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Meeting laid down October 2009. The Clerk to Carlisle Local Meeting, Ian Watson, writes, "the MH was subsequently sold in June 2011 to a local charity Chrysalis Cumbria Ltd which works with young adults with learning disabilities."
Bought 1707; rebuilt 1830; altered 1958 including a new roof. The door on the right leads to the colonnade and entrances (see photo on this site).
First pullip. Expect lots of Alice pictures! She quickly became one if my favorite dolls, and one of my favorite dolls to photograph. I got her from PullipStyle.com with a dent box, as I didn't care for the box, only Alice and her accessories, and I was planning to take her out of packaging from the start so I saved a couple of dollars there(even though it took me 5 minutes to find such dent that I hardly think of it as one. Such a non-problem being taken into consideration by the retailer really shows the high quality of service from PullipStyle).
Over-all review of Alice: She's mine hands off! Kidding aside lovely, and looks a lot like the drawings of Alice in Through The Looking-Glass, with a bit of pimped up attributes here and there making her a one of a kind variation. The wig has a good scent to it, so it won't get a foul odor on the clothing and accessories. It has no bald spots and you can't see the seams of the wig unless you push the hair over. It is a nice thin(dimensions matter!), polyester I believe, hair, with quite minute frizzing. Almost none, but making the hair look more natural. Her curls are not stiff, and incredibly soft. The company(Groove) used a very very high quality spray, that can't be noticed practically at all when touching the hair, to help keep the curls in their designated design. The curls are easily fixed with only moist fingers. Great doll, but very delicate. I've never been more careful with a doll than Alice.
I don't usually post so many photos of the same doll in the same pose, but I couldn't resist with this doll - love everything about her. Even the bunny ears!
Guess Where SF: The end of Amador Street, near the Bay, Bayview/Hunter's Point. Two winners below. Very cool mapping device: mapper.acme.com/?lat=37.746027&long=-122.38287&sc...
The second original shot of this monolithic industrial oddity. Unprocessed, unretouched.
I wouldn't have known this myself, but a friend observed that this is an enormous grain silo.
In its arhchitecture, it resembles Greco-Roman, or the German, Third-Reich neo-classical fascist architecture that increased the already-monumental scale to one that dwarfed all humanity.
The 'Queen of Indian classical music', the "Poetess of Music' and the 'Ultimate Saprano', Parveen Sultana is one of the most influential female khayal vocalists of the modern era. She has a distinctively sweet voice, which displays an incredible virtuosity, clarity and purity, and covers a range of nearly four octaves. A child prodigy at the age of 12, she has one numerous awards, and mesmerized audiences throughout the world.
In this evening's performance to bring this year's festival to a fitting close, she is accompanied by Yogesh Samsi on Tabla, Ajay Joglekar on Harmonium, Sandeep Mishra on Sarangi and Nina Virdee -- talented vocalist in her own right on Tanpura.
Darbar Festival, 13-15 April 2006, Phoenix, Leicster
Classical ballet tutu in apple green silk dupion with white net. Decorated with peridot crystals, guipure lace daisies and yellow half pearls. Made to fit a 5/6 year old.
BIRTHDAY OUTING TO CHISWICK HOUSE (11/21)
The Classic Bridge over the artificial lake (or 'river') in the grounds of Chiswick House, London, viewed from the W.
The Classic Bridge "which replaced a wooden bridge ... was built for the 5th Duke of Devonshire in 1774 and its design is attributed to James Wyatt." The grounds and lake were all part of the "revolutionary" landscaping here at what was "the birthplace of the English Landscape Movement and the inspiration for great gardens from Blenheim Palace to New York’s Central Park. Originally created by Lord Burlington [1694-1753] and William Kent [1685-1748] in 1729, the garden was inspired by the sights of the Grand Tour and romance of classical Italian landscape painting; it was conceived as a single, living artwork. Burlington and Kent replaced the formality of the existing renaissance garden with a freer, more luscious design. Straight lines were out, curves and clusters in. ‘Natural’ spaces were created, their informality highlighted by the careful addition of sculpture and other architectural details including an Ionic temple and Doric column."
