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Mott Haven, The Bronx
Public School 31, constructed 1897-99, represents an important step in the development of the Collegiate Gothic style as applied to public school architecture in New York City. Designed by C.B.J. Snyder during the early years of his lengthy term as Superintendent of School Buildings for the Board of Education of New York, P.S. 31 is one of the first New York public schools to display numerous late Gothic details, such as Tudor-arched doorways, and pointed windows topped with stone tracery. These and other elements, such as the central entrance tower and gabled bays, were further developed on Snyder's larger, borough-wide high school buildings, such as Morris and Curtis High Schools. P.S. 31 was one of a large number of school buildings constructed around this time to accommodate the huge waves of immigrants moving into the Bronx from other parts of New York, as well as from abroad. By designing so many schools in a relatively short period, Snyder had a tremendous influence on the developing New York City school building, both on its exterior appearance, as well as on its components and their arrangement.
Development of the Area
From 1639, when the Dutch West India Company purchased from the Mohegan Indians all the land that falls within the boundaries of the present borough, through the mid-nineteenth century, the Bronx retained its rural character.-
However, as massive immigration and industrialization began to alter the character of New York to the south, it was inevitable that the northward march of urbanization would eventually engulf the Bronx as well. The earliest immigrants to come to the Bronx were the Irish who arrived after 1840 and settled primarily in Mott Haven. This area, within the section called Morrisania, was adjacent to the Harlem River, and was named for Jordan L. Mott, inventor of the coal burning stove and founder, in 1828, of the Mott Iron Works on East 134th Street. The Irish participated in the construction of the Harlem and Hudson River railroads, beginning in 1842, and the Croton Aqueduct, and they were joined after 1848 by an influx of Germans. The new railroads opened up great potential for industrial development, and during the second half of the century factories ware erected along the Harlem and East River waterfronts.
The population of the Bronx rose from 28,981 in 1870, to 81,255 in 1890, and 200,507 in 1900, with even greater increases in the following years.
Politically, the Bronx remained a part of Westchester County from 1683 until the area was annexed to the city of New York. This change occurred in two stages, the western section joining New York in 1874, with the rest following in 1895. In 1898 the Charter of the City of Greater New York was implemented, creating the five boroughs, including the Borough of the Bronx.
Schools in Greater New York
A major effect of the new charter was to create a unified educational system out of numerous independently administered school districts with a variety of curricula, grade divisions, educational policies and standards for personnel selection. This endeavor was hindered initially by a tremendous shortage, both in number and quality, of existing school buildings, created primarily by two factors: new laws making the education of children mandatory, and huge waves of immigration at the end of the nineteenth century which increased the population density of numerous areas of the city.
This problem was noted even before consolidation, in 1896, in the Board of Education's Annual Report:
Insufficient school accommodations have furnished cause for very general complaint on the part of the citizens of New York during the past ten years. The unprecedented growth of the city, together with unexpected movements of population, rendered it almost impossible to keep pace with the demands in given localities or to anticipate the needs of certain sections of the city that speedily outgrew the accommodations that were provided. During the past year...the question of increased and improved school accommodations was kept constantly in mind.
Between 1884 and 1897, the Board of Education acquired 125 new sites in Manhattan and the Bronx, providing space for more than 132,000 new students. Yet, it was still not enough. By July 1899, schools in Manhattan and the Bronx could accommodate 232,931 students, many in half day sessions, but many more children had to be turned away for lack of space.
C.B.J. Snyder and His Work
The architect who planned and was responsible for the building of all the new and expanded schools was the Board of Education's Superintendent of School Buildings, C.B.J. Snyder (1860-1945).^ Snyder had been appointed to the position in 1891 when the Board oversaw only Manhattan and those parts of the Bronx which constituted nineteenth-century New York. He remained on the job until his retirement in 1923, with responsibility for buildings in all five boroughs after the city's consolidation. Little is known of Snyder's background. He was born in Stillwater, New York, and studied architecture with William Bishop. His architectural accomplishments focused on school buildings, and in this area he was a recognized leader. In a 1905 architectural periodical it was noted:
Possibly it was not the best, probably it was not the most economical, certainly it was not the most expeditious way to have all the school-houses the city stood in such sore need of designed and built by the official architect to the Department of Education. But since that method had to be followed, it is a matter of wonderful good fortune that the official architect chanced to be such a man as is Mr. C.B.J. Snyder, who not only at the outset showed such distinct capacity for his task, but has proved himself a man able to grow as his opportunities opened before him. Mr. Wheelwright in Boston, Mr. Ittner in St. Louis, Mr. Mundie in Chicago...have done excellent service to their respective cities in the way of building school-houses...but they have not had to do their work under the same sort of pressure that has been put upon Mr. Snyder, and they have not had to adopt their architectural treatment to as closely restricted sites.
