Rail Orientation Map of the Portland Region

  

There have been many railroads serving Portland over the years, and in addition, the corporate politics of mergers and takeovers has been so complex that attaching a line to the name of only a single builder is nearly impossible. Labeling each with every railroad whose fingers touched it, however, is very cumbersome.

 

For the purposes of clarity, we will be identifying lines with their owners in the post-war era. These "players" are as follows:

 

Northern Pacific Terminal Co. (NPT) (Green lines)

Owned by the three major railroads of Portland -- 40% by UP, 40% by NP, 20% by SP -- the NPT Co.'s main charge was operating Portland Union Station, along with its associated mail and express facilities, its coachyard, and transfer traffic between the Hill aligned roads and those aligned with Harriman. NPT's facilites were almost exclusively on the West side. Today the NPT Co. is known as the Portland Terminal Railway, and is still a joint terminal company, though it no longer manages Union Station.(1)

 

Portland Traction. (PTC) (Orange lines)

Owned originally by the city's power utility, the Portland Traction was the interurban remnant of a once extensive electrified passenger railroad(2). Its standard-gauge track was almost exclusively on the East side, and was purchased from the local bus company in 1961 by UP and SP jointly(3). The PTC effectively ceased to exist in the early 1990s when it abandoned large portions of it's line; what remains was sold to East Portland Traction, an independent operator, which in turn became part of the Oregon Pacific in 1998.(4)

 

Southern Pacific. (SP) (Blue lines)

The 800 pound gorilla of Oregon, SP had the most extensive holdings in the city. It built -- or bought out -- both on the East and West banks, but didn't venture further north than Union Station. Non-mainline portions of its switching lines are primarily abandoned, with some sections surviving in non-freight capacities. SP was absorbed by the Union Pacific in 1996.(5)

 

Spokane, Portland & Seattle Railway. (SP&S) (Purple lines)

The latecomer to the Portland rail scene, the SP&S was James J. Hill's attempt to break open a Harriman monopoly state, and it largely worked. SP&S inherited a portion of the NP's pre-Stampede Pass mainline north out of Portland on the Columbia's south bank, as well as acquiring switching districts primarily on the west side of the Willamette by purchasing the United Railways and the Oregon Electric. It also had limited east side operations near Belmont Street thanks to an agreement with U.P.(6) The SP&S was absorbed by BN in 1970(7), and is now part of the BNSF Railway(8), though some tracks are now operated by the Portland and Western.

 

Union Pacific. (UP) (Yellow lines)

Having paid heavily to secure the city's plum jewel, the Oregon Railway & Navigation Company in 1889(9), the UP had its primary switching areas on the East side. Most of these districts are now gone, victims of progress; what remains is still operated by UP.

 

Additional colors:

Black indicates yards or mainlines without major switching districts

Brown indicates major lines that were abandoned prior to 1945

 

_________________________________________________________________

Footnotes:

 

1. Walter R. Grande. The Northwest's Own Railway: The Spokane, Portland & Seattle Railway and its Subsidiaries: Volume One The Mainline. (Portland, Oregon: Grande Press, 1992), 11.

2. John T. Labbe. Fares, Please! Those Portland Trolly Years. (Caldwell, Idaho: Caxton Printers, 1980), 150.

3. Correspondence with Sheldon Perry

4. Department of Transportation, Surface Transportation Board, Director of Proceedings. [STB Finance Docket No. 33570] Oregon Pacific Railroad Company--Acquisition and Operation Exemption--East Portland Traction

Co. and Molalla Western Railway. Decision No. 29097. May 20, 1998.

5. Lawrence H. Kaufman. Leaders Count: The Story of BNSF Railway. (College Station, Texas: Texas A&M University Press, 2005), 312-313.

6. Portland Terminal Study Report on Proposed Consolidation of Railroad Terminal Facilities at Portland, Oregon. (Portland, Oregon, July 31, 1936), 17-19.

7. John T. Gaertner. North Bank Road: The Spokane, Portland and Seattle Railway. (Pullman, Washington: Washington State University Press, 1990), 203.

8. Kaufman, Leaders Count, 309.

9. Peter J. Lewty. To the Columbia Gateway: The Oregon Railway and the Northern Pacific, 1879-1884. (Pullman, Washington: Washington State University Press, 1987), 159.

Ern and Delsie Martin Collection. CCLS

Regular Freight and Passenger Services to and from Australia and New Zealand.

and U.K. U.S.A & CANADA

 

Head Office: London

Ern and Delsie Martin Collection. CCLS

Ern and Delsie Martin Collection. CCLS

Ern and Delsie Martin Collection. CCLS

a scribble

Title: [Recto]"List of Negroes at Spring Garden with their ages taken January 1829" (title taken from document)

Date Original: 1829-01

Description:

Creator:Spring Garden

Subject(s):Slavery

Florida

Alternative Title:

Publisher: Wofford College

Contributor:

Date Digital: 2009

Type: Text

Format [medium]: Manuscript

Format [IMT]: image/jpeg

Digitization Specifications: 800ppi 24-bit depth color; Scanned with

an Epson 15000 Photo scanner with Epson Scan software; Archival master is a

TIFF; Original converted to JPEG with Irfan View software. CURATORIAL NOTE: This digital representation is a composite of more than one scan. Sections were edited in Adobe Photoshop Elements 3.0 so that this digital representation would be as authentic as possible.

Resource Identifier:

Source: The original from which

this digital representation is taken is housed in The

Littlejohn Collection at Wofford College,

located in the Sandor Teszler Library.

Language:En-us English

Relation [is part of]:The

Littlejohn Collection

Rights Management: This digital representation has been

licensed under an Attribution

- Noncommercial- No Derivatives Creative Commons license.

Contributing Institution: Wofford College

Web Site: www.wofford.edu/library/littlejohn-home.aspx

 

N277WA

MD-11

WOA

KBWI

  

NTSB Identification: ANC05IA064.

The docket is stored in the Docket Management System (DMS). Please contact Records Management Division

Nonscheduled 14 CFR operation of WORLD AIRWAYS INC (D.B.A. World Airways)

Incident occurred Thursday, April 28, 2005 in Anchorage, AK

Probable Cause Approval Date: 06/28/2006

Aircraft: McDonnell Douglas MD-11, registration: N277WA

Injuries: 201 Uninjured.

The flight crew was conducting an international passenger flight under Title 14, CFR Part 121, when they smelled and saw smoke in the cockpit. The pilot declared an emergency, and diverted to the nearest airport, where the airplane landed without incident. According to the flight crew, just prior to the smell and smoke, there was a crew change that required the cockpit security door to be opened and closed. An examination of the security door by maintenance personnel and the National Transportation Safety Board (NTSB) investigator-in-charge (IIC) revealed an excess length of wiring, which provides power to the electrically locking security door, was laying atop the door's metal-encased, unshielded, locking solenoid inside the doorframe. Several of the wires were encased in a plastic anti-chafe mesh. A portion of the mesh was melted, and had the smell of burnt plastic. During a discussion with the IIC, a mechanic said he had seen similar doors overheat when the door and frame were misaligned, prohibiting full extension of the locking bolt. The cockpit door was modified in accordance with Supplemental Type Certificate (STC) ST01391LA, which meets the FAA's requirements for a reinforced cockpit door. The door uses a "demand access" electrically operated door latching solenoid. The door manufacturer issued an addendum to the airplane manufacturer's maintenance manual. The addendum includes removal, installation, and system tests of the striker/solenoid unit. The installation section does not specifically address the issue of securing excess wiring located above the striker/solenoid within the doorframe. The installation instructions do contain a "caution," referencing the need for the security bolt to engage fully. Failure of the bolt to fully engage will cause the solenoid to remain energized and overheat. Construction of the striker/solenoid assembly is such that the metal-encased electrical coil of the unshielded solenoid is the upper-most portion of the assembly within the doorframe. The installation includes a warning light that illuminates if the solenoid does not shut off. The crew did not report seeing the warning light in-flight, and the light and locking mechanism functioned properly during subsequent tests on the ground; it was not tested in-flight. The conversion of the door was completed on March 21, 2003. Prior to the incident, the new security door had been in service about 16,416 flight hours, and 1170 cycles. FAA Advisory Circular (AC) 65-15A, Chapter 11, covers practices and procedures for the installation and maintenance of aircraft electrical wiring. The AC notes that practices and procedures outlined in this section are general recommendations, and are not intended to replace the manufacturer's instructions. Chapter 11, page 441, Slack in Wiring Bundles, states: "Single wires or wire bundles should not be installed with excessive slack." Page 442, Routing and Installations, states: "All wires and wire groups should be routed and installed to protect them from: (2) high temperatures."

 

The National Transportation Safety Board determines the probable cause(s) of this incident to be:

 

The inadequate installation of the cockpit security door locking device, which resulted in smoke in the cockpit during normal cruise, and a precautionary landing. A factor associated with the incident was the manufacturer's insufficiently defined installation instructions.

 

Lower East Side. Manhattan, New York City, New York, United States

 

The four-story, red brick-clad Aschenbroedel Verein Building, in todayís East Village neighborhood of Manhattan, was constructed in 1873 to the design of German-born architect August H. Blankenstein for this German-American professional orchestral musiciansí social and benevolent association. Founded informally in 1860, it had grown large enough by 1866 for the society to purchase this site and eventually construct the purpose-built structure. The Aschenbroedel Verein became one of the leading German organizations in Kleindeutschland on the Lower East Side.

 

It counted as members many of the most important musicians in the city, at a time when German-Americans dominated the orchestral scene. These included conductors Carl Bergmann, Theodore Thomas and Walter Damrosch, and the musicians of the New York Philharmonic and Theodore Thomas Orchestras. After the Aschenbroedel Verein moved to Yorkville in 1892, this building was subsequently owned for four years by the Gesangverein Schillerbund, one of the cityís leading and oldest German singing societies. The design of the main facade, altered at this time with the addition of cast-iron ornament by German-born architects [Frederick William] Kurtzer & [Richard O.L.] Rohl, combines elements of the German Renaissance Revival and neo-Grec styles with folk motifs , and features a variety of pedimented lintels, quoins, fraktur-like incising, three composersí busts over the second-story windows, and a prominent cornice with a large broken pediment.

 

After 1895, the building housed a variety of disparate uses, including a series of public meeting and dance halls, the Newsboysí Athletic Club, a laundry, and a meatpacking plant. Since 1969, it has been the home of the renowned La Mama Experimental Theatre Club, established in 1961 by Ellen Stewart, and today considered the oldest and most influential off-Off-Broadway theater in New York City. The building remains one of the significant reminders of 19th-century German-American cultural contributions to New York City, as well as the continuing vitality of off-Off-Broadway theater in the East Village.

 

DESCRIPTION AND ANALYSIS

 

The 19th-Century Development of East Village Neighborhood

 

The area of todayís Greenwich Village was, during the 18th century, the location of the small rural hamlet of Greenwich, as well as the country seats and summer homes of wealthy downtown aristocrats, merchants, and capitalists. A number of cholera and yellow fever epidemics in lower Manhattan between 1799 and 1822 led to an influx of settlers in the Greenwich area, with the population quadrupling between 1825 and 1840. Previously undeveloped tracts of land were speculatively subdivided for the construction of town houses and rowhouses. Whereas in the early 19th century many of the wealthiest New Yorkers lived in the vicinity of Broadway and the side streets adjacent to City Hall Park between Barclay and Chambers Streets, by the 1820s and 30s, as commercial development and congestion increasingly disrupted and displaced them, the elite moved northward into Greenwich Village east of Sixth Avenue.

 

To the east, during the 17th and 18th centuries, was Dutch Governor Peter Stuyvesantís Bowery farm. In the vicinity were Native American trails, todayís Broadway and Bowery, that the Lenape Indians traversed from the southern tip of Manhattan to Inwood and Harlem. St. Markís-in-the-Bowery Church was built on a higher, dry piece of land, while the area to the east of todayís Second Avenue, known as Stuyvesant Meadows, remained an undeveloped marshy area. In the late 18th century, the area east of Second Avenue was the estate of Mangle Minthorn, father-in-law of Daniel Tompkins , governor of New York and

 

U.S. vice president under James Monroe . Both Stuyvesant and Minthorn were slave owners. In 1832, the Common Council created the 15th Ward out of the eastern section of the large 9th Ward, its boundaries being Sixth Avenue, Houston and 14th Streets, and the Bowery. According to Luther Harrisí history Around Washington Square, during the 1830s-40s ìthis ward drew the wealthiest, most influential, and most talented people from New York City and elsewhere. For a brief period beginning in the 1820s-30s, Lafayette Place, including the grand marble Greek Revival style LaGrange Terrace , St. Markís Place, and Bond, Great Jones, East 4th and Bleecker Streets were also among the cityís most fashionable addresses. Lower Second Avenue and adjacent side streets remained prestigious through the 1850s.

 

Commercial and institutional intrusions and the continual arrival of immigrants ended the fashionable heyday of these wealthier enclaves before the Civil War. In the 1850s, Broadway north of Houston Street was transformed from a residential into a significant commercial district. Also beginning in the 1850s, after the political upheavals in Europe of 1848 and the resulting influx of German-speaking immigrants to New York City, the Lower East Side became known as Kleindeutschland . Aside from their presence as residents, these immigrants contributed in significant ways to the vibrant commercial and cultural life of the neighborhood and the city at large. By 1880, this neighborhood constituted one-fourth of the cityís population and was the first major urban foreign-speaking neighborhood in the U.S., as well as the leading German-American center throughout the century. A massive exodus of Jews from Eastern Europe from the 1880s to World War I led to approximately two million Jewish immigrants settling in New York; most lived for a time on the Lower East Side, establishing their own cultural and religious institutions there.

 

Beginning in the 1850s-60s, the vicinity of 14th Street and Union Square developed into a center of musical and theatrical culture. The Academy of Music , East 14th Street and Irving Place, an opera house with the worldís largest seating capacity at the time, quickly became the center of musical and social life in New York, presenting such notable performers as Adelina Patti , and events such as the grand ball in honor of the Prince of Wales in the autumn of 1860. The building burned down in 1866, and was replaced by a new Academy of Music . Irving Hall , a ballroom, concert, and lecture hall annex to the Academy, served as the home of the New York Philharmonic in 1861-63. The Steinway piano company opened Steinway Hall , a combination showroom and recital hall at 109 East 14th Street, which for many years was the foremost concert hall in the country . By the mid-1860s, a number of legitimate theaters were also opening in the vicinity of Union Square, which during the last quarter of the nineteenth century became the center of New York theater. These included Wallack's Theater , 728 Broadway at 13th Street, the most prestigious dramatic theater in the country during this period; the Union Square Theater , an adjunct of the former Union Place Hotel; Chickering Hall , Fifth Avenue and 18th Street; and Amberg Theater , 11 Irving Place . The Germania Theater, which along with the Amberg catered to a specifically German clientele, was located in Tammany Hall in 1874-81, in Wallackís Theater in 1881-82, and until 1902 in the former Church of St. Ann, East 8th Street near Broadway. Union Square, after the Civil War, became the traditional site for workersí, union, and political protests and rallies.

 

As wealthier residents moved northward in the 1850s, their single-family residences were converted into multiple dwellings or boardinghouses, as well as other uses, such as clubs or community cultural institutions. For instance, the former Ralph and Ann E. Van Wyck Mead House at 110 Second Avenue in 1874 became the Isaac T. Hopper Home of the Womenís Prison Association, and, of the Federal style houses on the westernmost block of St. Markís Place: No. 29 became the Harmonie Club, a German-Jewish singing club ; Nos. 19-21 housed another German musical club, the Arion Singing Society , and these buildings, along with No. 23, became Arlington Hall, a ballroom-community center in 1887. Most of the remaining houses were demolished for denser development with French flats and tenements between 1874 and 1902.

 

Hastening the change in the residential character of this section of the Lower East Side after mid-century were a wide variety of major cultural, religious, commercial, and educational institutions, including the Astor Place Opera House , Astor and Lafayette Places; Astor Library , 425 Lafayette Street; Bible House , home of the American Bible Society and other religious organizations, Astor Place and Third Avenue; and Cooper Union , Astor Place and Third Avenue. The New York Free Circulating Library, Ottendorfer Branch, and German Dispensary , 135 and 137 Second Avenue, among others, catered to the German community. Assembly halls such as Webster Hall and Annex , 119-125 East 11th Street, became important neighborhood social centers. The Third Avenue elevated railroad opened in 1878.

 

The Aschenbroedel Verein

 

A social and benevolent association composed almost exclusively of German-American professional orchestral musicians, the Aschenbroedel Verein was founded informally in 1860, with its name, ìCinderella Society,î supposedly a play on the last name of one of its members , August Asche. After initially meeting at Schneiderís Hall, 371 Broome Street, by 1866 the group had grown large enough with some 300 members for it to acquire a building on East 4th Street. The Aschenbroedel Verein became one of the leading German organizations in Kleindeutschland on the Lower East Side, and counted as members many of the most important musicians in the city, including conductors Carl Bergmann, Theodore Thomas, and Walter Damrosch, as well as all of the members of the Theodore Thomas Orchestra and most of the members of the New York Philharmonic. According to Groveís Dictionary of Music and Musicians in 1880, this was also ìthe headquartersî of the New York Philharmonic Society, though the Philharmonicís Minutes books illustrate that this was one of several locations in the neighborhood where its directorsí and business meetings were held, between 1873 and 1888. Howard Shanet, in Philharmonic: A History of New Yorkís Orchestra , stated that the Aschenbroedel Verein was the first organization in New York to advance the unionization of musicians, as early as 1860, an effort that culminated later with the formation of the Musical Mutual Protective Union. Shanet called Aschenbroedel ìat once a cultural, a benevolent, a social, and a labor association.î He further emphasized the total domination of the symphonic world in New York by the German community, with nearly all of the Philharmonic men of German birth or parentage by 1892. The Aschenbroedel Vereinís motto was ìFreundschaft, Geselligkeit, Befoerderung der Kunstî .