(Quoted text from: www.chgt.org.uk/index.asp?Pageid=12)
See also:
en.wikipedia.org/wiki/Chiswick_House
en.wikipedia.org/wiki/Richard_Boyle,_3rd_Earl_of_Burlington
en.wikipedia.org/wiki/William_Kent
The bridge appears to have been built in Portland Stone.
The little girl (far R) in Flickr colours is a coincidence.
ID: DSC_3226 - Version 2
Classical Man
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A elegant looking candle holder
Model: Saint Alkaline
Photographer: Bailey Northcott
www.facebook.com/throughtheglassphotos
Stylist/MUA: Taeden Hall
Clothing by www.gloomth.com
Mount Morris Park, Harlem
Harlem, Manhattan
Physically the proposed Mount Morris Park Historic District is a relatively level area extending generally from Mount Morris Park on the east to Lenox Avenue on the west, from 119th Street on the south to 123rd Street on the north. It faces but does not include Mount Morris Park itself in which a notable outcropping of rock rises to considerable elevation. Mount Morris Park interrupts Fifth Avenue which extends south from the south side and north from the north side of the Park.
The proposed Mount Morris Park Historic District is a fine residential area which has maintained its attractive late 19th century architectural character remarkably well. This part of the City was largely built up during the latter part of the 19th century, with rows of unusually handsome townhouses and several notable churches. Some of the most stately residences are to be found along Mount Morris Park West.
The buildings in this District represent cany architectural styles including the Romanesque Revival, the French neo-Grec, the Queen Anne and a number of structures designed in the classical and Renaissance traditions popularized by the World's Columbian Exposition of 1893 in Chicago.
In the Romanesque Revival style are the Bethel Gospel Pentecostal Church, built originally for the Harlem Club, and St. Martin's Episcopal Church, both on Lenox Avenue. St. Martin's (formerly Holy Trinity) Church, with its noted carillon, is undoubtedly the handsomest example of this style of architecture remaining in Manhattan today. On the southwest corner of Mount Morris Park West and 122nd Street is the fine Mount Morris Presbyterian Church, designed in modified classical style. The Ephesus Seventh Day Adventist Church at the northwest corner of Lenox Avenue and West 123rd Street is also notable architecturally, and its lofty spire is in itself a landmark.
A large townhouse at the northwest corner of 123rd Street and Mount Morris Park Vest is a particularly fine example of the neo-Renaissance style introduced by the architects McKim, Mead & White. Among townhouses in the District, the brownstone rectory of the Mount Morris Presbyterian Church on 122nd Street is one of the handsomest and best preserved residences in the City. Here one finds the original interiors unchanged since the day they were built, furnished in complete harmony in Victorian style.
The bold decorative detail of the residences in the District runs the gamut from the neo-medievalists of Viollet-le-Duc to the classical traditions of the turn of the century. The love and care lavished on these fine houses bears witness to the pride of both their original owners and their present occupants.
Recent Developments
This area was first built up with a fine assemblage of architecturally notable structures with a remarkable quality of homogeneity that gives the area a special character, readily recognized when one enters or leaves it. It is this character which distinguishes it as an Historic District.
Valiant efforts have been made to maintain the character of the neighborhood both as a residential community and as an area containing much notable architecture Economic forces and several depressions have taken their detrimental toll but the fine architecture remains a source of pride to today's residents.
The conversion of once privately owned homes to rooming houses and the introduction of stores at the ground floor of residences along the Avenue are some of the inevitable consequences of economic change.
Redevelopment plans have been made for this area and it is considered that designation as an Historic District will be an added factor contributing to its preservation and upgrading. Present dangers to the area are renovations to existing buildings which destroy their original exterior character and the possible introduction of new buildings cr additions of inappropriate exterior architectural character.
Importance of the District
The Mount Morris Park Historic District includes a remarkably interesting . cross-section of turn of the century townhouses and churches. These buildings represent many styles of architecture spanning a period of over four decades.
The churches and individual residences are among the finest in the City. The quality of design and workmanship of these buildings establishes the exceptional character of the District. Outstanding among them is the row of townhouses on Mount Morris Park West. The survival of a substantially unbroken row of handsome residences and churches facing a park is, in itself, rare in Manhattan.