Snyder was particularly concerned with making his schools as healthy as possible for the students, and focused much attention on the development of fire protection, ventilation, unilateral lighting, and reduced classroom size. One of the main problems in the design of many Manhattan public schools was the accommodation of the requirements of students and teachers to small sites which were necessitated by the high cost of land acquisition. In searching to overcome this problem in Manhattan as well as in other boroughs, Snyder concentrated much effort on school planning and created the H-plan for floor layouts, which provided increased light and better ventilation, and also permitted adequate space for safe recreation areas.
Snyder's concerns also embraced architectural style. Unlike the designs of many New York schools built after his retirement, Snyder's work was inventive, solid, and handsome. His earliest designs continued the Romanesque Revival style of the architect who was his predecessor as Superintendent of School Buildings, George W. Debevoise. Snyder later moved into Gothic idioms, and was credited with the introduction of the Collegiate Gothic style to New York public school architecture. According to the 1905 source previously cited:
When first the New York school-house made its appearance in Gothic attire, it seemed as if a very doubtful experiment were being tried, but little by little the designer discovered new confidence in himself, and sane of the later buildings are markedly successful as pieces of consistent and satisfying architectural composition.
Collegiate Gothic architecture, also called English Collegiate, was inspired by, and modelled after, buildings at Eton, and at Cambridge and especially Oxford Universities. This late Gothic Revival (as differentiated from the early Gothic Revival which began to appear by the second quarter of the nineteenth century) started being used on schools and churches in the United States in the early 1890s, due, in part, to a reaction against academic classicism. Finding acceptance because of the eclectic spirit of the period, this archeologically correct form of Gothic building provided a picturesque and romantic setting for intellectual pursuits.
Introduced on college campuses in the United States in 1893 by architects Cope and Stewardson at Bryn Mawr, University of Pennsylvania, and Princeton University, the style was quickly adopted by numerous other schools throughout the country. Other early major examples include: Charles B. Haight's Vanderbilt Hall at Yale (1893-94), Henry Ives Cobb's plan for the University of Chicago (1893), and Cram, Goodhue & Ferguson's designs for the campus of West Point (1902). The style became so widespread, in fact, that by the time the City College of New York opened its new campus at Morningside Heights in 1907, an observer could state that "One might say that Collegiate Gothic is the proper and only dress for a home of learning."
At the same time, this style was being employed for private preparatory schools such as St. Paul's and Groton, designed by Henry Vaughan in the 1890s. 13 Ralph Adams Cram was one of the leading proponents of this style and did much to publicize and popularize it. In addition to his work, numerous articles by and about him and other architects of this style appeared in the professional press. It is little wonder then that these same building forms were picked up and used by designers of public school buildings, designers such as C.B.J. Snyder.
It was not long after this style began appearing in the architectural press that Snyder began using certain characteristic elements of it in his schools. It took him several attempts before he completely incorporated this new style however. In an 1894 school on Edgecombe Avenue between 140th and 141st Streets the few Gothic details gave some suggestion of his future direction. P.S. 27 and P.S. 28, built in 1896, are square, blocklike buildings, but high gables (some pointed, some stepped) rise up at the roofline as on later works. In P.S. 31 Snyder first successfully integrated numerous details into an overall late Gothic composition.
This style was to be even more fully explored in such later, more elaborate works as Morris High School nearby on Boston Road, and Curtis High School on Staten Island. These buildings display numerous details of ornamentation and massing which can readily be compared to some of the prominent early Collegiate Gothic buildings on university campuses, such as Princeton's Vanderbilt Hall (1893-94).
While Snyder was exploring new stylistic territory, he was also continuing the use of sane design elements of earlier buildings. Snyder had not completely evolved the H-plan which he used in his large high school buildings at the time he was working on P.S. 31. This building is basically rectangular in plan, with slightly projecting gabled end pavilions on the front facade and central entrance toners on both the front and rear facades. The projecting, central tower follows a tradition in New York City school buildings, started in 1868, when the first school with such a tower was constructed in Manhattan.
The actual Gothic details in P.S.31 are found primarily within the area of the central towers and at the roof line. They can be seen in the main entrances with their large Tudor arches and carved foliate designs in the spandrels, the tracery of the windows at the first, second and fifth floors within these towers and in the slit windows pierced in the octagonal piers themselves. The oriels at the building's narrow ends and the label moldings over the windows at the fourth floor show Gothic inspiration as well. The roof line, with its steeply pointed gables and irregular outline, is part of the picturesque effect sought by architects of this style.
Description
P.S. 31 is a five-story, light brick and limestone-clad building located between the Grand Concourse and Walton Avenue, at East 144th Street. Sited higher than the surrounding streets, the school is visible from all four sides. The building is basically rectangular in plan and each facade is symmetrically organized around a central element. Many of the building's decorative details are located in these central areas, as well as along the roof line.
Originally the eastern, major facade of the building overlooked a broad lawn supported by a low brick wall at the lot line. With the widening of the Grand Concourse in 1939, the lawn was replaced by a high stone retaining wall topped by a metal fence. To the rear of the school, facing Walton Avenue, is a play yard supported and enclosed by a high brick and rubble stone wall. This layered retaining wall is topped by a high brick fence with a terra-cotta coping, and appears to be contemporary with the building. Two Tudor-arched entrances with wooden doors and elaborately curved strap hinges are set into this retaining wall at ground level but are no longer functional. This original section of wall extended for a small distance on both the north and south sides of the lot as well. In 1905, the wall on the north side was extended and further renovations to both the north and south side walls were carried out in 1940. Presently modern stone stairways, inset into the walls, lead up to the building at each side and at the front.