 

By 1870, there were an estimated 64 German musical societies within New York City, and a number of them were located in the vicinity, either in converted structures or purpose-built ones. These included the Arion Singing Society ; Liederkranz , 31-35 East 4th Street; and Beethoven Maennerchor , located in a hall built in 1870 at 210-214 East 5th Street. In addition, Turnverein Halle , 66-68 East 4th Street, was built just down the block from the Aschenbroedel Verein.

 

In 1873, the Aschenbroedel Verein, under president George Matzka , constructed this purpose-built structure, clad in brick and four stories , at an estimated cost of $24,000. Construction began in June and was completed in October. The architect was August H. Blankenstein , who was born in Germany and immigrated to the U.S. in 1860. Active from 1872 to 1899, he designed tenement, flats, and factory buildings for a mostly German clientele, as well as the addition to the Centre Market Armory , Grand and Centre Streets; work on the 55th Regiment, 23rd Regiment, and First Cavalry 22nd Regiment Armories ; and St. Josephís R.C. Orphan Asylum School , Avenue A and 90th Street. A 1894 lawsuit indicated that Blankenstein had been a partner of architect Henry Herter prior to 1886 . Blankenstein was also listed as an architect in an 1890 directory in Buffalo, N.Y.

 

The Times reported on November 7, 1873, that the Aschenbroedel Verein had ìinaugurated its new club-house... last night, by an entertainment of music and social festivities.î Considered ìone of the most commodious German clubhouses in the city,î its amenities included a restaurant, a library, a billiard room, and a bowling alley in the basement. Among activities conducted here were meetings of the Ancient Lodge of Perfection in 1873, and the 1876 funeral of Philharmonic conductor and Aschenbroedel Verein member Carl Bergmann. For unknown reasons, the building was listed for sale in 1882, but the Aschenbroedel Verein remained here until it sold the building in September 1891. The society, then having some 700 members, moved in November 1892 into a new clubhouse at 144 East 86th Street in Yorkville.

 

The Gesangverein Schillerbund and Schillerbund Halle

 

In June 1892, the Aschenbroedel Verein Building was acquired by the Gesangverein Schillerbund , one of the cityís leading and oldest German singing societies. Founded in 1850 and named after the poet Johann Christoph Friedrich von Schiller , the Schillerbund had been meeting since 1872 in Turnverein Halle. The purchase price of its new building was $1.00, subject to $37,500 in mortgages held by the Bachmann Brewing Co. of Clifton, Staten Island. This structure was altered between September and October 1892 by the architectural firm of [Frederick William] Kurtzer & [Richard O.L.] Rohl. Interestingly, Kurtzer was a member of the Beethoven Maennerchor. In partnership from about 1888 until 1901, Kurtzer & Rohl specialized in tenements and flats buildings for a largely German clientele; examples of its work include Nos. 95 Bedford Street and 285 West 4th Street , located within the Greenwich Village Historic District, and No. 121 East 10th Street , located within the St. Markís Historic District. The firm was also responsible for the First German Reformed Church , 351 East 68th Street, and its Sunday School . Richard O.L. Rohl , an immigrant from Prussia in 1880, maintained an independent practice from 1902 until around 1919. No. 391 West Street , located within the Weehawken Street Historic District, was his first independent commission, and he also designed the double tenement buildings at Nos. 35-39 Christopher Street , located within the Greenwich Village Historic District. Frederick William Kurtzer , emigrated from Germany around 1870. He worked independently in 1901-02, then became a partner in Kurtzer & Rentz in 1903-06, with Charles Rentz, Jr. , an architect who was born in New York City of German descent. Rentz was extraordinarily prolific in the design of flats and tenement buildings in the 1880s, but is best known for the design of Webster Hall and Annex . Kurtzer continued to practice in Manhattan and the Bronx until around 1925.

 

The Dept. of Buildings 1892 alteration application for the Gesangverein Schillerbund Building, as well as the dockets, only listed $1,200 in work, involving interior partition alterations in the basement and second story. In an article on the buildingís opening in November 1892, however, the New York Times indicated that it had been ìalmost entirely rebuilt and refitted,î and that ìthe building cost in all about $45,000. ... On the ground floor are fine bowling alleys, the kitchen and restaurant. The second floor is used for assembly and meeting rooms, the third for lodge rooms, and the top of the house is occupied by the tenant.î The 1892 tax assessment for the property increased by more than 25 percent, and the structure was later described in the Times as ìone of the best Maennerchor clubhouses in that section of this city.î The design of the main facade, altered at this time with the addition of cast-iron ornament, combines elements of the German Renaissance Revival and neo-Grec styles with folk motifs , and features a variety of pedimented lintels, quoins, fraktur-like incising, three composersí busts over the second-story windows, and a prominent cornice with a large broken pediment.

 

A Schillerbund Fair was held here December 10-20, 1892. By 1895, the membership of the Schillerbund was around 400, and the hall, managed by Gustav Schunemann, reportedly enjoyed ìmuch popularity among the merrymakers of that neighborhood.î In November 1896, however, the Gesangverein Schillerbund sold the property and moved to Yorkville . This building was purchased for $40,195 by the Bachmann Brewing Co., holder of the mortgage. The company was founded by the German-born Frederick Bachmann , who had immigrated to New York in 1859, and worked at the Lion Brewery in Manhattan, prior to moving to Staten Island, where he was employed by the Schmidt Brewery and Gabriel Meyer Brewery, becoming the co-owner with David Meyer until it was destroyed by fire in 1881. As indicated by Charles L. Sachs in Made on Staten Island, ìThe successful breweries were not just efficient manufacturing enterprises. To market and distribute their products the breweries acquired real estate holdings and developed close ties with the restaurant, recreation, and tourism businesses. The major breweries owned, operated, and rented saloons, taverns, beer gardens, hotels, and even resort complexes.î

 

This building became a rental assembly hall, and there are references in newspapers calling it ìSchillerbund Halleî as late as 1901. A sampling of meetings and events held here included: pattern makers ; Eastern Star chapter of the Order of Chosen Friends ; New York branch of the Amalgamated Society of Engineers ; New York Engineers & Machinists Society ; New York Engineersí Protective Association ; and Poles celebrating the 1863 insurrection .

 

Krywaczyís Hall, Saenger Hall, and McKinley Hall

 

The building continued to be used as a public rental hall and social center, under three different names, and like such sites as Webster Hall , was a venue for organizational meetings and political and union functions, particularly for the working-class and immigrant population of the Lower East Side. As opined by historian Kathy Peiss:

 

For the working-class population packed into small tenement apartments, large halls that could be rented for dances, weddings, mass meetings, and other gatherings were a requirement of social life. The number of public halls in Manhattan rose substantially in a short period; business directories listed 130 halls in 1895 and 195 in 1910, an increase of 50 percent. While some of these, like Carnegie Hall, were cultural spaces of the privileged, most were located in working-class districts. The largest East Side halls... were always in great demand.

 

In a September 12, 1901, New York Times announcement of a meeting here of the Polish community to denounce Leon Czolgosz, an anarchist who had shot President William McKinley on September 6, the location was referred to as ìKrywaczyís Hallî . John Krywacsy was listed in directories as a liquor dealer on Forsyth Street. City directories in 1901-03, as well as the 1903 Brooklyn Daily Eagle Almanac, called this ìSaenger Hall.î The Bachmann Brewing Co. leased the property in April 1903 to Max Sapiro and Ike Lifschitz. Sapiro was listed in the 1910 Census as a Polish/Austrian-born cafÈ proprietor, though he was not listed in directories in connection with this property, while Issac Lifshitz was Russian-born according to the 1900 Census, and was listed in directories in this building in 1903-05 operating a saloon. Among groups meeting here were the Heinrich Heine lodge , Smoking Pipe Makersí Union , and East Side Restaurant Keepers . Apparently in commemoration of the assassinated President, the name of the building was changed to ìMcKinley Hallî by 1904. Organizations that met here included the formation of the New-York Rent Payersí Protective Association , Lady Lining Makers , and Cloth Hat and Cap Makers of North America . Frederick Bachmann was judged to be incompetent in July 1904 ; in November 1904, Bachmannís trustees transferred this property to Combined Securities Co., which held an auction in January 1905. The auction advertisement listed ìBowling alleys in cellar. Store, meeting, lodge, music rooms, and apartments above.î After passing through several owners, the building was acquired in February 1906 by Malka Marder; the wife of Benjamin Marder, a cloak contractor in the 1910 Census, both were Polish/Austrian-born.

 

The Newsboysí Athletic Club

 

In September 1905, the three upper stories of the former McKinley Hall were leased for use as the Newsboysí Athletic Club, founded by Jack Sullivan , known as the ìKing of the Newsboys,î a former newsboy and prizefighter who then sold papers to newsboys. The Club had a gymnasium and showers, a reading/classroom, and a lodging room for over fifty boys. The club depended on donations from New Yorkís society ñ one benefit, held in March 1907 at the Academy of Music, was directed by impresarios George M. Cohan and Sam Harris. By May 1911, with the expiration of its lease, the Club, by that time serving some 2,000 newsboys, purchased the former home of the New-York Historical Society at Second Avenue and 11th Street. The basement and storefront of the Newsboysí Athletic Club building had been leased for use as a laundry in 1905-07 to Paul C. Port , and from 1908 to March 1912 to the New System Napkin, Towel Supply & Steam Laundry Co., until legal action against the company was taken by the Marders.

 

Floral Garden Hall

 

Malka Marder sold the building in February 1913, and it was purchased the following month by Sarah Hirsch, the wife of Charles Hirsch, proprietor of the Manhattan Lyceum at 66-68 East 4th Street; both Hirsches were born in Romania. Operated as Floral Garden Hall, it was altered into a dance hall on the ground story, with meeting and banquet rooms above. Among the many events held here were: the annual convention of the Federation of Rumanian Jews of America ; Brotherhood Welfare Association gathering on behalf of New Yorkís hoboes ; Women Dressmakersí Association and Journeymen Barbersí League strike meetings ; a planned meeting of the Anti-Militarist League, which resulted in a riot after the owner reneged on the use of the hall ; Sheet Metal Workersí meetings ; garment workers strike meetings ; Messenger Boysí Union strike headquarters ; and Branch No. 578, Arbeiter Ring of the Socialist Party, and Sholom Aleichem Lodge of the Jewish National Workersí Alliance of America . In 1916, the ground story was altered for a storefront, incorporating 1892 cast-iron pilasters . The property was foreclosed in January 1919 and sold at auction.

 

Standard Provision Co./ Hygrade Food Products Corp.

 

After 45 years of use as a social and meeting hall, the former Aschenbroedel Verein Building for the next four decades served as meatpacking plant. The property was purchased in February 1919 by the Standard Provision Co. at 102 Rivington Street. A Dept. of Buildings application indicated that the building would be used for meatpacking, with storage in the basement, shipping and receiving on the ground story, a meat provisions and drying factory on the second story, and offices on the third story. In December 1927, Standard Provision was acquired through a merger of nine wholesale provisions companies by the Hygrade Food Products Corp. , 152 Broadway. The Washington Post called this ìthe first consolidation of delicatessen food properties ever effected.î According to a notice in the New York Times, the constituent companies

 

manufacture and sell frankfurters, bolognas, salamis, smoked and cured tongues, spiced, pickled and corned beef and various other ready-to-serve meat products. The companies are among the most important serving New York and Philadelphia. Their success individually and collectively has established an enviable record in the industry. Their products are sold to over 5,000 customers, including delicatessen stores, chain stores, drug stores, meat markets, clubs, grocers, hotels, restaurants, steamship and railroad companies, etc., throughout the United States and in foreign countries.

 

City directories over the years variously listed divisions of the corporation here: Hebrew National Food Products ; Carmel Kosher Provision Co. ; and Hod Carmel Kosher Provision Co. . Hygrade sold this property in February 1960.

 

20th-Century History of the East Village

 

After a period of decline, Greenwich Village was becoming known, prior to World War I, for its historic and picturesque qualities, its affordable housing, and the diversity of its population and social and political ideas. Many artists and writers, as well as tourists, were attracted to the Village. By the 1910s, property owners and merchants attempted to improve the Villageís economy and rehabilitate its physical condition, with ìshrewd realtors beg[inning] to amass their holdings of dilapidated housing.î These various factors and the increased desirability of the Village to upper-middle-class professionals lead to a real estate boom ñ ìrents increased during the 1920s by 140 percent and in some cases by as much as 300 percent.î

 

After World War II, the ethnic make-up of the Lower East Side changed again, becoming dominated by Latin American immigrants, especially those from Puerto Rico. Their immigration was encouraged by the government as a source of cheap labor, particularly for the garment trades, hotels, and small manufacturing. The community named itself Loisaida to symbolize the second generation Hispanic roots that had developed in the context of the African-American and Latino movements for social and economic justice, equality, and identity. The residential and cultural desirability of the neighborhood that came to be known as the ìEast Villageî increased with the removal of the Third Avenue El in 1955. As indicated by Terry Miller,

 

the psychological barrier that had marked the eastern boundary of Greenwich Village was gone. Blocks that once had no prestige were suddenly seen as intriguing, and apartments here were less costly than those in Greenwich Village. ... As artists and writers moved east, the blocks from St. Markís Place to Tenth Street were the first to hint that the Lower East Side was being transformed. Realtors began marketing the area as ìVillage East,î and by 1961 as the ìEast Village,î a name that stuck.

 

From World War I to the 1940s, Second Avenue between East 14th and Houston Streets had been considered the heart of New Yorkís Jewish community, known as the ìYiddish Rialtoî for its role as the worldís center of Yiddish theater. As Yiddish theater declined, the East Village gave rise in the 1950s to ìOff-Broadwayî theater, including the Phoenix Theater in the former Louis N. Jaffe Art Theater building , 181-189 Second Avenue; the Tempo Playhouse and Pyramid, Key, Bowery, New Bowery, and Bridge Theaters in the former Hamilton-Holly House, 4 St. Marks Place; and the Orpheum Theater , 126 Second Avenue. An ìoff-Off-Broadwayî theater also emerged in the late 1950s, characterized by the small size of the venues and total avoidance of commercialism and its pressures. Joe Cinoís Caffe Cino , 31 Cornelia Street, is generally recognized as the first, and other significant early off-Off-Broadway theaters were Judson Memorial Church under Rev. Al Carmines; Ellen Stewartís CafÈ La Mama/ La Mama Experimental Theatre Club , 321 East 9th Street ; and Theater Genesis in St. Marks in the Bowery Church under Michael Allen and Ralph Cook. Off-Off Broadway theater coincided with the emergence of gay theater in New York.

 

In the 1950s, the East Village also became home to a number of key Beat Generation writers, including Allen Ginsberg, William Burroughs, Norman Mailer, and W.H. Auden, and was renowned for its protest art and politics, galleries, poetry and coffee houses, bookstores, clubs, with a ìcountercultureî scene centered on St. Markís Place.

 

Rodale Press, Inc.

 

The 74 East 4th Street building was purchased in February 1960 by Rodale Press, Inc., of Emmaus, Pa. Jerome Irving Rodale was a New York accountant who, with a brother, in 1923 founded Rodale Mfg. Co., which made commercial and residential electrical connectors. After relocating the firm to Emmaus, Rodale became interested in organic farming. Rodale Press began publishing Organic Farming & Gardening and Prevention , a magazine devoted to nutrition and personal health, and later, other magazines and health books. In order to promote his concepts, he was also a playwright and theatrical producer. Rodale apparently originally intended to use No. 74 as a theater ñ the Times listed building plans as such in 1960; instead, Rodale in 1962 purchased No. 64 East 4th Street with the intention to ìconvert it into an intimate playhouse, theatre workshop and acting school.î A directory in 1963 listed Rodale Press and the Rodale Theater at 62 East 4th Street, and Rodale Mfg. Co. at No. 60. Rodale sold the property in September 1967.

 

La Mama Experimental Theatre Club

 

In November 1967, the former Aschenbroedel Verein Building was acquired by the La Mama Experimental Theatre Club, an off-Off-Broadway theater company that had been founded in 1961 by Ellen Stewart. After her arrival in New York in 1950, Ms. Stewart worked in retail clothing and fashion, becoming a freelance designer. She opened a basement CafÈ La Mama at 321 East 9th Street in 1961, intended as a combination boutique and theater, the latter partly inspired by the experience of a brother who was an aspiring playwright. The cafÈís first play in July 1962 was Tennessee Williamsí ìOne Arm,î and later that year Stewart put on the first American production of a Harold Pinter play, ìThe Room.î She was forced, however, to move several times: to 82 Second Avenue in 1963, after being closed by the Dept. of Buildings due to a zoning violation; and to a loft at 122 Second Avenue in 1964, after being closed twice by the Police, Fire, Licenses, and Health Departments. In March 1964, the company was renamed the La Mama Experimental Theatre Club, and Stewart was acclaimed during its first European tour in 1965. An Actorsí Equity crackdown in 1966 on coffee houses and theater workshops nearly ended the company, but the union relented in recognition of the importance in New York of experimental theater . By 1967, the Times called Ms. Stewart ìthe most active producer in New York City,î with a new American play every two weeks. Her abiding philosophy has been that La Mama is ìdedicated to the playwright and all forms of theater.î She notes that ìI started La Mama so there would be a place where a playwright could write, see and learn. Why should a new playwright be regarded on the same terms as an experienced playwright the very first time out ñ which is what most professional criticism does?î She has personally selected and invited these playwrights, who then act as their own producer, with La Mama considered an attractive venue due to its lack of censorship.