HISTORY
Early Years (1658-1851)
The history of the Mount Morris Park Historic District goes back to I658, the year Dutch settlers founded the town of Nieuw Haerlem. Mount Morris, a wooded promontory among the Round Hills, was called Slang Burg, or Snake Hill, by the Dutch. Between 1664 and 1674 New York passed back and forth between the Dutch and the English, with British rule finally established in 1674. In 1776, at the beginning of the Revolutionary War, Washington attempted to withstand the British army behind fortifications on Harlem Heights.
The colonials tried valiantly, without success, to fend off the British from the fort they had erected earlier that year on Snake Hill, which commanded the mouth of the Harlem River. Washington was forced to retreat to Port Washington and then to White Plains.
Until the mid-19th century, Harlem was a sparsely settled farming area. The largest landowners were members of the Benson family, descendants of Captain Johannes Benson who had settled there in 1696.
The Mount Morris Park Historic District occupies a portion of the Benson "Pace Course Farm," as it was called in the 19th century because it encompassed the Harlem Park Trotting Course. In 1851, Samson Adolphus Benson of Fishkill, N. Y., a sixth generation descendant of Johannes Benson, sold the farm, which had been divided into City lots a few years earlier, to John Bruce, a well-to-do Brooklyn resident and hardware dealer in New York.
When Bruce sold the lots for development, the deeds included restrictive covenants which assured the future residential character of this District, bordering on picturesque Mount Morris Park. In the 1850s and, indeed, until considerably later, the streets in the District were unpaved and builders dumped surplus earth in the roads to improve their grading.
Lenox Avenue was still known as "Sixth Avenue" and Mount Morris Park West was called "The New Avenue" on the 1848 map of Samson Adolphus Benson's property. This map also explains the sharp diagonal of the boundary of the Historic District, at the rear of Nos. 12-28 West 120th Street, which was established by the direction of the old Manhattan Road which passed through the Benson farm.
Mount Morris Park was acquired by New York City in 1839, and was first known as Mount Morris Square. Until late in the 1870s Mount Morris Park was a popular spot for weekend excursions. New Yorkers came here for country walks and picnics; the nearby race track was an added attraction. The opening of the "El" in 1872, however, was a pivotal point: Harlem became a suburb of the City, which was rapidly expanding northward.
Development of the District
Speculative building began in 1878 and continued into the early 20th century, encouraged by plans for an East Side subway line, resulting in successive booms in Harlem real estate. William B. Astor, Oscar Hammerstein, Henry Morgenthau and Oswald Ottendorfer were among those associated with speculation in the area.
Elegant houses, generally built in rows, a few apartment houses, churches and public buildings began to appear in the last two decades of the 19th century. They were designed by such prominent Hew York architects as Arnold W. Brunner, Hugo Lamb of the firm of Lamb & Rich, George F. Pelham, William A. Potter, J. R. Thomas, Thorn & Wilson and James E. Ware.
In 1903, the New York Herald compared the houses along Mount Morris Park West favorably with the mansions along Fifth Abenue. Prominent political leaders, professionals, businessmen and tradesmen occupied these fine residences; many belonged to the Harlem Club and were members of the Harlem Board of Commerce.
Demographic Changes
The original residents of the Mount Morris Park Historic District were of Dutch, English and Irish descent. Soon after the turn of the 20th Century, a few German Jewish families moved to the Mount Morris Park area.
In 1903, Blacks first came to Harlem,and Lenox Avenue and 135th Street subsequently became the nucleus of a radiating Black population. Despite the influx of Blacks to Harlem before, during and after World War I, the Mount Morris Park area remained a middle-class white enclave until the Depression.
Between 1935 and 1940 a great increase in the number of vacancies led to Mount Morris Park's transition to a Black neighborhood .
These demographic changes are reflected in the history of its religious buildings. For example, the Ephesus Seventh Day Adventist Church now occupies the structure erected in 1885-87 for the Reformed Low Dutch Church of Harlem, originally organized in 1660.
Here, Johannes and Samson Benson served as deacons in colonial days; later, Samson Adolphus Benson served as an elder. In 1901, the church was enlarged to accommodate the expanding local population. Today, the congregants arc Black and the Sunday school has been converted to a Baptist Temple. Mount Olivet Baptist Church, organized by Blacks in 1878, moved in 1924 in a building on Lenox Avenue at 121st Street which had been occupied since 1907 by a synagogue, Temple Israel of Harlem.