The eastern facade of the building is seven bays wide, symmetrically arranged around the projecting central entrance tower. To each side of the tower, the fenestration patterns are the same for each bay and continue in the slightly projecting end pavilions. On floors one through four, each opening contains five narrow windows in a rectangular grouping. A continuous label molding tops the windows of the first story, while
limestone ashlar cladding on this level creates the effect of a solid base for the rest of the building. The next two stories are of plain brick with keyed stone surrounds on each group of windows.
A projecting band course carried on carved human and animal heads rings the entire building at the sill line of the fourth floor. Also at this level, each group of windows is topped by individual stone label moldings. The fifth or attic level has more variety of treatment. A pair of narrow windows topped by a label molding is centered within a steeply pitched gable at each end pavilion. Between the end pavilions and the center tower on each side are two smaller curved Flemish-type gables. Each contains a pair of narrow windows under its own label molding. Narrow, pointed finials originally adorned each of these gables but they were removed early in the twentieth century. A steeply pitched roof rises behind the gables.
The central entrance tower is formed by two octagonal piers, pierced by slit windows, which rise through the height of the building to become turrets above the fifth floor. Between the piers, at the ground floor level is the building's main entrance. Here, within a Tudor arch, the paneled, wood, double doorway is topped by an overdoor which is subdivided by wood-framed lancet windcws. Beyond the arch are carved stone spandrels with foliate motifs, while narrow lancet windows crowned by stone tracery are located to each side of the doorway. A wide stone band course with a carved frieze containing panels with shields and the inscription "Public School 31" is located between the first and second floors and wraps around the piers at this level.
On the second through fifth floors, the narrow windows of this central bay are grouped 1-4-1. Those of the second story are crowned by a heavy label molding enriched by carved heads. The windows of this floor are subdivided by stone tracery to create a double row of window openings within the grouping. Carved grotesque animal figures are located in the comer, between the windows and the octagonal piers at this level. The central windows of the second and third stories are plain, with stone enframements. A flagpole extends at the third story sill line, while the band course which rings the building at the fourth floor sill line continues around the piers and across this central area as well.
The central fourth floor windows are also topped by a label molding. At the fifth floor, the enframement between the central windows becomes more elaborate with stone tracery creating shallow pointed arches above each narrow window. Another broad band course carried on carved heads projects above the fifth floor windows and continues around each of the turrets. A square panel with a carved stone design is centered above this, with two narrow band courses above it. Hie parapet between the two turrets is now filled with plain brick but originally it was composed of open stonework. Early in the twentieth century, the small onion domes which originally capped each turret, were removed.
The western or rear facade is very similar to the front facade, with the following exceptions. The end bays do not project but remain in the same plane as the rest of the facade. At the roof line, three of the four Flemish gables have been removed and the fourth has been shortened. The roof line has been raised to accommodate window groupings of a similar size to those of the floors below. Within the central bay there is less ornamentation, particularly on the second floor, where the windows are plain.
The narrow side facades are identical to each other. Three bays wide, each facade is symmetrically arranged around a two-story oriel which is topped by a parapet. A tall pointed gable rises above this central element at the fifth story and contains a group of three smaller windows. An entrance with a Tudor-arched enframement is located in the central bay at the first level but the small, squared door is a modernization. The window shapes and enframements, the band courses, decorative elements and materials continue the patterns found on the front facade.
Conclusion
Public School 31 stands as a handsome brick and stone structure in the Morrisania section of the Bronx. Built in 1897-99, this school serves as a reminder of the tremendous population growth in this area at the end of the nineteenth century. One of many schools designed by architect C.B.J. Snyder, P. S. 31, with its Tudor arches, label moldings, stone tracery, central entrance tower, and gabled bays, is one of his early essays in the Collegiate Gothic style. During his lengthy tenure as Superintendent of School Buildings for New York's Board of Education, Snyder's designs evolved from simple, Romanesque Revival to richly adorned, Collegiate Gothic, as seen in his major high school buildings. In the process, he created a tremendous legacy of handsome school buildings throughout the five boroughs of New York, of which Public School 31 is a part.
- From the 1986 NYCLPC Landmark Designation Report
Copyright © 2025 by Craig Paup. All rights reserved.
Any use, printed or digital, in whole or edited, requires my written permission.
Componentes da Usina Anna Florência, em Ponte Nova (MG), desativada na década de 90 do Século passado. A Usina foi fundada em 1883, iniciou a produção de açúcar em 1885.. Sendo uma das mais antigas de MInas Gerais.