 

La Mama received major Ford and Rockefeller Foundations grants in 1967, allowing the purchase and renovation of the 74 East 4th Street building, which was then ìin ruins.î In June 1968, its Second Avenue theater closed, with plays temporarily produced at 9 St. Markís Place, while renovations occurred on East 4th Street. The current La Mama Experimental Theatre Club opened in March 1969, with repertory and ensemble theaters on the first and second stories, rehearsal space on the third story, and Stewartís apartment on the top story. The first two productions inaugurating the theaters were the musical ìCaution: A Love Story,î by Tom Eyen and Bruce Kirle, based on the story of the Duke and Duchess of Windsor, and Julie Bovassoís ìGloria and Esperanza.î The first-story theater was renovated in 1972. A National Endowment for the Arts grant in 1974 allowed for the expansion into an Annex at 66-68 East 4th Street .

 

Today, La Mama, the oldest off-Off-Broadway theater in New York City, is widely considered the most influential and has been called ìthe most prolific of all the off off-Broadway stages,î to date having produced an estimated 1,900 plays in New York City, and countless more around the world. La Mama has received more than sixty Obie Awards for Off-Broadway theater , as well as dozens of Drama Desk, Bessie, and Villager Awards. Ellen Stewart, recognized as a pioneering African-American theater impresario, was the recipient of a MacArthur Fellowship Award and MacArthur Fellows Award , and was inducted into the Theatre Hall of Fame . Though commercial theater has not been its focus, a number of La Mama plays achieved success on Broadway, including ìGodspellî and ìTorch Song Trilogy,î and its resident director, Tom OíHorgan, later produced the influential hit ìHair.î Among the notable playwrights associated with La Mama have been Jean-Claude van Itallie, Paul Foster, Ruth Yorck, Tom Eyen, Julie Bovasso, David Starkweather, Sam Shepard, Lanford Wilson, Harvey Fierstein, William Hoffman, Adrienne Kennedy, Charles Ludlam, and Terence McNally; eminent directors have included OíHorgan, Joseph Chaiken, Andrei Serban, Wilford Leach, John Vacarro, Marshall Mason, and Meredith Monk; and performers of note have included Bill Irwin, Billy Crystal, Nick Nolte, Danny De Vito, Bette Midler, and Estelle Getty.

 

Description

 

The four-story and three-bay, red brick-clad Aschenbroedel Verein Building was originally built in 1873; the front facade was altered in 1892 with the addition of cast-iron ornament that combines elements of the German Renaissance Revival and neo-Grec styles with folk motifs.

 

Ground Story: Four 1892 cast-iron pilasters survive, which are fluted at the base, paneled above, and ornamented with incised blocks that are surmounted by bosses and inverted hearts. The iron entablature once supported by the pilasters has been removed ; the story is terminated by a painted stone stringcourse. Alterations dating from 1969 include: the central metal-and-glass entrance doors , which are surmounted by a wooden panel and sign; brick infill between and above the pilasters; announcement board on the east side of the facade; and two light fixtures placed above the entrance.

 

Second through Fourth Stories: The upper stories are flanked by vermiculated cast-iron quoins . All windows have cast-iron surrounds, ornamented with hearts on the sides and incised motifs on the sills, and are linked together and to the quoins by panels with fraktur-like incising. Many of the moldings once located above the hearts on the windows are missing. The second-story windows are double-height, are capped by round-arched pediments ornamented with three composersí busts, and have six-over-six double-hung wood sash . The third story windows have segmental broken-scroll pediments and six-over-six double-hung wood sash . The central fourth-story window is capped by a pediment, while the outer windows have entablatures . The prominent metal cornice has stylized modillions ornamented with hearts , rods, and incised ends and is surmounted by a large molded, broken pediment, ornamented at the ends by sunbursts.

 

Western Facade: This facade, currently visible above the first story, has keyed returns of the front facadeís quoins, and a portion of red brick facing; the rest of the facade is unarticulated and parged.

 

Eastern Facade: Attached to the eastern side of the building [and not on the designated Landmark Site] is a tan brick wall, constructed as part of a light court for No. 63-65 Second Avenue .

 

- From the 2009 NYCLPC Landmark Designation Report

Ern and Delsie Martin Collection. CCLS

Ern and Delsie Martin Collection. CCLS

Source: en.wikipedia.org/wiki/Greenville,_Illinois

 

Greenville is a city in Bond County, Illinois, United States, 51 miles (82 km) east of St. Louis. The population as of the 2010 census was 7,000. It is the county seat of Bond County.

 

Greenville is part of the St. Louis Metropolitan Statistical Area. It is also considered part of the Metro East region of Illinois.

 

Greenville celebrated its Bicentennial in 2015 as one of the oldest communities in Illinois. It is home to Greenville University, the Richard Bock Museum, the American Farm Heritage Museum, the Armed Forces Museum and the Demoulin Museum and a federal prison, Federal Correctional Institution, Greenville (FCI Greenville). It is also home to internationally known companies, including Nevco Scoreboard, the largest privately owned scoreboard company in the world, and DeMoulin Brothers, the world's oldest and largest manufacturer of band uniforms.

 

Source: www.americanfarmheritagemuseum.com/about-us.html

 

The American Farm Heritage Museum was one man's dream. The Museum became a reality when a group of men, mostly farmers, sitting in coffee shop, talked about the dream of building a museum to preserve the farm heritage. Sixty farmers, collectors, and civic leaders held a meeting to share their ideas with the public in April of 2002. It was agreed that Bond County, being near the middle of the state and right along 1-70, would be the perfect place. Meetings were conducted, fundraisers were held, and ideas were passed around. In 2002 the land for the museum was acquired and a name for the museum was chosen.

 

The American Farm Heritage Museum would sit on seventeen acres, along the south side of interstate 70, just east of the Route 127 overpass. Its goal would be to promote and share the heritage of America's rural life: living, farming and travel. One very generous family purchased the land and leased it for ninety-nine years to the American Farm Heritage Museum, NFP organization. After a year of planning, the first 32'x64' building, with a gambrel roof, was completed. It was finished just days before the first Heritage Days Show in July 2004. This building, originally was to be a tractor maintenance shop, but later became known as the Lil' Red Barn Museum.

 

In the winter of 2005, owners of a truck terminal building in St. Louis gave the building to the Museum, if we took it down. Several members went to work and got the 200'x100' building moved and rebuilt. Since then other buildings and groups have been added to the show grounds.

 

We are growing with each passing year. Our Main building is the site of numerous events throughout the year. The Lil' Red Barn is a little piece of history, with collections of items from the past. In 2009 this building received the Illinois Governor's Home Town Award. The Tractor Shed displays different makes of tractors and tools of the past. Our Christmas building, which operates as a work shop and houses all the Christmas boxes for The Christmas Lights Wonderland, partners with The Lil' Red Barn, Railroad, Hill's Fort and the Armed Forces Museum to put on a spectacular Christmas display.

 

The American Heritage Railroad, established in 2003 is a division of the American Farm Heritage Museum. Many rail-enthusiast members realized as farms were connected by the American Railroad so should the Museum have an operating railroad for its historic value, as well as provide a fun ride for visitors. May 10, 2005 the railroad division was officially formed and an intensive search began to procure equipment. Many thousands of hours of volunteer labor, by friends of the railroad, have resulted in over a mile of 13" gauge track being laid, on the grounds. It is our desire to honor the great railroads that have served Bond County, such as the Vandalia, Nickel Plate, Pennsylvania and CB & Q. In 2005 the Ben Winter's Museum railroad was purchased which provided a G-15 diesel train set. The final move of the Ben Winter's railroad was completed in November, in three days with 20 volunteers, 9 trailers and one semi-truck. The collection has grown to include both diesel and steam engines and a variety of rolling stock. The railroad owns three steam locomotives. It is hoped the 1926 Wagner 4-4-2 steam engine will be ready for operation for the 2015 season.

 

2005 Hill's Fort also joined the Museum. Hill's Fort played an important part in the opening of Northwest Territory. Hill's Fort may have started as early as 1806 when early settlers first arrived. The Fort's location appears on an 1808 survey map by Capt. Isaac Hill, leader of a team commissioned by President Thomas Jefferson to survey the Illinois Territory. The Legislature fixed Hill's Fort as the temporary county seat. Earliest records are preserved from Hill's Fort and include court and marriage dockets. The Bond County seat was later moved to Perrysville and, in 1821 to Greenville, Illinois. No longer useful as a fort or county seat, Hill's Fort was abandoned and fell to ruin.

 

Following excruciating study of the original site, a replica of the Fort has been recreated on the grounds of the Farm Museum. It is open to the public on the 1st Saturday of the month from May through October and also open, for tours and special occasions. At Christmas time they are open Friday and Saturday nights for the Christmas lights. They dress in period dress and cook over the open fireplace in the cabin, and are eager to answer questions.

 

In 2012 The Armed Forces Museum, "Memories of Steel", joined our Museum. It maintains as its sole mission, to preserve these important pieces of military history. The Museum houses one of the largest collections of military vehicles in the County. It currently watches over approximately 15 privately-owned and 25 museum-owned vehicles. The members are involved in a program called "Living history" which furnishes displays of t1istoric vehicles and memorabilia and, works with re-enactors at civil events like Armed Forces Day and Veterans Day. Each of these vehicles has an historic story and plays a very important role in connecting us with the soldiers who lived and died in their service to the country.

Ern and Delsie Martin Collection. CCLS

Happy Tree Tuesday!

Camera: Hassleblad 500c

Film: Ilford HP5

Location: Hoh Rain Forest - Olympic National Park

Series: Tree Tuesday

 

In the ancient forest of the Hoh, moss clings to anything and everything. Its so prevalent, that it actually seems odd to find something not covered in it. I'd venture to say its my favorite part of this particular forest, well besides the trees of course.

 

Photographically speaking I was rather productive on my recent trip out to the Olympic National Park a few weeks ago, returning home with 10 or so rolls of exposed film. This image is from the one roll I've gotten around to developing so far. The weather has been to nice lately to spend it holed up inside developing, scanning and editing film. Thats a job best suited for winter.

 

Speaking of summer fun, I'm off to Mount Rainier tomorrow for another solo camping/hiking/photography trip. I'm heading to the Sunrise, and the northeast part of the park for the first time, really looking forward to it. Weather might be a bit interesting as thunder showers are on the docket for Wednesday. Not worried though, a little rain never hurt anyone. Besides the forest looks and feels more alive after a rainstorm.

Forest Hills, Queens, New York City, New York, United States

 

The Firehouse, Engine Company 305, Hook & Ladder Company 151, in Forest Hills, Queens, was constructed by the Fire Department of the City of New York in 1924. The firehouse was intended to serve the growing population of the Forest Hills neighborhood, which had seen a boom in residential construction following World War I. The large, two and two-and-a-half story Neo-Medieval style firehouse is clad in red brick laid in a Flemish bond and enlivened with decorative limestone details and subtle patterned brickwork.

 

The asymmetrical massing of the building is accentuated by steep gables clad with copper standing-seam roofs, two prominent square towers (a stair tower and a hose-drying tower) featuring round-arched window openings, and a slender chimney rising nearly a story above the western elevation. The innovative design of this firehouse has been attributed to John R. Sliney, head building inspector for the fire department, during whose tenure approximately 70 firehouses were constructed throughout the five boroughs. The firehouse, which has experienced remarkably few changes in the 90 years since its construction, continues to serve the Forest Hills community today. It is at once a striking presence along the Queens Boulevard streetscape and a well-integrated constituent of this vibrant residential neighborhood.

 

DESCRIPTION AND ANALYSIS

 

Firefighting in New York

 

Even in the colonial period, the government of New York took the possibility of fire very seriously. Under Dutch rule all men were expected to participate in firefighting activities. After the English took over, the Common Council organized a force of 30 volunteer firefighters in 1737. They operated two Newsham hand pumpers that had recently been imported from London. By 1798, the Fire Department of the City of New York (FDNY), under the supervision of a chief engineer and six subordinates, was officially established by an act of the state legislature.

 

As the city grew, this force was augmented by new volunteer companies. In spite of growing numbers of firefighters and improvements in hoses and water supplies, fire was a significant threat in an increasingly densely built up city. Of particular significance was the “Great Fire” of December 16-17, 1835, which caused more damage to property than any other event in New York City. The damages resulting from several major fires which occurred between 1800 and 1850 led to the establishment of a building code, and an increase in the number of firemen from 600 in 1800 to more than 4,000 in 1865. Despite rapid growth, the department was often criticized for poor performance. Intense competition between companies began to hinder firefighting with frequent brawls and acts of sabotage, often at the scenes of fires. During the Civil War, when fire personnel became harder to retain, public support grew for the creation of a professional firefighting force, similar to that which had been established in other cities and to the professional police force that had been created in New York in 1845.

 

In May 1865, the New York State Legislature established the Metropolitan Fire District, comprising the cities of New York (south of 86th Street) and Brooklyn. The act abolished the volunteer system and created the Metropolitan Fire Department, a paid professional force under the jurisdiction of the state government. By the end of the year, the city’s 124 volunteer companies with more than 4,000 men had retired or disbanded, to be replaced by 33 engine companies and 12 ladder companies operated by a force of 500 men. Immediate improvements included the use of more steam engines, horses, and a somewhat reliable telegraph system. A military model was adopted for the firefighters, which involved the use of specialization, discipline, and merit. By 1870, regular service was extended to the “suburban districts” north of 86th Street and expanded still farther north after the annexation of parts of the Bronx in 1874. New techniques and equipment, including taller ladders and stronger steam engines, increased the department’s efficiency, as did the establishment, in 1883, of a training academy for personnel. The growth of the city during this period placed severe demands on the fire department to provide services, and in response the department undertook an ambitious building campaign.

 

The area served by the FDNY nearly doubled after consolidation in 1898, when the departments in Brooklyn and numerous communities in Queens and Staten Island were incorporated into the city. For several decades after consolidation, the independent volunteer fire companies already extant in these communities continued to serve in areas where there was insufficient population to justify the establishment of paid units. The volunteer companies were systematically disbanded as the city’s population continued to grow, with paid departments taking their place. In the decades that ensued, the fire department acquired more modern apparatus and motorized vehicles, reflecting, among other demands, the need for faster response to fires in taller buildings. Throughout the 20th century, the FDNY has continued endeavoring to keep up with the evolving city and its firefighting needs.

 

Firehouse Design

 

By the early 20th century, the New York City firehouse as a building type had evolved from the wooden storage shed used during the 17th century to an imposing architectural expression of civic character. As early as 1853, Marriott Field had argued in his City Architecture: Designs for Dwelling

 

Houses, Stores, Hotels, etc. for symbolic architectural expression in municipal buildings, including firehouses. The 1854 Fireman’s Hall, with its highly symbolic ornamentation reflected this approach, using flambeaux, hooks, ladders, and trumpets for its ornament.

 

Between 1880 and 1895, Napoleon LeBrun & Son served as the official architectural firm for the fire department, designing 42 firehouses in a massive effort to modernize the facilities and to accommodate the growing population of the city. Although the firm’s earliest designs were relatively simple, later buildings were more distinguished and more clearly identifiable as firehouses.

 

While the basic function and requirements of the firehouse were established early in its history, LeBrun is credited with standardizing the program, and introducing some minor, but important, innovations in the plan. Placing the horse stalls in the main part of the ground floor to reduce the time needed for hitching horses to the apparatus was one such innovation. LeBrun is also credited with the creation of vertical hose-drying towers to accommodate this necessary activity in a space-saving manner. Firehouses were usually located on mid-block sites because these were less expensive than more prominent corner sites. Since the sites were narrow, firehouses tended to be three stories tall, with the apparatus on the ground story and rooms for the company, including dormitory, kitchen and captain’s office, above.

 

After 1895, the fire department commissioned a number of well-known architects to design firehouses. Influenced by the classical revival which was highly popular throughout the country, New York firms such as Hoppin & Koen, Flagg & Chambers, and Horgan & Slatterly created facades with bold, classical style designs. After 1910 there was a Georgian revival in civic design, and red brick firehouses in that general style were built in large numbers throughout New York through at least 1930, with later firehouses incorporating elements of the Art Deco and Moderne styles through at least 1940. During this era, the department appears to have transitioned away from the well-known architects of the previous decades towards utilization of in-house architects employed within the buildings division of the department, largely to lower expenses.

 

Growth of Queens and Forest Hills

 

Much of the early development of Queens followed the patterns established in the rest of New York City. The first known European settlements were in the Astoria, Hunters Point, and Dutch Kills area of Long Island City. Queens remained rural and sparsely settled through the 1850s, when land speculation began in Maspeth, Corona, and Hunters Point. Still, development and urbanization of Queens progressed slowly in the ensuing decades. Near the end of the 19th century, western Queens and the Rockaway beaches attracted people for their leisure-time activities, while manufacturers opened factories at Whitestone, Woodhaven, and College Point because of the cheaper land available there.

 

At the time of its consolidation with New York City, the area that became the Borough of Queens had a population of only 152,999 people - due in large part to the region’s inaccessibility. Although the first train line between Atlantic Avenue in Brooklyn and Jamaica, Queens began as early as 1836, and a few other routes were established through Queens to other parts of Long Island in the 1850s, 60s, and 70s, train travel was limited. The Pennsylvania Railroad purchased the Long Island Railroad in 1900 and electrified the trains through Queens in 1905-08. However, the trains all had to connect by ferry to Manhattan until 1909 when the Queensborough Bridge opened. In 1910, the Pennsylvania Railroad opened its tunnels under the East River, finally establishing Queens as an attractive location within easy commuting distance to Manhattan. Following this innovation, the population of the borough nearly doubled to 284,041. Other improvements soon followed, including a dramatically enlarged road system and the development of towns and buildings. St. Albans and Bellerose, followed closely by Auburndale, Beechhurst, and Forest Hills, were among the many residential areas developed during the early years of the 20th century.