This was the first Black church on Lenox Avenue. The pastor of St. Martin's Episcopal Church, the Reverend John H. Johnson, wis an active member nf the Citizens League for Fair Play, which picketed the 125th Street business area in 1933 in a successful effort to persuade white merchants to employ Blacks.
Churches in the District sponsored the appearance of many famous Americans, of which only a few are mentioned here. Booker T. Washington spoke at the Ephesus Seventh Day Adventist Church. Robert H. Perry appeared at the Mount Morris Baptist Church in 1916. In 1917, Marcus Garvey addressed a meeting at the Bethel African Methodist Episcopal Church in his efforts to organize a Liberty League.
The District Today
The District includes well-maintained, owner-occupied residences, rooming houses, a few apartment buildings and a number of churches. In addition to these, former residences on Lenox Avenue, a former parsonage and the buildings originally occupied by the Harlem Club and the Harlem Library have been converted to religious uses.
Mount Morris Park is currently regaining its stature as a focus of community activity, following a long period of neglect. It is serving once again "as the pleasure ground of a population many times greater than ... any of the small downtown squares," to quote the Harlem Local Reporter of 1890. Back in 1886, it had been the site of a spectacular Independence Day celeb-ration and, in 1890, the City supported bi-weekly concerts in the band pagoda.'
Nowadays, the City's popular annual Summer Festival attracts people from the entire metropolitan area to the park. The Mount Morris Park Recreation Center and Amphitheater, created largely through the generosity of Richard Rodgers, serves as a facility for concerts, educational and cultural programs for all ages and for community recreation. The swimming pool complex, which opened last year, was constructed by the first Black-owned architectural firm to be awarded a Parks Department design contract.
The Mount Morris Park Historic District is served by several charities. Jewish Family Service and Catholic Charities, for example, offer counseling, homemaking courses and related services. In the area are the Central Harlem Referral Unit of the New York City Youth Board, the Narcotics Addiction Control Center at 10 Mount Morris Park West, the Mount Morris Child Health Center and the Mount Morris Children's Center.
The latter, a church-related organization, serves .over a hundred three to ten-year-olds. The major portion of the Mount Morris Park Historic District is included in the Milbank-Frawley Circle Urban Renewal Area, a program which it will enhance. The community is conveniently served by the many shops along 125th Street, It is also served by the Hospital for Joint Diseases, located on Madison Avenue between 123rd and 124th Streets.
Educational facilities include, within a block of the District, an elementary school, a Catholic high school and the Harlem branch of the New York Public Library. Transportation facilities, buses, subways and railroads, are amply adequate for the community needs.
- From the 1971 NYCLPC Historic District Designation Report
Classical Mistake, wife goes on a weekend trip with chocolate (After Eight) in cupboard :-) #84 of 365
The Bartholdi Fountain
The fountain was designed symmetrically in three identical sections. The triangular base with turtles and large shells rises to the pedestal, from which three identical nereids (sea nymphs) rise on thirds. Between their feet are fish and scattered sea shells and coral. The nymphs, with arched backs, are caryatids, following a tradition of sculpture founded in classical Greece. They seem to hold up the large basin, which is actually supported by the central column. The nymphs wear headdresses of leaves. Their clinging drapery, clasped by shells at the waist, reveals their supple figures. Despite its monumental size (it weighs approximately 40 tons and is 30 feet high, and the sculptured female figures are 11 feet tall), each element of the fountain is beautifully detailed.
The curved arms of the nereids lead the viewer's eye to the large basin above, which supports twelve lights. The fountain continues with three youthful tritons playfully holding out seaweed and is topped by a mural crown resembling a crenelated city wall. Water spills from the crown over the tritons and splashes into the upper basin, while jets shoot from the mouths of the fish and the turtles.
Frederic Auguste Bartholdi (1834-1904) created the fountain for the 1876 International Centennial Exhibition in Philadelphia. The design was based on a model he had created in 1867. Bartholdi was also working on his design for the Statue of Liberty at the same time. The fountain, cast in Paris by A. Durenne, was painted to look like bronze and placed at a focal point near the main entrance of the Exhibition grounds in Fairmount Park.