Chinatown, Manhattan, New York City, New York, United States
he 97 Bowery Building is a five-story, 25-footwide, early Italianate style, significantly intact, cast-ironfronted store-and-loft building. Built in 1869 for John P. Jube and designed by architect Peter L.P. Tostevin, the building was occupied until 1935 by John P. Jube & Co., a hardware and carriage supply business.
97 Bowery was built in a time when the Bowery was the major thoroughfare through the Lower East Side and a major commercial street with specialty shops, dry-goods stores and fancy hardware businesses. The 97 Bowery Building is typical of commercial cast-iron construction during the 1850s and 1860s; and it is likely that various elements of the design were selected from a catalogue of standardized cast-iron components. Notable design elements include the Corinthian columns supporting arches as well as a classical cornice with a segmental arched pediment and acanthus modillions and studs, and spandrels similar in design to the spandrels of the former McCreery’s Dry Goods Emporium at 801 Broadway .
The design features of 97 Bowery are similar to several other significant cast-iron buildings, such as the “Thomas Twins” at 317 Broadway and 319 Broadway , and the Haughwout building . Today, 97 Bowery remains an important reminder of the Bowery’s commercial emergence after the Civil War, and is a rare example of cast-iron architecture in this particular area of the city.
DESCRIPTION AND ANALYSIS
The Bowery
The Bowery is the oldest thoroughfare on Manhattan Island and is part of an old road once known as the Wickquasgeck Road, since it led to lands of that tribe, and later as the Post Road to Boston. From the city of New Amsterdam at the south end of Manhattan, it veered northeast around a freshwater pond known as the Collect, beyond which in 1625-26 Crijn Fredericks set out a dozen bouweries, or company farms, intended to supply the initial settlement. The vulnerability of these scattered farms to attacks by Native Americans prompted an order in 1660 that settlers gather in towns “after the English fashion,” and Bowery Village was established on part of what had been the Company’s Great Bowerie.
The road leading to it became known as “Bowery Lane,” which served as the city’s principal route of expansion during its first two centuries of growth. The area developed rapidly following the turn of the 19th century and by the 1830s had become a bustling neighborhood composed in large part of brick and brick-fronted Federal style row houses. By the mid-19th century, as wealthier residents moved uptown, the Bowery became more commercial in character, defined by specialty shops, drygoods and fancy hardware businesses. In 1869, John P. Jube constructed a five-story building with a cast-iron facade, at 97 Bowery to house his hardware and carriage supply store on this portion of the Bowery.
After the Civil War, the Bowery became known for its cheap amusements—some wholesome, some not—as music halls, dramatic theaters, and German beer halls shared the street with dive bars, taxidance halls, pawnbrokers, medicine shows, confidence men, and “museums” featuring sword swallowers, exotic animals, and scantily clad women. With the opening of the Third Avenue Elevated along the Bowery in 1878, the street was cast into permanent shadow, and pedestrians were showered with hot cinders from the steam trains running above. Despite its honky-tonk reputation, the Bowery also functioned as “the grand avenue of the respectable lower classes,” where Federal-era residences converted to saloons and boarding houses stood cheek-byjowl with grand architectural showpieces constructed by the neighborhood’s cultural and financial institutions, including the Bond Street Savings Bank at the northwest corner of the Bowery and Bond Street, the Germania Bank at the northwest corner of the Bowery and Spring Street, the Young Men’s Institute Building of the YMCA at 222 Bowery, Bowery Savings Bank at 130 Bowery.
In the 20th century, the Bowery became notorious as a “skid row” lined with flop houses and vagrants, but at the same time, because of low rents, became one of New York’s centers of specialty shops such as lighting fixtures and restaurant equipment. The elevated railway line, reconstructed in the middle of the Bowery in 1916, helped to deter the redevelopment of this area for decades , and 97 Bowery’s close physical proximity to the line had an undoubted role in its survival.
The Architect: Peter L. P. Tostevin
Peter L. P. Tostevin first worked in New York City as a mason. By 1866-67 he was working as a builder and is credited with 45-49 Charles Street in the Gansevoort Historic District . In 1870, Tostevin joined in partnership with William Rabold in the building firm of Rabold & Tostevin. At this time Tostevin designed a row of Italianate houses, constructed by Rabold & Tostevin, in what is now the Greenwich Village Historic District . Peter Tostevin is listed as the architect of record for 97 Bowery and Rabold & Tostevin are listed as the builders.
In 1874 Tostevin is listed as the architect of record for the enlargement of 385 Greenwich Street, an early nineteenth-century building, into a tenement with a commercial base in what is now the Tribeca West Historic District. In 1879 he is listed as architect and builder of 17-19 Bond Street located in the Noho Historic District. The partnership of Rabold & Tostevin ended by 1880, Tostevin returned to his previous profession of masonry. By the turn of the century he was working independently as a contractor and builder.
Cast-Iron-Fronted Buildings in New York City
Cast iron was used as an architectural material for entire facades of American commercial buildings in the mid-to-late-19th century, and was particularly popular in New York City. Promoted and manufactured by James Bogardus, Daniel D. Badger, as well as other firms, such as J. B. & W. W. Cornell Iron Works, cast-iron parts were exported nationally for assembly on the site. Touted virtues of cast iron included its low cost, strength, durability, supposed fireproof nature, ease of assembly and of parts replacement, ability to provide a wide variety of inexpensive ornament, and paintable surfaces.