 

In 1906, developer Cord Meyer who had previously been active in the Elmhurst section of Queens, purchased 600 acres (comprising the land of six farms) in the area known as the Hopedale section of Whitepot. Changing the name to Forest Hills because of its high ground and its proximity to the beautiful terrain of Forest Park, he began to lay out streets, install utilities, and construct the first houses. To encourage sales, Meyer’s company ran horse-drawn stages to Forest Hills from the closest train station in Elmhurst. By 1908, the Long Island Railroad was running three steam-driven trains a day with a local stop at Austin Street and Roman Avenue.

 

In 1906, the Russell Sage Foundation purchased 160 acres of land south of the railroad line with the intent to develop a “modern suburban development” to contrast with the overcrowding, squalor and chaos of residential districts in Manhattan. The proposed development, Forest Hills Gardens, was the collaborative creation of landscape architect and planner Frederick Law Olmsted, Jr. and the architect and housing reform activist Grosvenor Atterbury. Together they conceived of a picturesque enclave of homes, schools, churches, and businesses that would, upon completion in 1909-10, be widely publicized across the country as a modern Arcadia - a place where people of “moderate income and good taste... might find some country air and country life within striking distance of the active centers of New York.” The completed development consisted of a brick-paved square shaded by trees built in front of the train station, a clock tower, arched passageways, and garden apartments built to resemble a row of country inns along narrow, winding roads that discouraged through-traffic.

 

The electrification of the Long Island Railroad in 1909 and the opening of the Queensborough Bridge that same year further advanced the development of the Forest Hills neighborhood. Queens Boulevard, the major thoroughfare that runs through the neighborhood, was widened in 1913, spurring Cord Meyer to improve his remaining acreage. By 1921, Meyer’s company had constructed some 200 homes, and several apartment buildings. Within Forest Hills Gardens, a number of brick houses of both modest and luxury scale were constructed between 1910 and 1917, followed by the first apartment building - the Forest Arms - in 1924. The world-famous West Side Tennis Club, home of the U. S. Open Tennis Tournament for many years, was constructed in Forest Hills in 1923. The small, inward-facing developments of Arbor Close and Forest Close, which aesthetically emulate the nearby Forest Hills Gardens and which abut the site of the Firehouse, Engine Company 305, Hook & Ladder Company 151, were completed in 1925 and 1927, respectively. The IND Subway line, which opened with a stop at Queens Boulevard and Continental Avenue in 1936, was another major improvement that guaranteed the continued growth of the area.

 

Firehouse, Engine Company 305, Hook & Ladder Company 151

 

The Firehouse, Engine Company 305, Hook & Ladder Company 151 was dedicated on November 15, 1924 in Forest Hills, Queens. The two companies that would occupy the building, Engine Company 305 and Hook & Ladder Company 151, were officially organized on the same day the firehouse opened, assigned to the 46th Battalion, 13th Division of the Fire Department of the City of New York. In contrast to statements made in the early part of the century, by the 1920s, the fire department found there to be a “great need” for new firehouses in this, and other growing Queens neighborhoods. It announced intentions to extend the paid fire department into Forest Hills, and in 1923 it awarded a contract in the amount of $77,713 for construction of a new firehouse on Queens Boulevard. The site for the firehouse appears to have been acquired in 1922, along with sites for firehouses in several other Queens communities, including Bayside, Queens Village, Jamaica, and Jackson Heights, as well as sites for firehouses in Brooklyn and “Westchester.” As noted in the 1924 Annual Report of the FDNY:

 

The development of certain sections of Brooklyn and Queens has made it imperative to extend the activities of this department. To keep abreast of times it has been necessary to have new firehouses constructed.

 

Fire loss statistics during this era further underscore the increased need for fire protection throughout Queens, with losses doubling from $1.372 million in 1921 to $2.744 million in 1922.

 

In contrast to the preceding decades, by the 1920s, the FDNY had transitioned away from commissioning well-known architects to design its firehouses in favor of utilizing in-house staff. In the 1922 Annual Report of the FDNY, in which the approval for construction of several firehouses, including the one in Forest Hills, was discussed, it was noted that the “plans [for the firehouses] have been prepared by the Department and therefore there will be no architect employed in connection with the erection of these buildings.” This was reiterated in the 1924 Annual Report, which announced the completion of several firehouses, including the Forest Hills structure, citing that “the plans and specifications for these buildings have been prepared by this bureau, as has been the practice since this administration came into power, and thus the fees of architects were saved.”

 

By the 1920s, the Georgian Revival style had became popular for the design of firehouses throughout New York. Employing red brick facades with engaged pilasters, flat roofs, and limestone details, the firehouses of this type were typically compactly massed to conform to the rectangular tax lots of the city. Unlike its contemporaries, Firehouse, Engine Company 305, Hook & Ladder Company 151 was not constructed in the dominant firehouse style of the time. In this way, the design of the Forest Hills firehouse, with its large scale and near-ecclesiastical appearance, is remarkable. The building is designed in a Neo-Medieval style and is prominently located on a corner lot.

 

It features asymmetrical massing accentuated by steep gables clad with copper standing-seam roofs, two prominent square towers (a stair tower and a hose-drying tower) featuring round-arched window openings, and a slender chimney rising nearly a story above the western elevation. The building is strongly suggestive of religious, not civic architecture, particularly in the steep pitch of its roofs and the height of the hose-drying tower, itself reminiscent of a church bell tower. The only aesthetic connection between the Forest Hills firehouse and its contemporaries appears to be the use of similar primary materials - namely red brick and limestone, utilized here to a very different effect.

 

One explanation for the very different appearance of Firehouse, Engine Company 305, Hook & Ladder Company 151 might be attributed to an evolution in firehouse design that resulted from a shift in requirements. Over the decades, the height of firehouses has been subject to variation, with earlier buildings typically three, or even four, stories in height in order to address the needs of heavily developed areas where land prices made taller buildings more economically viable. However, as fire protection was extended to lower density, suburban areas, such as Forest Hills, lower, less compact buildings became not only possible, but desirable. The taller firehouses meant more opportunities for firemen to be injured sliding on poles, while the shorter firehouses mean fewer flights of stairs to climb or to run. Moreover, once firemen were no longer required to reside full time in the firehouses, different space configurations were required within the buildings. To keep up with advancements in firehouse design, the Forest Hills firehouse was constructed to include a kitchen for the firemen and air-tight doors to “protect the firemen asleep in the dormitory from the danger of gasoline exhaust fumes and to confine the heat to the apparatus floor, so that the motors will always be warm and ready for instant use.”

 

Changes in firehouse requirements alone, however, do not seem to account for the unusual appearance of Firehouse, Engine Company 305, Hook & Ladder Company 151. It is far more likely that the design of the building was the result of efforts to contextualize the new firehouse within the growing residential community of Forest Hills and, in particular, the nearby, renowned planned development of Forest Hills Gardens. In Queens, the firehouses of the earlier century, constructed for the volunteer companies that once protected the borough, were often wood-sided structures with pitched roofs, similarly evocative of residential construction. Thus, while Firehouse, Engine Company 305, Hook & Ladder Company 151 exhibits an unusual appearance for a firehouse from this time period, it was apparently not unheard of for Queens firehouses to be designed in harmony with their surrounding communities. Though the blocks immediately around the new firehouse were still undeveloped in 1924, nearby Forest Hills Gardens, universally praised for the high-quality of its design, had been completed more than a decade earlier. With the steady, continued development of the neighborhood throughout the 1910s and 20s, it is possible that there was pressure from the surrounding community that the firehouse be designed to the same high standards of the existing development. The small, inward-facing, Tudor Revival style developments of Arbor Close and Forest Close, which are adjacent to the firehouse and were completed shortly following its construction, aesthetically emulate Forest Hills Gardens and seem to similarly point to local pressure for carefully planned development in the Forest Hills neighborhood during this era.

 

Upon the November 1924 opening of Firehouse, Engine Company 305, Hook & Ladder Company 151, Hubert J. Treacy, chief of the Bureau of Repairs and Supplies for the fire department noted it as “the most pretentious fire engine house in the Greater City.” On the eve of its official dedication, the building was recognized in at least two local papers, the Flushing Evening Journal and the Long Island Daily Star, for having been “constructed to harmonize with the architecture of the surrounding community.” The building was even mentioned several years later, in a 1931 local newspaper article reacting to a pair of apparently unattractive, recently-constructed firehouses which the author notes as “painful to the eye.” The author of the article makes a call for more firehouses in Queens to harmonize with their environments, and mentions only one firehouse - Firehouse, Engine Company 305, Hook & Ladder Company 151 - as an example of how a firehouse “can be good to look upon and in harmony with its surroundings, without the sacrifice of any considerations of usefulness.”

 

Nearly 90 years after its construction, the Forest Hills firehouse continues to serve as the home of Engine Company 305 and Hook & Ladder Company 151, operating under the motto “Pride of the Hills.” Completed at a time when much of the surrounding area was still in the process of being developed, today the firehouse is at once a striking presence along the Queens Boulevard streetscape and a well-integrated constituent of this vibrant residential neighborhood. It is also an outstanding example of a functional structure whose design also enhances the character of its surroundings. Even as the Forest Hills neighborhood underwent some large-scale redevelopment during the mid-century, the firehouse has experienced very few changes in its appearance. Firehouse, Engine Company 305, Hook & Ladder Company 151 remains a well-preserved, remarkable example of both innovative firehouse architecture, as well as a success story for carefully-considered, forward thinking contextual design.

 

John R. Sliney (c. 1873-1953)

 

As a result of the fire department’s shift away from using well-known architects in the design of its firehouses towards utilization of in-house architects during the 1920s, many of the firehouses built during this era are not clearly attributed to specific architects. At the time of its construction, the design of Firehouse, Engine Company 305, Hook & Ladder Company 151 was credited in local papers to John R. Sliney, head building inspector for the fire department. There is some confusion, however, as to whether Sliney, who was never a registered architect in New York, actually designed the firehouse himself, or whether it was designed by an architect employed within the buildings division of the FDNY.

 

Little is known about Sliney, his career, or education. It is known that Sliney began his career within the plumbing industry, and he is noted on the 1910 United States Census as a “plumber, inspector” for the fire department. His 1953 obituary in the New York Times notes that he became an inspector for the “Tenement House Department” in 1902 and that he joined the fire department four years later as an inspector in the “division of buildings.” It appears that he remained at the fire department for nearly three decades, retiring in 1933. Sliney’s obituary further notes that Sliney “headed the [building] division for many years, in which capacity he was in charge of the erection of 70 fire houses.”

 

In articles printed in the Flushing Evening Journal and in the Long Island Daily Star on the eve of the opening of Firehouse, Engine Company 305, Hook & Ladder Company 151, Sliney is specifically credited with having drawn the plans for the building. He is also noted as the building’s architect on the docket record for the new building application filed with the New York City Department of Buildings (NB 11218-1922). Though Sliney was noted in several publications, including the New York Times, and on other new building applications filed with the Department of Buildings, as the architect responsible for several firehouses in Queens, Brooklyn, and the Bronx during his term at the FDNY, the fact remains that he continues to be listed as a “building inspector” with the fire department as late as the 1930 United States Census, and not as an architect. There is also little evidence that Sliney had any architectural training. It is therefore unlikely that Sliney was the sole person responsible for the design of Firehouse, Engine Company 305, Hook & Ladder Company 151, though he certainly played a role in its construction as head of the buildings division.

 

Description

 

The two and two-and-a-half story firehouse is an asymmetrically-massed red brick building with three visible and one partially visible elevation. The building is clad in red-brick laid in a Flemish bond and enlivened by decorative limestone details and subtle patterned brickwork. The massing of the building is accentuated by steep gables clad with copper standing-seam roofs, prominent square towers (a stair tower and a hose-drying tower) featuring round-arched window openings, and a slender chimney rising nearly a story above the western elevation. The firehouse’s main vehicular bay is located along the north (Queens Boulevard) facade.

 

Historic:

 

North (Queens Boulevard) Facade: Two-and-a-half stories; steeply pitched gable at main portion of building; hipped roofs at towers; large vehicular bay; limestone frieze at vehicular bay reading “305 Engine” and “H&L CO. 151”; modest limestone cornice above frieze supported on large scroll bracket at center; metal balconette with stylized fire department shield at railing above main vehicular bay, supported on paired, decorative metal brackets; limestone details throughout, including stringcourses, lintels, keystones, and coping; stylized brick pilasters with limestone capitals at hose-drying tower; masonry water table; rectangular window openings at main portion of building; round-arched vent at main portion of building; round-arched window openings at towers; four-over-one double-hung sashes at rectangular window openings; one-over-one double-hung sashes with round-arched upper sashes at remaining window openings; rectangular cast-iron plaque to right of main vehicular bay at first story.

 

West (75th Avenue) Facade: Similar to north (Queens Boulevard) facade; hipped roof with brick corbelling at roofline of main portion of building; two-over-four-over-one triple-hung sashes at first-story paired window openings; four-over-one double-hung sashes at other rectangular window openings; multi-paned sashes and one-over-one double hung sashes at hose-drying tower; one-over-one double-hung sashes with round-arched upper sashes at stair tower.

 

South Facade: Similar to east (75th Avenue) facade; no window or door openings at tower; braced canopy towards eastern end of facade at first story.

 

East Facade: Partially visible; similar to west (75th Avenue) facade

 

Alterations:

 

Repointed; painted water table; portions of metal balconette painted red; original wood windows appear to have been replaced after c. 1965 (new windows match historic sash configurations, see facade descriptions); panning at window openings (all facades); window-screen hinges at most window openings (one window screen at north (Queens Boulevard) facade and several at west (75 th Avenue) facade); filled-in upper sashes of first-story window openings at outer bays of main portion of building at west (75th Avenue) facade; partially filled-in upper sash of westernmost first-story window opening at south facade (multi-paned upper sash lowered, not removed); metal air-conditioner brackets suspended from several window openings at west (75th Avenue), east and south facades; doors replaced at vehicular bay and at first-story entries at all facades; single steps at door openings painted at all facades; brass numbers “111-06” affixed to east of vehicular bay; light fixtures flanking main vehicular bay replaced; other non-historic light fixtures affixed at all facades; metal boxes affixed at first story of west (75 th Avenue) facade; projecting metal enclosure at through-wall vent above door opening at south facade; metal armatures at first and second stories towards western end of south facade; metal bar affixed at first story of hose-drying tower at west (75th Avenue) facade; large duct affixed towards eastern end of south facade; non-original pipe affixed at first story towards southern end of east facade; wiring and conduit at west (75th Avenue) facade; wiring, conduit, electrical boxes and satellite dish at south facade; chain-link fence at entrance to alley alongside eastern facade

 

Site:

 

The firehouse is situated on a corner lot and is surrounded by minimal landscaping, consisting of planted shrubbery and a free-standing flagpole at the intersection of Queens Boulevard and 75 th Avenue. There is a paved area for parking alongside the south facade of the firehouse, as well as a fence-enclosed portion of the tax lot presently used for recreation.

 

- From the 2012 NYCLPC Landmark Designation Report

Ern and Delsie Martin Collection. CCLS

4419, 4415, 4418, and (most of) 4420s last stand by the UN Tower in Port Morris. With easy access from the Port Morris facility, this has been the staging ground for ALP44s scrapped by Sims Metal Management on-site.

Financial District, Manhattan, New York City, New York, United States

 

The small, elegant cast-iron-fronted mansarded building at 90-94 Maiden Lane is the only remaining example in the Financial District of the many Second Empire style commercial buildings constructed in downtown Manhattan during the post-Civil War era. the southernmost cast-iron building in Manhattan, it is one of the rare survivors of this type between Fulton Street and the Battery.

 

Long associated with the Roosevelt family (which had a store at 94 Maiden Lane by 1786), the present building incorporates a mercantile building erected for James Roosevelt around 1810. In 1870-71 Roosevelt & Son, then the nation's leading importer of plate glass and mirrors, expanded from 90-94 Maiden Lane into the adjoining buildings at 90-92 Maiden Lane and 9-11 Cedar Street; a new cast-iron facade with mansard roof was erected on the Maiden lane buildings, as well as a new brick and iron facade on Cedar Street.

 

These alterations are attributed to Charles Wright, a mid-19th century architect known for his cast-iron buildings, who was associated with the prominent iron founders Michael Grosz & Son. The building's iron elements were cast by the Architectural Ironworks of New York, one of the leading iron foundries in the country, whose head Daniel D. Badger was a major force in the development and promotion of architectural cast iron.

 

The Roosevelt Family and 90-94 Maiden Lane

 

In the 18th century, Maiden Lane, set in a small valley which formed a natural connection between Broadway and the waterfront, was lined with the houses and stores of prosperous merchants. Following the Revolutionary War John Roosevelt established a business at 94 Maiden Lane, leasing the property for at least a year before purchasing it from Pierre Van Cortlandt in 1786.

 

John's brother Nicholas became a partner in the firm in 1787, but the brothers were soon in financial difficulties. In 1792, John Roosevelt was forced to sell his store and house to his second cousin Isaac Roosevelt.

 

The wealthiest of the 18th-century Roosevelts, Isaac immediately turned the store over to John and Nicholas's brother James J. Roosevelt. James opened a hardware business on the site which evolved into the family firm of Roosevelt & Son. His business quickly became a large-scale operation supplying imported hardware, mostly Dutch, to a burgeoning building trade.

 

By 1797 James was able to purchase 94 Maiden Lane from the heirs of Isaac Roosevelt and in 1809-10 he replaced the building on the site with a new store. To accommodate the widening of Maiden Lane in 1822-23, a portion of the store building was taken down and a new Greek Revival style facade was erected .

 

The 18th-century dwelling and stable erected by Abraham Duryea on the adjacent lot at 90-92 Maiden Lane were replaced by a brick and granite commercial building in 1827-28 which was later sold to James and John F. Trippe, dealers in medicines, paints, and oils.

 

The Trippes held the property until 1862 when it was repossessed by members of the Duryea family, who then leased the building to a plate-glass merchant.