At the close of the Exhibition, the fountain was purchased for $6,000 (half of its estimated value) by the United States government at the suggestion of Frederick Law Olmsted, the famous landscape architect who designed the Capitol Grounds. It was moved to Washington, D.C., in 1877 and placed at the base of Capitol Hill near the center line of the Mall, on what was then the Botanic Garden grounds.
When it was created, the fountain fused modern gas-lighting and cast-iron technologies with water and was intended to allegorically represent Light and Water. Bartholdi saw this work as symbolically appropriate for the modern city, and he hoped that many cities throughout the country would purchase castings. Actually only Reims, France, acquired one in 1885, and it is no longer extant.
The gas lamps made the fountain a popular attraction since it was one of the first monuments in the city of Washington to be brightly illuminated at night. The lights surrounding the basin were added in 1886, and the round glass globes replaced the original gas fixtures when the fountain was fitted for electric lighting in 1915.
During the 1927 relocation of the Botanic Garden, the fountain was dismantled and stored. In 1932, it was re-erected in its present location. The park where the fountain stands was renamed in honor of Frederic Auguste Bartholdi in 1985.
The Bartholdi Fountain was restored in 1986. The rusted supporting bolts and rods and the plumbing and wiring were replaced. Dozens of layers of paint were sandblasted from the cast-iron surface, which was then given a new protective coating. The basins were repaired and leveled so that the water now falls evenly. The top coat of paint was renewed in 1996.
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Bartholdi Park @ United States Botanic Garden
R 8
Antwerp-based street artist DZIA
The Belgian muralist has been busy adding fauna flair to walls in an increasingly widening swath across the globe. Recent projects have taken him to China, Norway, and Spain. Dzia, who is classically trained with a masters in fine art at the Royal Academy in Antwerp, primarily depicts wild animals — foxes and birds seem to be recurring favorites. His unique style creates a mosaic of colors following the contours of the animal’s form. In his more recent work, Dzia has begun to add tonal shading within each defined area, adding a sense of volume to the well-defined figures. His work reincorporates animals into an urban environment, rendering them in bold, geometric lines.
DZIA
“From a young age art has always been a great interest to me. My uncle was an artist and my whole family have always been very creative. This passion carried me through my younger years until I eventually went on to study a masters in fine art at the Royal Academy in Antwerp.
After I graduated I really wanted place my artwork onto walls. I focused on creating a truly unique graphic style, using abstract and geometric lines to implement into animalistic forms. I’ve been painting on walls for around two and half years now.
New ideas come very easily to me, so my work is very spontaneous – I paint quickly and in-situ to make sure the original idea stays true to its form.” - Dzia -
Model: Saint Alkaline
Photographer: Bailey Northcott
www.facebook.com/throughtheglassphotos
Stylist/MUA: Taeden Hall
Clothing by www.gloomth.com
Dallmeyer Super-Six 3" F1.9 + Schneider 100mm F2.0 + Nikon 80-200mm F2.8 + Canon 35mm F1.4L + Sony E 16mm F2.8 + Canon 5D + Sony NEX-3
Jean-Honoré Fragonard
This painting illustrates an episode from the classical myth of Cupid and Psyche, which was originally told by Apuleius in his 'Golden Ass'. It is an early work by Fragonard, executed in 1753, the year after he had won the Prix de Rome and before his first Italian visit. An immediate success, it was exhibited with other paintings at Versailles in 1754, but later passed into obscurity with an attribution to Carle van Loo. At some date it was cut down along the top and left sides.
Fragonard's work is probably based on La Fontaine's version of the fable. After falling in love with Psyche, Cupid had visited her only at night, forbidding her to look upon him. In the painting, Psyche shows her two sisters the gifts she has received from her lover, and moved by jealousy - a Fury appears in the sky above the sisters - they persuade her to uncover Cupid's identity and thus wreck her happiness.
The painting shows the emergence of Fragonard's more elegant style from the manner established by Boucher, whose pupil he had been. In many details it derives from sketches made by Boucher in 1737 for a series of tapestries illustrating this story, but there is more movement in Fragonard's painting and his colours are sharper.
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Design, construction management and project management work done as a consultant for Joeb + Partners Architects, Greenwich, CT. Lead designer, Joeb Moore. Photograph by ESTO, NYC.
Austin composer Nathan Felix came down to San Antonio for an interesting mash up of booze and classical music using refurbished Pianos. This was someone waiting outside for it to begin.