The economy of cast-iron construction lay in the possibilities inherent in prefabrication: identical elements and motifs could be continually repeated and, in fact, could be later reproduced on a building addition, thus extending the original design. After a number of simple “constructive” cast-iron buildings in the late 1840s by Bogardus, the material was employed for commercial buildings modeled after Venetian palazzi, from the mid-1850s through the 1860s. Designed in imitation of masonry and featuring round-arched fenestration, this mode is exemplified by the Cary Building , 105-107 Chambers Street, and the Haughwout Building , 488-492 Broadway.
After the Civil War, the French Second Empire style began to influence designs in cast iron. Some buildings, such as McCreery’s store and 287 Broadway , were still Italianate but with mansard roofs. Cast-iron fronts in the Second Empire style, produced into the 1880s, were generally articulated with segmental-arched fenestration framed by columns and pilasters; large areas of glass; and a certain abstraction and paring-down of elements combined with the usage of variations on classically-inspired ornament. Examples are the Arnold Constable Store , 881-887 Broadway, and 28-30 Greene Street .
The architectural features of 97 Bowery are similar in design to several elements on the McCreery store at 801 Broadway , as well as several other cast-iron buildings including the “Thomas Twins,” 317 Broadway , and 319 Broadway . While the Haughwout building is larger in scale, it shares similar design elements with 97 Bowery such as a molded arched fenestration with keystones, and spandrel panels with a diamond pattern, framed by Corinthian columns.
With the knowledge that buildings of cast iron were not in fact fireproof, however, particularly after the Boston and Chicago fires of 1872 and the 1879 New York fire that destroyed rows of such structures on Worth and Thomas Streets, restrictive revisions were made to the New York City building code in 1885. This contributed to ending the era of cast-iron fronts in the city, although they continued to some extent through the 1890s.
J. B. & W. W. Cornell Iron Works
The company was founded by brothers John Black and William Wiggins Cornell in 1847. Starting as makers of iron rails, gates, stairs, and vaults, they established their foundry at 143 Centre Street between Walker and White Streets. John B. held patents on many inventions: the first granted in 1854, was for revolving iron shutters, and the second granted in 1856, was for metal supports for plaster fireproof partitions. The most important invention was for continuous corrugated sheet lathing, resulting in fireproof partitions and ceilings, which revolutionized the way in which buildings were constructed and popularized iron as a building material.
By the 1860s, the J.B. & J.M. Cornell Iron Works had established itself as one of the city’s major producers of cast-iron architectural elements and foremost in the construction of fireproof buildings. In the ensuing decades, the firm became one of the city’s largest manufacturing operations, employing over 1,200 people, at its peak. Providing steel and iron for projects such as the Produce Exchange , the Park Row Building , the iron base and stairways of the Statue of Liberty , as well as over 13,000 tons for elevated railroad stations throughout Manhattan and Brooklyn. During the Civil War, the company was employed in the production of turrets and pilot houses for the government, including the revolving turrets of the monitors Miantonomah and Tonawandah. By 1897, the company had expanded into Cold Spring, on the Hudson River, a location which provided it with the capacity to provide 20 tons of castings per day.
In 1900, a letterhead for the firm described more than 25 different products, among them: awnings, balcony railings, bank screens, columns, beams, doors, fire escapes, lamps, mausoleum doors, memorial tablets, rolling shutters, sidewalk elevators, and stairs, to name a few. Additional letterheads from the time advertised other work performed by the company, including to “construct, erect and repair all kinds of architectural and other work in iron, bronze, electrobronze, and brass” and “repairs of all kinds on buildings as well as repairs on skylights, patent lights, shutters, steel shutters, rolling shutters, sidewalk elevators, railings, gratings, etc; also painting.”
In 1900 the company liquidated its heavy production shops in response to the westward movement of steel and iron operations across the country. Around this time, the company began to focus on smaller-scale iron and steel products. In 1911, John M. and his sons Milton and John Jr., formed a new partnership called Cornell Iron Works.
The Cornell Iron Works continues to be a family-owned and operated business, manufacturing metal-rolling service doors, counter doors, fire doors, rolling grilles, and side folding grilles. In 2001 the company opened a new state-of-the-art production facility in Mountain Top, Pennsylvania.
John P. Jube
John Prosser Jube was born in New York to English emigrant parents. In 1838 Jube began his career as a carriage manufacturer in Newark, New Jersey. In 1843 Jube moved his business, the John P. Jube & Company carriage manufacturer, to New York City, where over the years he extended and enlarged his business. The company moved progressively northward on the Bowery beginning, in 1843, at 51 Bowery, moving to 83 Bowery in 1845 and moving to his final place of business, 97 Bowery in 1871.