 

Two buildings at 9 and 11 Cedar Street, immediately behind 90-92 and 94 Maiden Lane, were erected soon after the street was opened in 1828. Part of a group of eight buildings on Pearl and Cedar Streets erected for Otis Loomer as a speculative investment, they were leased to a variety of merchants over the years.

 

Throughout the early 19th century James Roosevelt's business continued to prosper, dealing in imported hardware and introducing a line of imported window glass and mirrors. Eventually, under the direction of James's son, Cornelius Van Schaack Roosevelt, who had joined the firm in 1819, it became the country's leading importer of British and French plate glass, crystal plate glass, and mirrors.

 

The considerable profits produced by the firm allowed C.V.S. Roosevelt to invest heavily in real estate following the Panic of 1837. Between 1842 and 1845 C.V.S. Roosevelt doubled his already comfortable fortune and by 1868 he could count himself among the Astors, Rhinelanders and Lorillartis as one of New York's ten wealthiest landowners.

 

Two of his sons, James Alfred and Theodore (father of the future president), joined the firm in the 1850s, and two others, Silas Weir and Robert Barnwell, became attorneys, establishing offices at 94 Maiden lane. Conditions at 94 Maiden lane had become sufficiently cramped to warrant leasing space at 7 and 9 Cedar Street, which by 1857 were connected to 94 Maiden Lane by narrow passages.

 

A decision was made to expand again in 1869 and James A. Roosevelt purchased 90-92 Maiden lane and 9 and 11 Cedar Streets.

 

In April 1870 plans were filed to join the buildings, alter them internally, and erect a new iron front with mansard roof on Maiden lane and a new brick facade with an iron storefront on Cedar Street.

 

Designed in the then fashionable Second Empire style, the Maiden lane facade featured corner pavilions framed by rusticated piers, arched window surrounds set off by half-columns and a roof covered with fishscale slates pierced by segmental pedimented dormers.

 

The Department of Building's Alterations Docket for 1870 lists Michael Grosz & Son, an iron foundry, as responsible for these alterations, but they are attributed to Charles Wright, an architect who was associated with the firm.

 

Charles Wright

 

A Long Island resident, Charles Wright was listed as an architect in the New York City directories between 1867 and 1878. In every year except 1873, his office address was given as 45 Greene Street, the location of the Grosz foundry; the termination of his practice in New York coincided with the closing of the foundry following the deaths of Michael and Frederick Grosz in 1878.

 

Wright's work in Manhattan included a number of tenements on the Lower East Side, stables in Greenwich Village (8 MacDougal Alley of 1871 and 134-36 West 10th Street of 1874), rowhouses in Mid town, and mercantile buildings in the old dry goods districts now known as Tribeca, SoHo, and Ladies' Mile.

 

His commercial works included a number of cast-iron buildings, among them 913 Broadway (1872, altered) for Peter Goelet, 13 East 19th Street (1874, demolished) for Robert Goelet, 34 Greene Street (1873) for Julius Leopold, and the Grosvenor Building, 385 Broadway (1875) for Matilda Grosvenor and Charlotte Goodridge.

 

The surviving buildings are all handsome Second Empire structures which like 90-94 Maiden lane feature flattened segmental arches supported by engaged columns. In several the treatment of ornament is also similar to that of 90-94 Maiden lane. No. 34 Greene Street, for example, also employs diamond-point rustication, spandrel panels decorated with paterae, unfluted columns, and paneled piers decorated with a pattern similar to that used on the frieze beneath the mansard at 90-94 Maiden lane.

 

In addition to this stylistic evidence, which strengthens the attribution of 90-94 Maiden Lane to Wright, it should be noted that he is known to have worked for the Roosevelts on at least two occasions: first in 1869 when he designed a one-story addition to the C.V.S. Roosevelt house at Broadway and 14 th Street and again in 1873 when he planned an alteration at 90-94 Maiden Lane that replaced wood supports in the mansard with iron girders. Michael Grosz & Son was listed as the builder for that alteration.

 

Michael Grosz & Son

 

Michael Grosz was first listed in the New York City directories in 1837 as a smith with a business at 8 Watts Street. By 1840 he had moved his business and residence to 45 Greene Street. Through the 1840s and early ' 50s he continued to be listed in the directories as a blacksmith or whitesmith. He began manufacturing iron railings, vault lights, and rolling shutters at some point in the 1850s and was listed as a dealer in iron railings in the directory of 1856.

 

His son, Frederick H. Grosz, established his own foundry at 45 Greene in 1856 and began manufacturing railings and vault lights. Father and son were listed separately in the directories until 1865 when they formed Michael Grosz & Son.

 

By that time Michael had begun manufacturing architectural ironwork and had conducted an extensive business with the government during the Civil War years. In the post-war period, under the direction of Michael Grosz and Frederick Grosz, who began taking over increasing responsibility from his father, the "firm built many of the iron buildings erected by the Goelets, Roosevelts and Astors."

 

According to Frederick Grosz's obituary in the New York Tribune their projects included Steinway Hall at 109 East 14th Street (1866, demolished) and the "Broadway store of Lord & Taylor" (presumably the cast-iron fronted building at Broadway and 20th Street designed by James H. Giles in 1869). The firm also specialized in the manufacture of bank vaults, including those of the Union Trust Company, the Bank of North America, and Chemical Bank.

 

In the 1870s Michael Grosz & Son also occasionally supplied architectural designs to clients. In addition to the alterations at 90-94 Maiden lane the firm is listed in the Building Department docket books as architect for a pair of iron warehouses at Thomas and Hudson Streets (1870-71, demolished), a four-story tenement at 64 Frankfort Street (1872, demolished), and a building for the Orthopaedic Dispensary and Hospital at 126 East 59th Street (1872-73, demolished).

 

Presumably these commissions were awarded to the firm because it maintained an architectural staff, who in addition to designing architectural elements such as columns and cornices for the foundry's stock, would also have been available to plan entire facades or buildings for clients who did not want to go to the expense of hiring their own architect.

 

Such an arrangement is known to have existed at the Architectural Ironworks, where the English architect George H. Johnson and Horace Badger were employed as designers.

 

As Charles Wright was the only architect listed in business directories of the period as working at 45 Greene Street, it can be deduced that he served in a similar capacity at Michael Grosz & Son and that some sort of agreement had been worked out that also allowed him to have private clients—hence the listings in his name in the Building Department records.

 

The Architectural Ironworks of New York

 

In addition to their business arrangements with Charles Wright, the Groszes apparently established a connection with Daniel Badger's Architectural Ironworks of New York, a leading innovator in the field of cast iron. Badger was a former blacksmith from Woburn, Massachusetts, who erected a cast-iron storefront in Boston in 1842, which he claimed was the first structure of iron ever seen in America. In 1843, he bought a patent from A.L. Johnson for rolling iron shutters, used to make windows burglar-proof.

 

The combination of iron storefront and shutters which came to be known as "Badger fronts" was highly successful. In 1846, Badger opened his business in New York, where his first major commission was for the storefronts of the A.T. Stewart Store at Broadway and Chambers Street.

 

It was not until the 1850s that Badger began to fabricate full cast-iron fronts.

 

His foundry was incorporated as the Architectural Ironworks in 1856. In 1865 he published a catalogue of the foundry's works, which listed hundreds of storefronts and over thirty full cast-iron fronts. These were shipped all over the United States and to several foreign countries.

 

Three extant buildings, 48-50 Walker Street (illustrated as plate XV, no. 7 in the catalogue), 93 Reade Street of 1857 (an almost exact copy of a building on Broadway illustrated as plate XV, no. 8), and 74 Reade Street (listed on page 32), have vault lights marked with the F.H. Grosz foundry plate suggesting that a long-standing relationship existed between the firms.

 

The Architectural Ironworks was also involved with 90-94 Maiden Lane, since its foundry plate is displayed on a rusticated pier on the Maiden Lane facade; however the exact nature of its role in relation to the Grosz foundry is unknown.

 

It seems possible that the Grosz firm may have elected to fabricate part of the ironwork for the building but sub-contracted part of the work (perhaps the larger pieces which would have been difficult to cast in the limited confines of 45 Greene Street) to the Architectural Ironworks which had extensive facilities at its 14th Street factory.

 

Alternatively Michael Grosz & Son may have acted primarily as designers, perhaps supplying wooden patterns from which the castings were made and overseeing construction, but leaving the actual casting up to the Architectural Ironworks.

 

Nos. 90-94 Maiden Lane, then, is an important late work of the Architectural Ironworks, a firm which must be regarded as one of the leading forces in the development and manufacture of architectural cast iron in this country during the 19th century.

 

Cast-iron Architecture and the Second Empire Style in lower Manhattan

 

Although never as numerous as in the mercantile districts now known as Tribeca and SoHo, at least thirty-eight cast-iron-fronted buildings were located in the downtown area of Manhattan from Fulton Street to the Battery by the mid-1880s.

 

The majority of these were located on Broadway, Fulton Street, and in the area around Wall and Pearl Streets. On Maiden Lane near Broadway, where the jewelry trade was concentrated, there were iron-fronted buildings at 5-7, 9-11, and 25 Maiden Lane. Further down the street, almost opposite 90-94 Maiden Lane, a cast-iron building had been erected by 1868 for Charles Pfizer & Company, manufacturers of chemicals and drugs.

 

Around the corner at William and Cedar Streets, Griffith Thomas's cast-iron-fronted Kemp Building was erected in 1870-71. Also in the surrounding area were the New York Real Estate Exchange at 59-65 Liberty Street, the Union Building at William and Pine Streets, and the Seaman's Bank Building at Pearl and Wall Streets, all with cast-iron fronts. Many of these buildings were erected in the post-Civil War era as earlier Greek Revival style counting houses in downtown Manhattan were replaced with more specialized structures.

 

The post-war buildings, whether cast-iron or masonry, usually incorporated elevators and employed the most up-to-date building techniques which made possible the construction of taller buildings than previously possible.

 

The majority were designed in the then fashionable Second Empire style, characterized by its use of French Renaissance style ornament and mansard roofs. The most notable of these new buildings was Arthur Gilman and Edward Kendall's masonry Equitable Building at Broadway and Cedar Streets (1868-72), which many scholars regard as the first skyscraper. Other masonry Second Empire style buildings included Griffith Thomas's Continental Life

 

Insurance Building of 1862-63 at 100-102 Broadway and National Park Bank of 1866-68 at 214-16 Broadway, Alfred B. Mullett's Courthouse and Post Office of 1869-80 at city Hall Park, and Henry Fembach's Staats-Zeitung Building of 1870-73 on Tryon Row.

 

Like 90-94 Maiden Lane, a number of other buildings were modernized during this period, including the Mutual Life Insurance Building at Nassau and Cedar Streets and the Bank of New York at Wall and William Streets, both of which had mansards added during the 1870s.

 

Today none of the above-mentioned buildings except 90-94 Maiden lane survive and only seven cast-iron fronted buildings remain standing in lower Manhattan between Fulton Street and the Battery.

 

These include: 63 Nassau Street, an 1830s building given a new cast-iron front around 1860, apparently by the cast-iron pioneer James Bogardus; the Italianate style Germania Building of 1865 at 151 Broadway; 90-94 Maiden Lane, remodeled in 1870-71; Arthur Gilman's Bennett Building at Nassau and Fulton Streets of 1872-73; 114-116 Fulton Street of c. 1880-85; James Farnsworth's 102-104 Fulton Street of 1895-96; and Francis Kimball's remodeling of 20 John Street of 1909, the latter two combining cast iron and pressed metal elements.

 

Of these, 90-94 Maiden Lane is the southernmost cast-iron-fronted building in Manhattan and due to the fact that the Bennett Building lost its original mansard when it was raised from six to ten stories in 1888, it is the only remaining mansarded Second Empire style business building in the Financial District.

 

Thus 90-94 Maiden lane is not only an elegant building but also a rare survivor of a once prolific type which flourished in the Financial District in the post-Civil War era.

 

Description

 

Four early 19th-century buildings were joined to form the present building at 90-94 Maiden lane, a four-story structure on a slightly irregular through-the-block lot which has a frontage of fifty-nine feet on Maiden Lane and forty-four feet on Cedar Street. On Maiden Lane the building is faced with cast iron and crowned by a mansard roof. Rusticated corner pavilions frame five central bays which are divided by unfluted engaged columns. Cornices set off the individual stories.

 

The first story is trabeated, the central bays on the second and third stories are crowned by flat arches, while the pavilions contain a trio of arches resting on slender pilasters. The column capitals and spandrels are decorated with paterae, modillions and stylized brackets enrich the first story cornice, there is a dentil course on the second story cornice, and console brackets and a paneled frieze are found above the third story.

 

The arrangement of windows and doors on the first story has been changed several times over the years. The wood and glass entrance is only a few months old, the window treatment of the center bays dates from about 1910, the window and transoms in the eastern end bay were installed in the 1920s; however, the paneled iron bulkhead beneath appears to be original to the facade and reflects the original tripartite arrangement of the window bays which is that of the upper stories.

 

A foundry plate labeled "Architectural Ironworks of N.Y." is clearly visible on the pier separating the eastern pavilion from the center bays. Though obscured by paint, there appear to be similar plates on the piers flanking the western entrance bay.

 

The second and third stories retain their original wood frames and double-hung wood one-over-one sash. The mansard is now covered with seamed sheet metal, instead of the original fishscale slates, and the dormers, now with triangular pediments, contain new windows, both the result of a 1960s alteration.

 

On Cedar Street the building has four full stories topped by a flat roof. The facade is faced with red brick (now painted) above a cast-iron storefront and is divided into six bays. On the ground story the bays are separated by iron piers which are articulated as pilasters with paterae on their capitals similar to those used to decorate the capitals and spandrels on the Maiden Lane facade.

 

The piers support a simple entablature with a projecting cornice. The openings between the piers has been sealed with brick infill. There is a modern metal and glass door in the first bay (from left to right) and a pair of steel doors surmounted by a wood transom bar in the fifth bay.

 

The upper stories originally had segmental arched windows with stone sills; all but the window openings in the first bay have brick infill. The remaining windows are wood-framed two-over-two double-hung sash. The facade is crowned by a corbeled brick cornice with projecting comer brackets.

 

Subsequent History

 

In the 1870s as the market for imported plate glass was contracting due to increased domestic production, the Roosevelts decided to leave the glass business. Reportedly the firm's last major commission was to supply plate glass to Chicago builders following the Great Fire.

 

In 1876, Roosevelt & Son moved from Maiden Lane, settling temporarily at 216 Pearl Street, before establishing itself permanently at 32 Pine Street. Led by James Alfred Roosevelt, who took control following the death of Theodore Roosevelt, Sr., in 1878, the firm turned to investment banking specializing in the underwriting of railroad and communication company bonds—notably the Great Northern Railroad and Atlantic and All American Cable Companies.

 

It is unclear how 90-94 Maiden Lane was used during the last quarter of the 19th century, though it remained in Roosevelt hands. In 1910 the building underwent a number of interior and storefront alterations to accommodate a new tenant, Sussfeld & Lorch & Co., importers of optical goods who moved there from a neighboring building on Maiden Lane.

 

In 1919 the Fire Company's Corporation, owner of the adjacent building at 80 Maiden Lane, purchased 90-94 Maiden Lane to prevent any future obstruction of the windows on the east side of its building. The buildings remain in common ownership today.

 

- From the 1989 NYCLPC Landmark Designation Report

A CHINESE FUNERAL.

A Chinese burial is of such infrequent occurrence in Auckland that the funeral of a young Chinese woman, which took place on Wednesday afternoon last, aroused considerable curiosity. The deceased was a relative of Ah See, about 23 or 24 years of age, and she was buried as nearly as possible in conformity with Chinese custom. The corpse was dressed in a shroud of white liberty silk, made at the D.I.C., with a new frill round the neck and gathered in at the waist, and deposited in a coffin. The coffin was placed in a hearse and taken to Waikomiti at the fastest possible speed consistent with safety. Behind the hearse there were five carriages, the foremost occupied by a female relative of the deceased and the remaining carriages by Chinamen. As the cortege passed along the road fragments of rice paper were thrown broadcast to propitiate the gods on behalf of the deceased. On arrival at Waikomiti the coffin was deposited in a grave without ceremony, and after it had been covered large quantities of rice and other food were placed on top of the grave to keep the departed from starvation during the journey she had undertaken for another world.

paperspast.natlib.govt.nz/newspapers/AS18910424.2.24

 

Plot 22: Ah Shea Suzie (BDM) (21) 22/4/1891 – Enteric fever

* Removed to send to China

 

unmarked grave

 

CHINESE RESURRECTIONISTS AT WAIKUMETE.

DISINTERMENT OF CORPSES.

A GRUESOME SPECTACLE.

Time, 5.30 a.m., on a bitterly cold morning, in Waikumete Cemetery. Half-frozen, a pressman and a photographer attached to the staff of the "Graphic" make their way from the sexton's house to the furthermost corner of the cemetery, where is situated the section for Chinese and Atheists and aliens unprovided for elsewhere. A noise of hammering comes from the section, which is a good half-mile from the Anglican and Presbyterian allotments, and on arrival work found to be in full operation. The reception of our reporter and his photographic confrere is the reverse of friendly, and an immediate wrangle ensues amongst the gravediggers, evidently on the subject of the camera fiend's presence. A Chinese halfcaste European insists on their instant ejectment. The sexton, however, who has been handed proper credentials, proves a firm friend, and insists that he, and not any Chinaman, or half-caste Chinaman, is in change of the cemetery, and that he has his instructions. Things then calm down a trifle, but the work is resumed amidst much grumbling, and many vindictive and malignant glances are cast at the camera, and muttered curses uttered at the photographer as he dodges round looking for a chance shot. Once, indeed, when the shutter clicks, a furious celestial raises his pick in menace, and mutters a threat to do for the intruders, but he thinks better of it, and at the intervention of the European coffinmaker a truce is declared until arrival of "the boss." That individual presently arrives. He scans the permit; gloomily enough, and bids that the photos be taken forthwith, and the photographer and pressman depart. It toeing pointed out that there is no picture yet to take, and seeing that bluff has no effect, all active opposition as at once and finally dropped, and no difficulty put in the way of obtaining pictures or witnessing the proceedings save in giving mendacious information, lighting fires to obscure the graves with smoke, and endeavouring to tire out the patience of the reporters, etc.

