comedy drama Room for One More (Norman Taurog, 1952), and Drake appeared in more leading roles.

Betsy Drake was with her husband, Cary Grant, in Cannes in 1954 while he made To Catch a Thief (Alfred Hitchcock, 1955). In 1954, they bought the 'Las Palomas' estate in the Movie Colony neighbourhood of Palm Springs, California. Betsy was also with him in Spain in 1956, when Grant filmed The Pride and the Passion (Stanley Kramer, 1957). In Spain, she learned Grant was reportedly in love with co-star Sophia Loren. Drake left before the press found out and sailed back to New York on the ill-fated Italian liner Andrea Doria in July 1956. She boarded it along with dozens of other wealthy travellers and tourists at Gibraltar, which was one of many stops the ship made between her home port of Genoa and her final destination of New York City. Drake sailed as a first-class passenger, occupying a single cabin on the ship's boat deck. When the SS Andrea Doria collided with the Stockholm, Drake waited with the other passengers for rescue, as the ship's severe list rendered half of its lifeboats useless. She was among more than 1600 people rescued from the ship by the famed French passenger liner SS Île de France. She lost more than $200,000 worth of jewellery as well as a book manuscript on which she had been working.

Betsy Drake had written the original script for the film Houseboat (Melville Shavelson, 1958) under a pseudonym, basing it on an unpublished story she had written. Starring Grant, Drake anticipated co-starring in the film. Grant, who indeed had begun an affair with Sophia Loren while filming The Pride and the Passion (Stanley Kramer, 1957), arranged for Loren to take Drake's place in Houseboat. For the rewritten script, Drake did not receive credit. The affair ended in bitterness before The Pride and the Passion's filming ended, causing problems on the Houseboat set. Grant and Drake separated in 1958, remaining friends, and divorced in 1962. She was awarded more than $1 million in cash plus a percentage of the earnings from the 13 films Grant had made during their marriage. Their marriage constituted his longest union. Grant credited her with broadening his interests beyond his career and with introducing him to the then-legal LSD therapy and hypnosis. Later, Drake took LSD as a way of recovering from the trauma of divorce. Betsy Drake had a supporting role in the satirical comedy Will Success Spoil Rock Hunter? (Frank Tashlin, 1957) with Tom Ewell and Jayne Mansfield and a leading role in the British thriller Intent to Kill (Jack Cardiff, 1958) with Richard Todd. She subsequently gave up acting and pursued other career interests. She earned a Master of Education degree from Harvard University and became a children's therapist. Drake was a director of psychodrama at the UCLA Neuropsychiatric Institute, worked at Cedars-Sinai Hospital, and maintained a private therapy practice. She taught at UCLA, Pepperdine University and presented research at the 52nd Annual Meeting American Orthopsychiatric Association in 1975. She made one more film, Clarence, the Cross-Eyed Lion (Andrew Marton, 1965). Under the name Betsy Drake Grant, her novel 'Children, You Are Very Little' (1971) was published by Atheneum Books. Drake did not have children with Grant and did not remarry. Her last screen appearance was in the documentary film 'Cary Grant: A Class Apart' (2005), in which she reflected on Grant and their time together, and denied rumours alleging he was bisexual. Betsy Drake spent the latter part of her life in London, where she died, aged 92, in 2015. Upon her death, she was cremated and her ashes scattered at sea.

Sources: Wikipedia and IMDb.

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Concord. The road into Concord follows the route that the British troops took. At the time of the Revolution Concord was the largest inland town in Massachusetts so it was an important town for the British to secure. The action happened around the North Bridge. But do not be fooled, the current bridge is the 2005 restoration of the 1954 replica of the earlier 1875, 1889 and 1909 replicas! Nevertheless it is a poignant spot. One of the plaques near the bridge states: “They came 3,000 miles and died to keep the past upon the throne.” The bridge spans the Concord River. Five companies of colonial Minute Men and five companies of local militia totalling 400 confronted about 100 trained British troops. The battle here was so significant because the Americans managed to defeat the British and turn them away from the town. There is another statue of the Minute Man at the North Bridge and a large visitor Centre with displays and media presentations of the battle. Nearby and still in the National Historic Park is the Wayside House, dating from 1717. The house had a number of owners including two Concord literary families: Louisa May Alcott of Little Women fame (a Civil War tale); and Nathaniel Hawthorn a major American novelist who was born in Salem and wrote moralistic novels reflecting his puritan heritage. We will also visit The Orchard, the home that Louisa May Alcott lived in when she actually wrote Little Women which is next door to the Wayside. Alcott lived here from 1858 to 1877. This well known book tells the story of life in a middle class New England family whilst the father is away fighting for the Union forces in the Civil War. Alcott was an Abolitionist and she applauded the 1848 Seneca Falls Convention statement on the rights of women.

Concord has many literary personalities and so we will also visit the home of Ralph Waldo Emerson called the Old Manse. This typical New England farm house was built in 1770 and still contains the original furnishing and furniture of Emerson. Nathaniel Hawthorn lived in the house after Emerson. Emerson is best described as a moral essayist, and poet who championed the environment – nature - and founded the American philosophical movement known as Transcendentalism. Emerson and his followers believed in the experience and reflection, the unity of nature and God, and that men could discover truths and insights without reference to religion and preaching. Henry David Thoreau was another transcendentalist, and ardent Abolitionist and a well known writer of essays, philosophical books and articles. He also loved nature and was best known for his book on Walden – Life in the Woods. He lived in a woodman’s cabin on the edge of Walden Pond and longed for a simple life which was in harmony with nature and the environment. We will visit Thoreau’s log cabin beside Walden Pond which is pictured above. Fall foliage season is the best time to visit Walden Pond. We have a lunch break to explore and enjoy the centre of Concord with its village green, white wooden houses and churches, antique shops, cafes and red maples.