Jube made his home in Newark, New Jersey. He married twice, however, all eight of his children were from his first marriage to Sarah Jube. His sons, William Uzal, John Jr., Albert B., and Thomas S., all took part in the family business. Jube made numerous contributions to Newark. He was a principal supporter of the First Congregational Church of Newark, contributing largely to the building of a new edifice, and in May of 1907, the church was renamed the Jube Memorial Church in his honor. For several years Jube was director of the National State Bank and later its president from 1889 to1893. Jube was one of the original members of the Fireman’s’ Insurance Company and its director for 40 years. Jube was also a lifetime member of the New Jersey Historical Society. Upon his death in 1905, his eldest son William Uzal inherited the family business; he was head of the company until his death in 1911. William’s brothers continued to run the business successfully at 97 Bowery for close to 25 years.
97 Bowery Building
Based on surviving historic evidence, the property was purchased by John P. Jube from William Dally in 1868. The five-story, cast-iron-fronted retail building at 97 Bowery was constructed for John P. Jube & Company, was designed and built by Peter L. P. Tostevin of Rabold & Tostevin in 1869, and the iron facade was forged by the J.B. & J.M. Cornell Iron Works. The business was located at this address for the next sixty years until 1931, when John P. Jube Carriage Wagon and Automobile Supplies moved to 6 Howard Street. An article in 1911 touted its more than 60 year existence as one of the longest running carriage manufactures in the City of New York.
The estate of Thomas Jube sold the property to the Benjamin sisters in the early part of 1931. The Gorbaty brothers leased the property starting in June of that same year and later purchased the property. The Gorbaty family operated a store fixture and display manufacturing business at 97 Bowery. The Gorbaty Brothers fixture store operated at this location for more than 50 years until 1981, before relocating to Queens Village, the family-owned business is still in operation.
Description
The 97 Bowery Building is a five-story, three-bay, Italianate style, masonry building with a cast-iron front façade and a modern non-historic storefront. The storefront has had several alterations: the first in 1908, again in 1942 and 1961. The modern ground floor storefront has been totally re-configured; a non-historic stone tile ramp leads to the modern entrance that is clad in glass-and-metal with stone tile at the bulkhead. It has a tripartite division with a central glass entrance with double-doors and transom that is flanked by a secondary entrance and a display window. The secondary entrance to the left is entirely of glass, and features sidelights and a transom.
The display window to the right is framed in metal and rests on the stone tile bulkhead. The window consists of two vertical glass panels that open at the center. The tinted green glass pilasters probably hide the iron columns that support the facade. A non-historic clear glass awning is supported by seven metal brackets, followed by four metal support anchors for metal lettering that displays the name of the establishment. A historic modillioned metal cornice with decorative florets transitions to the upper floors, and supports non-historic signage at the second story. The second through the fifth stories have a molded arched fenestration, with keystones, and spandrel panels with a diamond pattern, framed by Corinthian columns. The outer pilasters that frame the windows at the second through fourth floors support the cornice at each level, and are devoid of decoration.
There are three windows bays at each level, the first and second bay of windows, at every story have been replaced and contain non-historic two-over-two double-hung windows with transoms at the second, third, and fifth stories. The fourth floor transoms have wood panel fillers. The third bay of windows at each story is filled in, to accommodate an elevator shaft. Some of the capitals on many of the columns at each story are missing some ornament. The building is crowned by a denticulated cornice that features a segmental broken pediment that is supported by fluted brackets, with raised paneled fascia and coin ornament.
The north and south walls are of unarticulated brick that has been parged and are visible above the adjacent properties. At the roof level a one-story bulkhead addition is visible from the street which gives access to the elevator machinery, also visible are metal HVAC vents.
Despite these alterations, the 97 Bowery Building is a rare surviving relatively intact cast-iron building from the post Civil War era, and a rare example of cast-iron architecture in this particular area of the city.
- From the 2010 NYCLPC Landmark Designation Report
External DVD ROM (Asus SDRW-08D2S-U), Samsung SSD 840 Basic and HDD Western Digital Caviar Green 2TB.
Viewfinder removed from an old film camera. _Really_ interesting mechanics - it's like a periscope with more magic.
A crew member installs platform shelter components at the SE Bybee Blvd MAX Station. Crews continue work on station platforms along the east segment of the light rail project.
Licensed for all uses by TriMet.
The bottom bicone looks like shiny opaque metal. I think it's called aurum 2x, as it's got double the AB coating. It cost 300% more than the usual crystals. One of the others is gold shadow, which has a light AB coating.
Budget CPU more for heat dissipation reasons (low heat = low cooling noise).
Not a Intel chip despiteeveryone and their mum saying AMD are left for dead atm; It's moralistic buying.
What would you call this one? Tribal? I'm having trouble describing this pattern.
Copyright © 2013 by Ginger Davis Allman The Blue Bottle Tree, all rights reserved.