By ten o'clock four graves, are opened, but owing to the non-arrival of some solder and zinc from Auckland it, is decided to open only two coffins on this occasion. The first of these contained the corpse of one Kong Shang, who died in 1891, a young Celestial of 36. It was thought that there would be nothing but dry bones there, but the stiff white clay is evidently a preservative, for when the coffin, which is full of water, is opened, it is seen that the bones have a decided covering of what had once been flesh and though drenched in carbolic acid a sickening odour makes itself felt at intervals. Directly an attempt is made to stir the body it all falls to pieces, the decomposed flesh falling off in almost imperceptible flakes, which had doubtless been dust had the grave been dry. Very carefully the impassive Chinaman in the grave rinses and unconcernedly places on a sieve a thigh bone, then some ribs, and a skull, followed by the rest of the bones, minute search, indescribable in print, being made for the smaller bones and joints. It is an intensely gruesome spectacle, and the horror is added to by the indifference to sight and smell or sentiment evinced by the Celestial workmen. The venerable clerk, a fine old fellow, with the face of an ascetic and a student, carefully tallies the bones which, having been rescoured in a large white tub, are finally dried and wrapped up, each duly docketed by the methodical old gentleman, who is evidently a most conscientious and probably deeply religious man. He, too, is fastidiously clean, and does not, one notes, eat as the others do in the midst of their noisome labours. The next body is that of a man who must have been of exceptional stature and weight for a Chinaman, and who has been dead but two years and a-half. There is much difficulty in getting this coffin to the surface, and the opening thereof, and the awful stench which completely dominated all disinfectants when the body was removed to the zinc one prepared by the European tinsmith beggars description, and may be left to the imagination. None of those whose duty called them to be present are likely to forget the experience, or to desire a renewal of the same. The soldering having been completed, it must be admitted no effluvia was discernable. The zinc coffin was then put in a rude case and packed in sawdust ready for shipment. There is no reason to think the zinc coffins will not prove effective and inoffensive under ordinary ciroumstances, and careful usage, but a fall or any accident in loading would, one imagines, have very disastrous effects. The work ceased at noon to-day. Mr Winstanley, Government Sanitary Inspector, is present, and looks after his work in so thorough a manner that no fears need be entertained by settlers or the general public. The pictures secured by the "Graphic" protographer are of a unique nature and the most gruesome details having been omitted, are quite without offence. They will be published on Wednesday.

The custom of the Chinese at home is to disinter bodies after seven years, and place the main bones in a large jar alongside the grave. It is in order to forward the bones to China for relatives to do this that the present exporting of remains is undertaken.

paperspast.natlib.govt.nz/newspapers/AS19020929.2.45

 

THE CHINESE CORPSES

The disinterment of the bodies of the Chinese from cemeteries throughout the colony during last, and the early part of the present month excited a good deal of interest. In Greymouth nearly 200 bodies were "resurrected" and stored in a shed in the cemetery, much to the disgust of the residents, who unsuccessfully protested against the bodies being allowed to remain above ground until the arrival of the Ventnor. The expenses of the removal of the dead Chinese to their native land, where alone their spirits could find perfect peace, was borne by their friends, the undertaking being so costly that, only the wealthier relatives could afford the expenditure, many hundreds of unhappy Celestials being obliged "to lie in cold corruption and to rot" in the cemeteries of the "foreign devil."

The exhumation of all the bodies was carried out by the one party of "resurrectionists," Chinese with a half-caste leader and a European plumber. The Chinamen carried out their gruesome work with the utmost indifference, knocking off to eat their meals immediately after handling the bodies without a thought of nauseation.

Some bodies had been interred about twenty years ago, others within the last year. In the case of those which had been reduced to skeletons the bones were carefully sorted, and packed in boxes ready for shipment. In other cases the flesh had reached an advanced stage of putrefaction, and in these the bones were stripped and similarly, treated to the skeletons of older bodies. When the bodies were still whole they were packed in air-tight coffins, soldered down, and labelled with the name of the departed.

In all eleven corpses were taken from their graves at Waikumete. These were not shipped on the Ventnor at Auckland, but were taken down the coast in smaller vessels to Wellington, and there transhipped to the Ventnor.

The Chinese in Auckland were excited on the receipt of the news of the foundering, but when questioned as to what, according to Confucianism, would become of the spirits of the sunken Celestials, they professed ignorance.

paperspast.natlib.govt.nz/newspapers/AS19021029.2.54.5

 

LOSS OF THE VENTNOR.

FOUNDERED NEAR HOKIANGA.

BOAT AND CREW MISSING.

HOKIANGA, October 29.

The steamer Ventnor, which left Wellington for Hongkong on Sunday, foundered off the Hokianga Bar last night at about a quarter to nine.

The Ventnor left Wellington, as stated, on Sunday, with 500 Chinese bodies and 6400 tons of coal. She was owned by Gow, Harrison and Co., of Glasgow, her port of register, and was captained by H. G. Ferry. Before she had been long out, at forty minutes after midnight on Sunday, a shock which shook the vessel from stem to stern made manifest to everyone aboard that the steamer had struck a rock, a subsequent investigation showing that the reef hit was to the southward of Cape Egmont.

The engines were at once reversed, and in a short time the vessel managed to get off. The wells were then sounded, and it was found that the vessel was making water in No. 1 hold.

The vessel was headed off shore to a safe distance, and then proceeded up the coast.

Meanwhile, the steam pumps were got to work, but from the first it was found that they were unequal to the task of coping with the inflow, and gradually the water gained, rising higher and higher in the hold.

On Tuesday morning it was found that the ballast tanks in the peak were full, putting the steamer down by the head, and making it evident that she had but a short time to float.

In the evening her bow was so far under water that she became unmanageable, and it was seen that she was gradually sinking, despite every effort that could be made.

At about 9 p.m. it became evident that the vessel was going down fast, and all hands were ordered to the boats.

These were launched by their respective crews, who immediately pulled away from the sides of the doomed vessel.

Hardly had they reached a safe distance when the vessel's stern rose in the air, and she sank, bow first.

The Hokianga Heads light was seen at a distance of about ten miles, and the boats pulled in the direction of the light.

At daylight this morning two boats arrived on the Omapere Beach, bearing fourteen of the crew, including the chief mate, John Cameron, the second and third engineers, D. Bailee and K. Muir, and two cooks, and a messman.

Mr Martin, harbourmaster, has taken the small steamer Energy out off Whangape to pick up two more boats which were sighted from the pilot station. One of these was picked up at 10 o'clock, but the other had not been reached at the time of wiring, 10.30 a.m.

Besides her crew of 31 persons, including five Chinese, the Ventnor had six Chinamen as passengers. Of the coffins 489 were insured in the Alliance Company for £5490. The fungus was insured for about £320 in various offices. She was under the charge of Captain H. Ferry, who has been seventeen years in the employment of the same company. The steamer was under charter to W. Scott Fell and Co., of Sydney, contractors. Messrs John Mill and Co., of Dunedin and Wellington, were the colonial agents.

Of the coffins 489 were shipped by the Chong Shin Tong Society, which is a branch of the big society in China called the Tai Chuen. The other ten coffins were shipped by Yei Chong, of Manners-street, and did not belong to any society.

The Ventnor's crew numbered thirty-one, and those on board included nine Chinese body attendants. These attendants of the dead are old and decrepit Chinamen, who are being sent home to China by the Chong Shin Tong, and given sufficient money to keep them from work for the remainder of their lives.

paperspast.natlib.govt.nz/newspapers/AS19021030.2.87

 

SS Ventnor with details of final voyage:

en.wikipedia.org/wiki/SS_Ventnor

 

Ern and Delsie Martin Collection. CCLS

as promised aways back, i owe you a tiny excerpt from michael chabon's new book, the yiddish policemen's union. here he's describing the interior of the vorsht, a seedy bar sought out by our hero, detective meyer landsman:

 

"the place is as empty as an off-duty downtown bus and smells twice as bad. somebody came through recently with a bucket of bleach to paint in some high notes over the vorsht's steady base line of sweat and urinals. the keen nose can detect, above or beneath it all, the coat-lining smell of worn dollar bills."

 

when i first read that paragraph, i put the book down and sighed. smiled. stared at the book in wonderment. reread it. wrote it down. IM'd it to a friend. saved it in an email draft, cos i knew i'd want to post it. i've since moved on from page 69; in fact i finished the book on the train ride home tonight (looking up from the cottony, glue-smelling pages just in time to blink at the bright white light of an egret, fishing in the frozen food section of the croton harmon mudflats). chabon's writing -- he wrote wonder boys -- is just so fucking GOOD! the imagery, the passionate intensity of his love for language, the visceral connectedness of it all, it just gets better and better, right up until the very last page. and once again, i was reminded of why i fell in love with reading in the first place.

 

on the docket for tomorrow's commute? a rereading of john steinbeck's grapes of wrath.

 

Hobby Lobby sells itself on being a "Christian" company, though they certainly lie to and cheat their customers. They don't care that their products could harm the 1000's of children and adults who come in contact with That Car #3.

 

You wouldn't expect a "Christian" company to conduct business in such a manner, however, it isn't very Christian to be one of the wealthiest 200 people in the United States while taking advantage of Chinese sweatshop labor like David Green, Hobby Lobby CEO.

 

I spent a few hours one Saturday morning removing the glass beads from That Car while parked in front of the store I bought them from. The two police officers who were called to the scene said they would also be concerned with the glass beads when they saw all the flakes of red that came off on my hands. They said I "riled them up" in the store and asked me to leave, but explained that it was fine for me to stay.

 

Matthew 6:24 ESV “No one can serve two masters, for either he will hate the one and love the other, or he will be devoted to the one and despise the other. You cannot serve God and money."

 

I regret ever spending money at this evil empire. Below are a few more examples of lawsuits and claims against Hobby Lobby.....not very Christian!

 

CONSUMER PRODUCT SAFETY COMMISSION

[CPSC Docket No. 09–C0025] -(one of many product recalls) www.cpsc.gov/BUSINFO/frnotices/fr09/hobbylobby.pdf

Hobby Lobby thinks it is better to pay a fine than to protect children.".....(Hobby Lobby) failed to take adequate action to ensure that none would bear or contain lead-containing paint, thereby creating a risk of lead poisoning and adverse health effects to children......"

 

Hobby Lobby To Pay $35,000 For Disability Bias - EEOC Said Store Refused to Reasonably Accommodate Disabled Worker's Use of Wheelchair; Consent Decree Also Provides Significant Injunctive Relief

www.eeoc.gov/eeoc/newsroom/release/10-26-09.cfm

 

Forest Hills, Queens, New York City, New York, United States

 

The Firehouse, Engine Company 305, Hook & Ladder Company 151, in Forest Hills, Queens, was constructed by the Fire Department of the City of New York in 1924. The firehouse was intended to serve the growing population of the Forest Hills neighborhood, which had seen a boom in residential construction following World War I. The large, two and two-and-a-half story Neo-Medieval style firehouse is clad in red brick laid in a Flemish bond and enlivened with decorative limestone details and subtle patterned brickwork.

 

The asymmetrical massing of the building is accentuated by steep gables clad with copper standing-seam roofs, two prominent square towers (a stair tower and a hose-drying tower) featuring round-arched window openings, and a slender chimney rising nearly a story above the western elevation. The innovative design of this firehouse has been attributed to John R. Sliney, head building inspector for the fire department, during whose tenure approximately 70 firehouses were constructed throughout the five boroughs. The firehouse, which has experienced remarkably few changes in the 90 years since its construction, continues to serve the Forest Hills community today. It is at once a striking presence along the Queens Boulevard streetscape and a well-integrated constituent of this vibrant residential neighborhood.

 

DESCRIPTION AND ANALYSIS

 

Firefighting in New York

 

Even in the colonial period, the government of New York took the possibility of fire very seriously. Under Dutch rule all men were expected to participate in firefighting activities. After the English took over, the Common Council organized a force of 30 volunteer firefighters in 1737. They operated two Newsham hand pumpers that had recently been imported from London. By 1798, the Fire Department of the City of New York (FDNY), under the supervision of a chief engineer and six subordinates, was officially established by an act of the state legislature.

 

As the city grew, this force was augmented by new volunteer companies. In spite of growing numbers of firefighters and improvements in hoses and water supplies, fire was a significant threat in an increasingly densely built up city. Of particular significance was the “Great Fire” of December 16-17, 1835, which caused more damage to property than any other event in New York City. The damages resulting from several major fires which occurred between 1800 and 1850 led to the establishment of a building code, and an increase in the number of firemen from 600 in 1800 to more than 4,000 in 1865. Despite rapid growth, the department was often criticized for poor performance. Intense competition between companies began to hinder firefighting with frequent brawls and acts of sabotage, often at the scenes of fires. During the Civil War, when fire personnel became harder to retain, public support grew for the creation of a professional firefighting force, similar to that which had been established in other cities and to the professional police force that had been created in New York in 1845.

 

In May 1865, the New York State Legislature established the Metropolitan Fire District, comprising the cities of New York (south of 86th Street) and Brooklyn. The act abolished the volunteer system and created the Metropolitan Fire Department, a paid professional force under the jurisdiction of the state government. By the end of the year, the city’s 124 volunteer companies with more than 4,000 men had retired or disbanded, to be replaced by 33 engine companies and 12 ladder companies operated by a force of 500 men. Immediate improvements included the use of more steam engines, horses, and a somewhat reliable telegraph system. A military model was adopted for the firefighters, which involved the use of specialization, discipline, and merit. By 1870, regular service was extended to the “suburban districts” north of 86th Street and expanded still farther north after the annexation of parts of the Bronx in 1874. New techniques and equipment, including taller ladders and stronger steam engines, increased the department’s efficiency, as did the establishment, in 1883, of a training academy for personnel. The growth of the city during this period placed severe demands on the fire department to provide services, and in response the department undertook an ambitious building campaign.

 

The area served by the FDNY nearly doubled after consolidation in 1898, when the departments in Brooklyn and numerous communities in Queens and Staten Island were incorporated into the city. For several decades after consolidation, the independent volunteer fire companies already extant in these communities continued to serve in areas where there was insufficient population to justify the establishment of paid units. The volunteer companies were systematically disbanded as the city’s population continued to grow, with paid departments taking their place. In the decades that ensued, the fire department acquired more modern apparatus and motorized vehicles, reflecting, among other demands, the need for faster response to fires in taller buildings. Throughout the 20th century, the FDNY has continued endeavoring to keep up with the evolving city and its firefighting needs.

 

Firehouse Design

 

By the early 20th century, the New York City firehouse as a building type had evolved from the wooden storage shed used during the 17th century to an imposing architectural expression of civic character. As early as 1853, Marriott Field had argued in his City Architecture: Designs for Dwelling

 

Houses, Stores, Hotels, etc. for symbolic architectural expression in municipal buildings, including firehouses. The 1854 Fireman’s Hall, with its highly symbolic ornamentation reflected this approach, using flambeaux, hooks, ladders, and trumpets for its ornament.

 

Between 1880 and 1895, Napoleon LeBrun & Son served as the official architectural firm for the fire department, designing 42 firehouses in a massive effort to modernize the facilities and to accommodate the growing population of the city. Although the firm’s earliest designs were relatively simple, later buildings were more distinguished and more clearly identifiable as firehouses.

 

While the basic function and requirements of the firehouse were established early in its history, LeBrun is credited with standardizing the program, and introducing some minor, but important, innovations in the plan. Placing the horse stalls in the main part of the ground floor to reduce the time needed for hitching horses to the apparatus was one such innovation. LeBrun is also credited with the creation of vertical hose-drying towers to accommodate this necessary activity in a space-saving manner. Firehouses were usually located on mid-block sites because these were less expensive than more prominent corner sites. Since the sites were narrow, firehouses tended to be three stories tall, with the apparatus on the ground story and rooms for the company, including dormitory, kitchen and captain’s office, above.

 

After 1895, the fire department commissioned a number of well-known architects to design firehouses. Influenced by the classical revival which was highly popular throughout the country, New York firms such as Hoppin & Koen, Flagg & Chambers, and Horgan & Slatterly created facades with bold, classical style designs. After 1910 there was a Georgian revival in civic design, and red brick firehouses in that general style were built in large numbers throughout New York through at least 1930, with later firehouses incorporating elements of the Art Deco and Moderne styles through at least 1940. During this era, the department appears to have transitioned away from the well-known architects of the previous decades towards utilization of in-house architects employed within the buildings division of the department, largely to lower expenses.

 

Growth of Queens and Forest Hills

 

Much of the early development of Queens followed the patterns established in the rest of New York City. The first known European settlements were in the Astoria, Hunters Point, and Dutch Kills area of Long Island City. Queens remained rural and sparsely settled through the 1850s, when land speculation began in Maspeth, Corona, and Hunters Point. Still, development and urbanization of Queens progressed slowly in the ensuing decades. Near the end of the 19th century, western Queens and the Rockaway beaches attracted people for their leisure-time activities, while manufacturers opened factories at Whitestone, Woodhaven, and College Point because of the cheaper land available there.