Visit of the Frecce Tricolori Squadron at NATO E-3A Component Geilenkirchen/Germany, ETNG -----------------------------------------------
The Frecce Tricolori (Italian pronunciation: [ˈfrettʃe trikoˈloːri]; literally "Tricolour Arrows"), officially known as the 313° Gruppo Addestramento Acrobatico, Pattuglia Acrobatica Nazionale (PAN) Frecce Tricolori ("313th Acrobatic Training Group, National Aerobatic Team (PAN) Frecce Tricolori"), is the aerobatic demonstration team of the Italian Air Force. Based at Rivolto Air Base, province of Udine, it was created on 1 March 1961 as a permanent group for the training of Air Force pilots in air acrobatics.[1]
The Tricolour Arrows replaced unofficial teams that had been sponsored by various commands starting in the early 1930s.[2] The team flies the Aermacchi MB-339-A/PAN, a two-seat fighter-trainer craft capable of 898 km/h at sea level.[2][3] With ten aircraft, nine in close formation and a soloist, they are the world's largest acrobatics patrol, and their flight schedule, comprising about twenty acrobatics and about half an hour, made them the most famous in the world.[4] It is one of national symbols of Italy.
Formation
During the performances the formation of the acrobatic patrol is usually composed of 9 aircraft, called "Pony", each labeled with a number ranging from 1 to 10.[18][19] The name "Pony" was coined by the then Captain Zeno Tascio to remember the horse of Francesco Baracca[20] which is the sign of the 4th Wing, at the time 4th Airbase who was already preparing to take over the task PAN for the 1961. Depending on the needs of the Department, aircraft can also be 11 in total, thus including the figure of the acrobatic training manager:
Pony 0 - Commander
Pony 1 - Head of Formation
Pony 2 - 1° Left Domestique
Pony 3 - 1° Right Domestique
Pony 4 - 2° Left Domestique
Pony 5 - 2° Right Domestique
Pony 6 - 1° Tail light
Pony 7 - 3° Left Domestique
Pony 8 - 3° Right Domestique
Pony 9 - 2° Tail light
Pony 10 - Soloist
Pony 11 - Acrobatic Training Supervisor
Pony 12 - Pilot in Training
Pony 13 - Pilot in Training
Pony 14 - Pilot in Training
Pony 15 - Pilot in Training
Pony 16 - Pilot in Training
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Frecce Tricolori (italienisch für Dreifarbige Pfeile) sind eine Kunstflugstaffel der italienischen Luftwaffe, die 1961 als 313º Gruppo Addestramento Acrobatico aufgestellt wurde. Die Staffel ist auf dem Militärflugplatz Rivolto bei Udine stationiert und erhielt am 1. Juli 1961 den heutigen Namen: 313º Gruppo Addestramento Acrobatico - Pattuglia Acrobatica Nazionale (PAN) “Frecce Tricolori”.
Der Ursprung des Kunstflugteams reicht bis in die 1920er Jahre zurück. Bei einem Besuch in Großbritannien hatten einige hohe Fliegeroffiziere die Anfänge des Formationskunstflugs kennengelernt. Der Befehl zur Gründung einer Kunstflugstaffel ging an Oberst Rino Corso Fougier in Udine. Er gilt als Vater des italienischen Formationskunstflugs und prägte maßgeblich den Ausbildungsstandard der Militärpiloten.
Die erste Fünfer-Kunstflugstaffel seines 1. Geschwaders (1º Stormo) war in Campoformido stationiert. Die erste Staffel erschien am 8. Juni 1930 bei der 1ª Giornata Aerea dell’Ala in Rom als offizieller Repräsentant der italienischen Luftwaffe.[1] In dieser Geburtsstunde zeigten sie mit sieben Jagddoppeldeckern vom Typ Fiat CR.20 ihr erstes Programm. Die 2ª Giornata Aerea dell’Ala 1932 zeigte mit Doppeldeckern vom Typ Breda Ba.19 ihr Programm. 1936 erhielten die „Frecce“ die Fiat CR.32.
Nach der Unterbrechung durch den Zweiten Weltkrieg begannen sie erneut mit Düsenflugzeugen das Formationskunstflugtraining. Die Teams Cavallino Rampante („Aufbäumendes Pferdchen“), Getti Tonanti („Donnernde Jets“), Tigri Bianche („Weiße Tiger“), Lancieri Neri („Schwarze Lanzenreiter“) und die Diavoli Rossi („Rote Teufel“) wurden bekannt.
Die erste wirkliche italienische Kunstflugstaffel wurde vom 4º Stormo aufgestellt. Als erste Einheit mit den Doppelrumpfjägern de Havilland D.H.100F.B.52 bildeten die Piloten des Geschwaders 1954 das erste italienische Kunstflug-Jet-Team mit dem Namen „Cavallino Rampante“. Mit der Republic F-84G starteten die „Getti Tonanti“ als Nachfolger der Staffel „Cavallino Rampante“. Der Fliegerfilm I quattro del getto tonante („Die vier donnernden Jets“) wurde mit dem Team gedreht. Die 51ª Aerobrigata übernahm 1955 mit dem Team „Tigri Bianche“ die Funktion der offiziellen Kunstflugstaffel der italienischen Luftwaffe, geflogen mit F84G Thunderjets. 1956 flog wieder das 4° Stormo mit neuen Canadair F-86 Sabre Mk4[2]. Das 6° Stormo flog als „rote Teufel“ („Diavoli Rossi“) die Republic F84F Thunderstreaks erstmals am 19. Mai 1957 auf dem Flughafen Turin-Caselle. 1958 wurde die 2ª Aerobrigata mit dem Namen „Lancieri Neri“ aufgestellt. Die sechs Piloten flogen eine F-86 Sabre.