 

At the time of its consolidation with New York City, the area that became the Borough of Queens had a population of only 152,999 people - due in large part to the region’s inaccessibility. Although the first train line between Atlantic Avenue in Brooklyn and Jamaica, Queens began as early as 1836, and a few other routes were established through Queens to other parts of Long Island in the 1850s, 60s, and 70s, train travel was limited. The Pennsylvania Railroad purchased the Long Island Railroad in 1900 and electrified the trains through Queens in 1905-08. However, the trains all had to connect by ferry to Manhattan until 1909 when the Queensborough Bridge opened. In 1910, the Pennsylvania Railroad opened its tunnels under the East River, finally establishing Queens as an attractive location within easy commuting distance to Manhattan. Following this innovation, the population of the borough nearly doubled to 284,041. Other improvements soon followed, including a dramatically enlarged road system and the development of towns and buildings. St. Albans and Bellerose, followed closely by Auburndale, Beechhurst, and Forest Hills, were among the many residential areas developed during the early years of the 20th century.

 

In 1906, developer Cord Meyer who had previously been active in the Elmhurst section of Queens, purchased 600 acres (comprising the land of six farms) in the area known as the Hopedale section of Whitepot. Changing the name to Forest Hills because of its high ground and its proximity to the beautiful terrain of Forest Park, he began to lay out streets, install utilities, and construct the first houses. To encourage sales, Meyer’s company ran horse-drawn stages to Forest Hills from the closest train station in Elmhurst. By 1908, the Long Island Railroad was running three steam-driven trains a day with a local stop at Austin Street and Roman Avenue.

 

In 1906, the Russell Sage Foundation purchased 160 acres of land south of the railroad line with the intent to develop a “modern suburban development” to contrast with the overcrowding, squalor and chaos of residential districts in Manhattan. The proposed development, Forest Hills Gardens, was the collaborative creation of landscape architect and planner Frederick Law Olmsted, Jr. and the architect and housing reform activist Grosvenor Atterbury. Together they conceived of a picturesque enclave of homes, schools, churches, and businesses that would, upon completion in 1909-10, be widely publicized across the country as a modern Arcadia - a place where people of “moderate income and good taste... might find some country air and country life within striking distance of the active centers of New York.” The completed development consisted of a brick-paved square shaded by trees built in front of the train station, a clock tower, arched passageways, and garden apartments built to resemble a row of country inns along narrow, winding roads that discouraged through-traffic.

 

The electrification of the Long Island Railroad in 1909 and the opening of the Queensborough Bridge that same year further advanced the development of the Forest Hills neighborhood. Queens Boulevard, the major thoroughfare that runs through the neighborhood, was widened in 1913, spurring Cord Meyer to improve his remaining acreage. By 1921, Meyer’s company had constructed some 200 homes, and several apartment buildings. Within Forest Hills Gardens, a number of brick houses of both modest and luxury scale were constructed between 1910 and 1917, followed by the first apartment building - the Forest Arms - in 1924. The world-famous West Side Tennis Club, home of the U. S. Open Tennis Tournament for many years, was constructed in Forest Hills in 1923. The small, inward-facing developments of Arbor Close and Forest Close, which aesthetically emulate the nearby Forest Hills Gardens and which abut the site of the Firehouse, Engine Company 305, Hook & Ladder Company 151, were completed in 1925 and 1927, respectively. The IND Subway line, which opened with a stop at Queens Boulevard and Continental Avenue in 1936, was another major improvement that guaranteed the continued growth of the area.

 

Firehouse, Engine Company 305, Hook & Ladder Company 151

 

The Firehouse, Engine Company 305, Hook & Ladder Company 151 was dedicated on November 15, 1924 in Forest Hills, Queens. The two companies that would occupy the building, Engine Company 305 and Hook & Ladder Company 151, were officially organized on the same day the firehouse opened, assigned to the 46th Battalion, 13th Division of the Fire Department of the City of New York. In contrast to statements made in the early part of the century, by the 1920s, the fire department found there to be a “great need” for new firehouses in this, and other growing Queens neighborhoods. It announced intentions to extend the paid fire department into Forest Hills, and in 1923 it awarded a contract in the amount of $77,713 for construction of a new firehouse on Queens Boulevard. The site for the firehouse appears to have been acquired in 1922, along with sites for firehouses in several other Queens communities, including Bayside, Queens Village, Jamaica, and Jackson Heights, as well as sites for firehouses in Brooklyn and “Westchester.” As noted in the 1924 Annual Report of the FDNY:

 

The development of certain sections of Brooklyn and Queens has made it imperative to extend the activities of this department. To keep abreast of times it has been necessary to have new firehouses constructed.

 

Fire loss statistics during this era further underscore the increased need for fire protection throughout Queens, with losses doubling from $1.372 million in 1921 to $2.744 million in 1922.

 

In contrast to the preceding decades, by the 1920s, the FDNY had transitioned away from commissioning well-known architects to design its firehouses in favor of utilizing in-house staff. In the 1922 Annual Report of the FDNY, in which the approval for construction of several firehouses, including the one in Forest Hills, was discussed, it was noted that the “plans [for the firehouses] have been prepared by the Department and therefore there will be no architect employed in connection with the erection of these buildings.” This was reiterated in the 1924 Annual Report, which announced the completion of several firehouses, including the Forest Hills structure, citing that “the plans and specifications for these buildings have been prepared by this bureau, as has been the practice since this administration came into power, and thus the fees of architects were saved.”

 

By the 1920s, the Georgian Revival style had became popular for the design of firehouses throughout New York. Employing red brick facades with engaged pilasters, flat roofs, and limestone details, the firehouses of this type were typically compactly massed to conform to the rectangular tax lots of the city. Unlike its contemporaries, Firehouse, Engine Company 305, Hook & Ladder Company 151 was not constructed in the dominant firehouse style of the time. In this way, the design of the Forest Hills firehouse, with its large scale and near-ecclesiastical appearance, is remarkable. The building is designed in a Neo-Medieval style and is prominently located on a corner lot.

 

It features asymmetrical massing accentuated by steep gables clad with copper standing-seam roofs, two prominent square towers (a stair tower and a hose-drying tower) featuring round-arched window openings, and a slender chimney rising nearly a story above the western elevation. The building is strongly suggestive of religious, not civic architecture, particularly in the steep pitch of its roofs and the height of the hose-drying tower, itself reminiscent of a church bell tower. The only aesthetic connection between the Forest Hills firehouse and its contemporaries appears to be the use of similar primary materials - namely red brick and limestone, utilized here to a very different effect.

 

One explanation for the very different appearance of Firehouse, Engine Company 305, Hook & Ladder Company 151 might be attributed to an evolution in firehouse design that resulted from a shift in requirements. Over the decades, the height of firehouses has been subject to variation, with earlier buildings typically three, or even four, stories in height in order to address the needs of heavily developed areas where land prices made taller buildings more economically viable. However, as fire protection was extended to lower density, suburban areas, such as Forest Hills, lower, less compact buildings became not only possible, but desirable. The taller firehouses meant more opportunities for firemen to be injured sliding on poles, while the shorter firehouses mean fewer flights of stairs to climb or to run. Moreover, once firemen were no longer required to reside full time in the firehouses, different space configurations were required within the buildings. To keep up with advancements in firehouse design, the Forest Hills firehouse was constructed to include a kitchen for the firemen and air-tight doors to “protect the firemen asleep in the dormitory from the danger of gasoline exhaust fumes and to confine the heat to the apparatus floor, so that the motors will always be warm and ready for instant use.”

 

Changes in firehouse requirements alone, however, do not seem to account for the unusual appearance of Firehouse, Engine Company 305, Hook & Ladder Company 151. It is far more likely that the design of the building was the result of efforts to contextualize the new firehouse within the growing residential community of Forest Hills and, in particular, the nearby, renowned planned development of Forest Hills Gardens. In Queens, the firehouses of the earlier century, constructed for the volunteer companies that once protected the borough, were often wood-sided structures with pitched roofs, similarly evocative of residential construction. Thus, while Firehouse, Engine Company 305, Hook & Ladder Company 151 exhibits an unusual appearance for a firehouse from this time period, it was apparently not unheard of for Queens firehouses to be designed in harmony with their surrounding communities. Though the blocks immediately around the new firehouse were still undeveloped in 1924, nearby Forest Hills Gardens, universally praised for the high-quality of its design, had been completed more than a decade earlier. With the steady, continued development of the neighborhood throughout the 1910s and 20s, it is possible that there was pressure from the surrounding community that the firehouse be designed to the same high standards of the existing development. The small, inward-facing, Tudor Revival style developments of Arbor Close and Forest Close, which are adjacent to the firehouse and were completed shortly following its construction, aesthetically emulate Forest Hills Gardens and seem to similarly point to local pressure for carefully planned development in the Forest Hills neighborhood during this era.

 

Upon the November 1924 opening of Firehouse, Engine Company 305, Hook & Ladder Company 151, Hubert J. Treacy, chief of the Bureau of Repairs and Supplies for the fire department noted it as “the most pretentious fire engine house in the Greater City.” On the eve of its official dedication, the building was recognized in at least two local papers, the Flushing Evening Journal and the Long Island Daily Star, for having been “constructed to harmonize with the architecture of the surrounding community.” The building was even mentioned several years later, in a 1931 local newspaper article reacting to a pair of apparently unattractive, recently-constructed firehouses which the author notes as “painful to the eye.” The author of the article makes a call for more firehouses in Queens to harmonize with their environments, and mentions only one firehouse - Firehouse, Engine Company 305, Hook & Ladder Company 151 - as an example of how a firehouse “can be good to look upon and in harmony with its surroundings, without the sacrifice of any considerations of usefulness.”

 

Nearly 90 years after its construction, the Forest Hills firehouse continues to serve as the home of Engine Company 305 and Hook & Ladder Company 151, operating under the motto “Pride of the Hills.” Completed at a time when much of the surrounding area was still in the process of being developed, today the firehouse is at once a striking presence along the Queens Boulevard streetscape and a well-integrated constituent of this vibrant residential neighborhood. It is also an outstanding example of a functional structure whose design also enhances the character of its surroundings. Even as the Forest Hills neighborhood underwent some large-scale redevelopment during the mid-century, the firehouse has experienced very few changes in its appearance. Firehouse, Engine Company 305, Hook & Ladder Company 151 remains a well-preserved, remarkable example of both innovative firehouse architecture, as well as a success story for carefully-considered, forward thinking contextual design.

 

John R. Sliney (c. 1873-1953)

 

As a result of the fire department’s shift away from using well-known architects in the design of its firehouses towards utilization of in-house architects during the 1920s, many of the firehouses built during this era are not clearly attributed to specific architects. At the time of its construction, the design of Firehouse, Engine Company 305, Hook & Ladder Company 151 was credited in local papers to John R. Sliney, head building inspector for the fire department. There is some confusion, however, as to whether Sliney, who was never a registered architect in New York, actually designed the firehouse himself, or whether it was designed by an architect employed within the buildings division of the FDNY.

 

Little is known about Sliney, his career, or education. It is known that Sliney began his career within the plumbing industry, and he is noted on the 1910 United States Census as a “plumber, inspector” for the fire department. His 1953 obituary in the New York Times notes that he became an inspector for the “Tenement House Department” in 1902 and that he joined the fire department four years later as an inspector in the “division of buildings.” It appears that he remained at the fire department for nearly three decades, retiring in 1933. Sliney’s obituary further notes that Sliney “headed the [building] division for many years, in which capacity he was in charge of the erection of 70 fire houses.”

 

In articles printed in the Flushing Evening Journal and in the Long Island Daily Star on the eve of the opening of Firehouse, Engine Company 305, Hook & Ladder Company 151, Sliney is specifically credited with having drawn the plans for the building. He is also noted as the building’s architect on the docket record for the new building application filed with the New York City Department of Buildings (NB 11218-1922). Though Sliney was noted in several publications, including the New York Times, and on other new building applications filed with the Department of Buildings, as the architect responsible for several firehouses in Queens, Brooklyn, and the Bronx during his term at the FDNY, the fact remains that he continues to be listed as a “building inspector” with the fire department as late as the 1930 United States Census, and not as an architect. There is also little evidence that Sliney had any architectural training. It is therefore unlikely that Sliney was the sole person responsible for the design of Firehouse, Engine Company 305, Hook & Ladder Company 151, though he certainly played a role in its construction as head of the buildings division.

 

Description

 

The two and two-and-a-half story firehouse is an asymmetrically-massed red brick building with three visible and one partially visible elevation. The building is clad in red-brick laid in a Flemish bond and enlivened by decorative limestone details and subtle patterned brickwork. The massing of the building is accentuated by steep gables clad with copper standing-seam roofs, prominent square towers (a stair tower and a hose-drying tower) featuring round-arched window openings, and a slender chimney rising nearly a story above the western elevation. The firehouse’s main vehicular bay is located along the north (Queens Boulevard) facade.

 

Historic:

 

North (Queens Boulevard) Facade: Two-and-a-half stories; steeply pitched gable at main portion of building; hipped roofs at towers; large vehicular bay; limestone frieze at vehicular bay reading “305 Engine” and “H&L CO. 151”; modest limestone cornice above frieze supported on large scroll bracket at center; metal balconette with stylized fire department shield at railing above main vehicular bay, supported on paired, decorative metal brackets; limestone details throughout, including stringcourses, lintels, keystones, and coping; stylized brick pilasters with limestone capitals at hose-drying tower; masonry water table; rectangular window openings at main portion of building; round-arched vent at main portion of building; round-arched window openings at towers; four-over-one double-hung sashes at rectangular window openings; one-over-one double-hung sashes with round-arched upper sashes at remaining window openings; rectangular cast-iron plaque to right of main vehicular bay at first story.

 

West (75th Avenue) Facade: Similar to north (Queens Boulevard) facade; hipped roof with brick corbelling at roofline of main portion of building; two-over-four-over-one triple-hung sashes at first-story paired window openings; four-over-one double-hung sashes at other rectangular window openings; multi-paned sashes and one-over-one double hung sashes at hose-drying tower; one-over-one double-hung sashes with round-arched upper sashes at stair tower.

 

South Facade: Similar to east (75th Avenue) facade; no window or door openings at tower; braced canopy towards eastern end of facade at first story.

 

East Facade: Partially visible; similar to west (75th Avenue) facade

 

Alterations:

 

Repointed; painted water table; portions of metal balconette painted red; original wood windows appear to have been replaced after c. 1965 (new windows match historic sash configurations, see facade descriptions); panning at window openings (all facades); window-screen hinges at most window openings (one window screen at north (Queens Boulevard) facade and several at west (75 th Avenue) facade); filled-in upper sashes of first-story window openings at outer bays of main portion of building at west (75th Avenue) facade; partially filled-in upper sash of westernmost first-story window opening at south facade (multi-paned upper sash lowered, not removed); metal air-conditioner brackets suspended from several window openings at west (75th Avenue), east and south facades; doors replaced at vehicular bay and at first-story entries at all facades; single steps at door openings painted at all facades; brass numbers “111-06” affixed to east of vehicular bay; light fixtures flanking main vehicular bay replaced; other non-historic light fixtures affixed at all facades; metal boxes affixed at first story of west (75 th Avenue) facade; projecting metal enclosure at through-wall vent above door opening at south facade; metal armatures at first and second stories towards western end of south facade; metal bar affixed at first story of hose-drying tower at west (75th Avenue) facade; large duct affixed towards eastern end of south facade; non-original pipe affixed at first story towards southern end of east facade; wiring and conduit at west (75th Avenue) facade; wiring, conduit, electrical boxes and satellite dish at south facade; chain-link fence at entrance to alley alongside eastern facade

 

Site:

 

The firehouse is situated on a corner lot and is surrounded by minimal landscaping, consisting of planted shrubbery and a free-standing flagpole at the intersection of Queens Boulevard and 75 th Avenue. There is a paved area for parking alongside the south facade of the firehouse, as well as a fence-enclosed portion of the tax lot presently used for recreation.

 

- From the 2012 NYCLPC Landmark Designation Report

 

Ern and Delsie Martin Collection. CCLS

Forest Hills, Queens, New York City, New York, United States

 

The Firehouse, Engine Company 305, Hook & Ladder Company 151, in Forest Hills, Queens, was constructed by the Fire Department of the City of New York in 1924. The firehouse was intended to serve the growing population of the Forest Hills neighborhood, which had seen a boom in residential construction following World War I. The large, two and two-and-a-half story Neo-Medieval style firehouse is clad in red brick laid in a Flemish bond and enlivened with decorative limestone details and subtle patterned brickwork.

 

The asymmetrical massing of the building is accentuated by steep gables clad with copper standing-seam roofs, two prominent square towers (a stair tower and a hose-drying tower) featuring round-arched window openings, and a slender chimney rising nearly a story above the western elevation. The innovative design of this firehouse has been attributed to John R. Sliney, head building inspector for the fire department, during whose tenure approximately 70 firehouses were constructed throughout the five boroughs. The firehouse, which has experienced remarkably few changes in the 90 years since its construction, continues to serve the Forest Hills community today. It is at once a striking presence along the Queens Boulevard streetscape and a well-integrated constituent of this vibrant residential neighborhood.

 

DESCRIPTION AND ANALYSIS

 

Firefighting in New York

 

Even in the colonial period, the government of New York took the possibility of fire very seriously. Under Dutch rule all men were expected to participate in firefighting activities. After the English took over, the Common Council organized a force of 30 volunteer firefighters in 1737. They operated two Newsham hand pumpers that had recently been imported from London. By 1798, the Fire Department of the City of New York (FDNY), under the supervision of a chief engineer and six subordinates, was officially established by an act of the state legislature.

 

As the city grew, this force was augmented by new volunteer companies. In spite of growing numbers of firefighters and improvements in hoses and water supplies, fire was a significant threat in an increasingly densely built up city. Of particular significance was the “Great Fire” of December 16-17, 1835, which caused more damage to property than any other event in New York City. The damages resulting from several major fires which occurred between 1800 and 1850 led to the establishment of a building code, and an increase in the number of firemen from 600 in 1800 to more than 4,000 in 1865. Despite rapid growth, the department was often criticized for poor performance. Intense competition between companies began to hinder firefighting with frequent brawls and acts of sabotage, often at the scenes of fires. During the Civil War, when fire personnel became harder to retain, public support grew for the creation of a professional firefighting force, similar to that which had been established in other cities and to the professional police force that had been created in New York in 1845.