Das Generalstab der italienischen Luftwaffe entschloss sich Ende 1960, ein eigenes Kunstflugteam aufzubauen, das nur noch in der Nebenrolle als leichte Jagdbomberstaffel zur Verfügung stehen sollte. Mit dieser Aufgabe wurde die 313º Gruppo betraut.
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Research can be beautiful on some occasions.
This graph represents thirty seconds of the Firefox running time.
The complexity of the modern software is stunning.
This is the first posted shot for what I think is going to prove to be a project.
I want to see what kind of large format camera I can put together without spending more than $20 for any single component.
It's an idea I got after my wife bought me an old Kodak 3A that I've been messing with. Since I love it, I don't want to break it apart for the sake of experimentation. So, here's what I've done instead.
I won on Ebay a "Parts Only" Graflex with no lens. It was filthy, but in pretty good shape otherwise, complete with ground glass and lens board. Cost: a little over $9.
I bought a roll of gaffers tape ($16 bucks)
I bought a used film holder at a camera store for $15 (could have done better on Ebay, I guess, but wanted to try this out this weekend)
I used the gaffers tape to attach a magnifying glass to the front standard, and cut some paper negatives for the film holder.
I did some work in the bamboo outside, which I'll post later, but really liked this picture of my younger son because it looks so old fashioned. I simply uncovered the lens and then popped a flash gun that I was holding beside the camera. Pretty easy.
Next up on the camera? I won a parts only Kodak Junior with (reportedly) a working lens and shutter. Cost: $9.75
It has a Kodak Anastigmat f-7.7 170mm no. 3775 which is sure to be a step up from my plastic magnifying glass, even if the shutter doesn't work.
More as I know it.
VERNAZZA fue la elegida para el transporte de importantes componentes de planta industrial de 60 toneladas de peso y con 5,70 metros de alto y 5,10 metros de ancho.
Estos bultos de enorme magnitud fueron transportados combinando camiones tractores de gran poder de tracción junto a plataformas modulares hidráulicas de 6 líneas y con un total de 48 neumáticos por cada una.
Ramsey Campbell's botanic Green God (it is actually nameless) and its Children from his short story "The Horror under Warrendown" were the basis for this custom Great Old One for Arkham Horror 2nd Ed..
I wanted to incorporate both threats in a rather simple fashion, without extra game material, so that the Green God can be easily integrated into the basic game and its expansions. Therefore, the standard Cultists were employed as The Green God's mutated, rodent-teethed and rabbit-like Children, and they became part of a kind of race sub-plot that adds threat but also offers players the option to counter it.
When a Child of the Green God appears through regular play, it will dash across the board and potentially open an additional Gate, speeding up the Great Old One's awakening and releasing some more Monsters onto Arkham's streets.
The Children themselves are not very dangerous, but they are fast and hard to confront, so that players better act fast to stop them. However, a confrontation with them is potentially dangerous, too, because Investigators might become infected with the Green God's mutagenic matter, initiating the slow but hard-to-stop transformation into a Child, which will eventually try to open a new Gate! This conforms not 100% with the literature background (only the Green God is "infectious"), but it's a nice players' threat.
With six Cultists in the basic game and a few more in the expansions, this will not happen frequently, though.
However, as a threat balance, the curse-induced transformation also starts with ANY Curse the Investigators might catch!
The final battle relies on a similar pattern, based upon being Cursed and starting to gradually mutate into Children of the Green God.
¡La formación de los componentes del Mando de Operaciones Especiales#MOE del #EjércitodeTierra es completa e integral!. Una de las áreas clave es el adiestramiento en ambientes acuáticos.
El equipo operativo especialista en agua (Equipo Operativo 45) del GOE IV, ha realizado un ex. en Cabo Roig #Alicante, donde ha ejecutado ✅reconocimientos de playa ✅ instrucción de buceo diurno y nocturno ✅inmersiones profundas (30-40m) con equipos de aire comprimido.
La excelencia en la preparación de nuestros guerrilleros es insuperable‼#SomostuEjército🇪🇸
PictionID:44025899 - Title:Atlas Component - Catalog:14_009131 - Filename:14_009131.TIF - - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
iss072e403385 (Dec. 24, 2024) --- NASA astronaut and Expedition 72 Commander Suni Williams checks research components inside the Kibo laboratory module's Advanced Plant Habitat aboard the International Space Station.
I think this one in particular really does look like ceramic. But nope, it's pure polymer clay.
Copyright © 2013 by Ginger Davis Allman The Blue Bottle Tree, all rights reserved.