 

In May 1865, the New York State Legislature established the Metropolitan Fire District, comprising the cities of New York (south of 86th Street) and Brooklyn. The act abolished the volunteer system and created the Metropolitan Fire Department, a paid professional force under the jurisdiction of the state government. By the end of the year, the city’s 124 volunteer companies with more than 4,000 men had retired or disbanded, to be replaced by 33 engine companies and 12 ladder companies operated by a force of 500 men. Immediate improvements included the use of more steam engines, horses, and a somewhat reliable telegraph system. A military model was adopted for the firefighters, which involved the use of specialization, discipline, and merit. By 1870, regular service was extended to the “suburban districts” north of 86th Street and expanded still farther north after the annexation of parts of the Bronx in 1874. New techniques and equipment, including taller ladders and stronger steam engines, increased the department’s efficiency, as did the establishment, in 1883, of a training academy for personnel. The growth of the city during this period placed severe demands on the fire department to provide services, and in response the department undertook an ambitious building campaign.

 

The area served by the FDNY nearly doubled after consolidation in 1898, when the departments in Brooklyn and numerous communities in Queens and Staten Island were incorporated into the city. For several decades after consolidation, the independent volunteer fire companies already extant in these communities continued to serve in areas where there was insufficient population to justify the establishment of paid units. The volunteer companies were systematically disbanded as the city’s population continued to grow, with paid departments taking their place. In the decades that ensued, the fire department acquired more modern apparatus and motorized vehicles, reflecting, among other demands, the need for faster response to fires in taller buildings. Throughout the 20th century, the FDNY has continued endeavoring to keep up with the evolving city and its firefighting needs.

 

Firehouse Design

 

By the early 20th century, the New York City firehouse as a building type had evolved from the wooden storage shed used during the 17th century to an imposing architectural expression of civic character. As early as 1853, Marriott Field had argued in his City Architecture: Designs for Dwelling

 

Houses, Stores, Hotels, etc. for symbolic architectural expression in municipal buildings, including firehouses. The 1854 Fireman’s Hall, with its highly symbolic ornamentation reflected this approach, using flambeaux, hooks, ladders, and trumpets for its ornament.

 

Between 1880 and 1895, Napoleon LeBrun & Son served as the official architectural firm for the fire department, designing 42 firehouses in a massive effort to modernize the facilities and to accommodate the growing population of the city. Although the firm’s earliest designs were relatively simple, later buildings were more distinguished and more clearly identifiable as firehouses.

 

While the basic function and requirements of the firehouse were established early in its history, LeBrun is credited with standardizing the program, and introducing some minor, but important, innovations in the plan. Placing the horse stalls in the main part of the ground floor to reduce the time needed for hitching horses to the apparatus was one such innovation. LeBrun is also credited with the creation of vertical hose-drying towers to accommodate this necessary activity in a space-saving manner. Firehouses were usually located on mid-block sites because these were less expensive than more prominent corner sites. Since the sites were narrow, firehouses tended to be three stories tall, with the apparatus on the ground story and rooms for the company, including dormitory, kitchen and captain’s office, above.

 

After 1895, the fire department commissioned a number of well-known architects to design firehouses. Influenced by the classical revival which was highly popular throughout the country, New York firms such as Hoppin & Koen, Flagg & Chambers, and Horgan & Slatterly created facades with bold, classical style designs. After 1910 there was a Georgian revival in civic design, and red brick firehouses in that general style were built in large numbers throughout New York through at least 1930, with later firehouses incorporating elements of the Art Deco and Moderne styles through at least 1940. During this era, the department appears to have transitioned away from the well-known architects of the previous decades towards utilization of in-house architects employed within the buildings division of the department, largely to lower expenses.

 

Growth of Queens and Forest Hills

 

Much of the early development of Queens followed the patterns established in the rest of New York City. The first known European settlements were in the Astoria, Hunters Point, and Dutch Kills area of Long Island City. Queens remained rural and sparsely settled through the 1850s, when land speculation began in Maspeth, Corona, and Hunters Point. Still, development and urbanization of Queens progressed slowly in the ensuing decades. Near the end of the 19th century, western Queens and the Rockaway beaches attracted people for their leisure-time activities, while manufacturers opened factories at Whitestone, Woodhaven, and College Point because of the cheaper land available there.

 

At the time of its consolidation with New York City, the area that became the Borough of Queens had a population of only 152,999 people - due in large part to the region’s inaccessibility. Although the first train line between Atlantic Avenue in Brooklyn and Jamaica, Queens began as early as 1836, and a few other routes were established through Queens to other parts of Long Island in the 1850s, 60s, and 70s, train travel was limited. The Pennsylvania Railroad purchased the Long Island Railroad in 1900 and electrified the trains through Queens in 1905-08. However, the trains all had to connect by ferry to Manhattan until 1909 when the Queensborough Bridge opened. In 1910, the Pennsylvania Railroad opened its tunnels under the East River, finally establishing Queens as an attractive location within easy commuting distance to Manhattan. Following this innovation, the population of the borough nearly doubled to 284,041. Other improvements soon followed, including a dramatically enlarged road system and the development of towns and buildings. St. Albans and Bellerose, followed closely by Auburndale, Beechhurst, and Forest Hills, were among the many residential areas developed during the early years of the 20th century.

 

In 1906, developer Cord Meyer who had previously been active in the Elmhurst section of Queens, purchased 600 acres (comprising the land of six farms) in the area known as the Hopedale section of Whitepot. Changing the name to Forest Hills because of its high ground and its proximity to the beautiful terrain of Forest Park, he began to lay out streets, install utilities, and construct the first houses. To encourage sales, Meyer’s company ran horse-drawn stages to Forest Hills from the closest train station in Elmhurst. By 1908, the Long Island Railroad was running three steam-driven trains a day with a local stop at Austin Street and Roman Avenue.

 

In 1906, the Russell Sage Foundation purchased 160 acres of land south of the railroad line with the intent to develop a “modern suburban development” to contrast with the overcrowding, squalor and chaos of residential districts in Manhattan. The proposed development, Forest Hills Gardens, was the collaborative creation of landscape architect and planner Frederick Law Olmsted, Jr. and the architect and housing reform activist Grosvenor Atterbury. Together they conceived of a picturesque enclave of homes, schools, churches, and businesses that would, upon completion in 1909-10, be widely publicized across the country as a modern Arcadia - a place where people of “moderate income and good taste... might find some country air and country life within striking distance of the active centers of New York.” The completed development consisted of a brick-paved square shaded by trees built in front of the train station, a clock tower, arched passageways, and garden apartments built to resemble a row of country inns along narrow, winding roads that discouraged through-traffic.

 

The electrification of the Long Island Railroad in 1909 and the opening of the Queensborough Bridge that same year further advanced the development of the Forest Hills neighborhood. Queens Boulevard, the major thoroughfare that runs through the neighborhood, was widened in 1913, spurring Cord Meyer to improve his remaining acreage. By 1921, Meyer’s company had constructed some 200 homes, and several apartment buildings. Within Forest Hills Gardens, a number of brick houses of both modest and luxury scale were constructed between 1910 and 1917, followed by the first apartment building - the Forest Arms - in 1924. The world-famous West Side Tennis Club, home of the U. S. Open Tennis Tournament for many years, was constructed in Forest Hills in 1923. The small, inward-facing developments of Arbor Close and Forest Close, which aesthetically emulate the nearby Forest Hills Gardens and which abut the site of the Firehouse, Engine Company 305, Hook & Ladder Company 151, were completed in 1925 and 1927, respectively. The IND Subway line, which opened with a stop at Queens Boulevard and Continental Avenue in 1936, was another major improvement that guaranteed the continued growth of the area.

 

Firehouse, Engine Company 305, Hook & Ladder Company 151

 

The Firehouse, Engine Company 305, Hook & Ladder Company 151 was dedicated on November 15, 1924 in Forest Hills, Queens. The two companies that would occupy the building, Engine Company 305 and Hook & Ladder Company 151, were officially organized on the same day the firehouse opened, assigned to the 46th Battalion, 13th Division of the Fire Department of the City of New York. In contrast to statements made in the early part of the century, by the 1920s, the fire department found there to be a “great need” for new firehouses in this, and other growing Queens neighborhoods. It announced intentions to extend the paid fire department into Forest Hills, and in 1923 it awarded a contract in the amount of $77,713 for construction of a new firehouse on Queens Boulevard. The site for the firehouse appears to have been acquired in 1922, along with sites for firehouses in several other Queens communities, including Bayside, Queens Village, Jamaica, and Jackson Heights, as well as sites for firehouses in Brooklyn and “Westchester.” As noted in the 1924 Annual Report of the FDNY:

 

The development of certain sections of Brooklyn and Queens has made it imperative to extend the activities of this department. To keep abreast of times it has been necessary to have new firehouses constructed.

 

Fire loss statistics during this era further underscore the increased need for fire protection throughout Queens, with losses doubling from $1.372 million in 1921 to $2.744 million in 1922.

 

In contrast to the preceding decades, by the 1920s, the FDNY had transitioned away from commissioning well-known architects to design its firehouses in favor of utilizing in-house staff. In the 1922 Annual Report of the FDNY, in which the approval for construction of several firehouses, including the one in Forest Hills, was discussed, it was noted that the “plans [for the firehouses] have been prepared by the Department and therefore there will be no architect employed in connection with the erection of these buildings.” This was reiterated in the 1924 Annual Report, which announced the completion of several firehouses, including the Forest Hills structure, citing that “the plans and specifications for these buildings have been prepared by this bureau, as has been the practice since this administration came into power, and thus the fees of architects were saved.”

 

By the 1920s, the Georgian Revival style had became popular for the design of firehouses throughout New York. Employing red brick facades with engaged pilasters, flat roofs, and limestone details, the firehouses of this type were typically compactly massed to conform to the rectangular tax lots of the city. Unlike its contemporaries, Firehouse, Engine Company 305, Hook & Ladder Company 151 was not constructed in the dominant firehouse style of the time. In this way, the design of the Forest Hills firehouse, with its large scale and near-ecclesiastical appearance, is remarkable. The building is designed in a Neo-Medieval style and is prominently located on a corner lot.

 

It features asymmetrical massing accentuated by steep gables clad with copper standing-seam roofs, two prominent square towers (a stair tower and a hose-drying tower) featuring round-arched window openings, and a slender chimney rising nearly a story above the western elevation. The building is strongly suggestive of religious, not civic architecture, particularly in the steep pitch of its roofs and the height of the hose-drying tower, itself reminiscent of a church bell tower. The only aesthetic connection between the Forest Hills firehouse and its contemporaries appears to be the use of similar primary materials - namely red brick and limestone, utilized here to a very different effect.

 

One explanation for the very different appearance of Firehouse, Engine Company 305, Hook & Ladder Company 151 might be attributed to an evolution in firehouse design that resulted from a shift in requirements. Over the decades, the height of firehouses has been subject to variation, with earlier buildings typically three, or even four, stories in height in order to address the needs of heavily developed areas where land prices made taller buildings more economically viable. However, as fire protection was extended to lower density, suburban areas, such as Forest Hills, lower, less compact buildings became not only possible, but desirable. The taller firehouses meant more opportunities for firemen to be injured sliding on poles, while the shorter firehouses mean fewer flights of stairs to climb or to run. Moreover, once firemen were no longer required to reside full time in the firehouses, different space configurations were required within the buildings. To keep up with advancements in firehouse design, the Forest Hills firehouse was constructed to include a kitchen for the firemen and air-tight doors to “protect the firemen asleep in the dormitory from the danger of gasoline exhaust fumes and to confine the heat to the apparatus floor, so that the motors will always be warm and ready for instant use.”

 

Changes in firehouse requirements alone, however, do not seem to account for the unusual appearance of Firehouse, Engine Company 305, Hook & Ladder Company 151. It is far more likely that the design of the building was the result of efforts to contextualize the new firehouse within the growing residential community of Forest Hills and, in particular, the nearby, renowned planned development of Forest Hills Gardens. In Queens, the firehouses of the earlier century, constructed for the volunteer companies that once protected the borough, were often wood-sided structures with pitched roofs, similarly evocative of residential construction. Thus, while Firehouse, Engine Company 305, Hook & Ladder Company 151 exhibits an unusual appearance for a firehouse from this time period, it was apparently not unheard of for Queens firehouses to be designed in harmony with their surrounding communities. Though the blocks immediately around the new firehouse were still undeveloped in 1924, nearby Forest Hills Gardens, universally praised for the high-quality of its design, had been completed more than a decade earlier. With the steady, continued development of the neighborhood throughout the 1910s and 20s, it is possible that there was pressure from the surrounding community that the firehouse be designed to the same high standards of the existing development. The small, inward-facing, Tudor Revival style developments of Arbor Close and Forest Close, which are adjacent to the firehouse and were completed shortly following its construction, aesthetically emulate Forest Hills Gardens and seem to similarly point to local pressure for carefully planned development in the Forest Hills neighborhood during this era.

 

Upon the November 1924 opening of Firehouse, Engine Company 305, Hook & Ladder Company 151, Hubert J. Treacy, chief of the Bureau of Repairs and Supplies for the fire department noted it as “the most pretentious fire engine house in the Greater City.” On the eve of its official dedication, the building was recognized in at least two local papers, the Flushing Evening Journal and the Long Island Daily Star, for having been “constructed to harmonize with the architecture of the surrounding community.” The building was even mentioned several years later, in a 1931 local newspaper article reacting to a pair of apparently unattractive, recently-constructed firehouses which the author notes as “painful to the eye.” The author of the article makes a call for more firehouses in Queens to harmonize with their environments, and mentions only one firehouse - Firehouse, Engine Company 305, Hook & Ladder Company 151 - as an example of how a firehouse “can be good to look upon and in harmony with its surroundings, without the sacrifice of any considerations of usefulness.”

 

Nearly 90 years after its construction, the Forest Hills firehouse continues to serve as the home of Engine Company 305 and Hook & Ladder Company 151, operating under the motto “Pride of the Hills.” Completed at a time when much of the surrounding area was still in the process of being developed, today the firehouse is at once a striking presence along the Queens Boulevard streetscape and a well-integrated constituent of this vibrant residential neighborhood. It is also an outstanding example of a functional structure whose design also enhances the character of its surroundings. Even as the Forest Hills neighborhood underwent some large-scale redevelopment during the mid-century, the firehouse has experienced very few changes in its appearance. Firehouse, Engine Company 305, Hook & Ladder Company 151 remains a well-preserved, remarkable example of both innovative firehouse architecture, as well as a success story for carefully-considered, forward thinking contextual design.

 

John R. Sliney (c. 1873-1953)

 

As a result of the fire department’s shift away from using well-known architects in the design of its firehouses towards utilization of in-house architects during the 1920s, many of the firehouses built during this era are not clearly attributed to specific architects. At the time of its construction, the design of Firehouse, Engine Company 305, Hook & Ladder Company 151 was credited in local papers to John R. Sliney, head building inspector for the fire department. There is some confusion, however, as to whether Sliney, who was never a registered architect in New York, actually designed the firehouse himself, or whether it was designed by an architect employed within the buildings division of the FDNY.

 

Little is known about Sliney, his career, or education. It is known that Sliney began his career within the plumbing industry, and he is noted on the 1910 United States Census as a “plumber, inspector” for the fire department. His 1953 obituary in the New York Times notes that he became an inspector for the “Tenement House Department” in 1902 and that he joined the fire department four years later as an inspector in the “division of buildings.” It appears that he remained at the fire department for nearly three decades, retiring in 1933. Sliney’s obituary further notes that Sliney “headed the [building] division for many years, in which capacity he was in charge of the erection of 70 fire houses.”

 

In articles printed in the Flushing Evening Journal and in the Long Island Daily Star on the eve of the opening of Firehouse, Engine Company 305, Hook & Ladder Company 151, Sliney is specifically credited with having drawn the plans for the building. He is also noted as the building’s architect on the docket record for the new building application filed with the New York City Department of Buildings (NB 11218-1922). Though Sliney was noted in several publications, including the New York Times, and on other new building applications filed with the Department of Buildings, as the architect responsible for several firehouses in Queens, Brooklyn, and the Bronx during his term at the FDNY, the fact remains that he continues to be listed as a “building inspector” with the fire department as late as the 1930 United States Census, and not as an architect. There is also little evidence that Sliney had any architectural training. It is therefore unlikely that Sliney was the sole person responsible for the design of Firehouse, Engine Company 305, Hook & Ladder Company 151, though he certainly played a role in its construction as head of the buildings division.

 

Description

 

The two and two-and-a-half story firehouse is an asymmetrically-massed red brick building with three visible and one partially visible elevation. The building is clad in red-brick laid in a Flemish bond and enlivened by decorative limestone details and subtle patterned brickwork. The massing of the building is accentuated by steep gables clad with copper standing-seam roofs, prominent square towers (a stair tower and a hose-drying tower) featuring round-arched window openings, and a slender chimney rising nearly a story above the western elevation. The firehouse’s main vehicular bay is located along the north (Queens Boulevard) facade.

 

Historic:

 

North (Queens Boulevard) Facade: Two-and-a-half stories; steeply pitched gable at main portion of building; hipped roofs at towers; large vehicular bay; limestone frieze at vehicular bay reading “305 Engine” and “H&L CO. 151”; modest limestone cornice above frieze supported on large scroll bracket at center; metal balconette with stylized fire department shield at railing above main vehicular bay, supported on paired, decorative metal brackets; limestone details throughout, including stringcourses, lintels, keystones, and coping; stylized brick pilasters with limestone capitals at hose-drying tower; masonry water table; rectangular window openings at main portion of building; round-arched vent at main portion of building; round-arched window openings at towers; four-over-one double-hung sashes at rectangular window openings; one-over-one double-hung sashes with round-arched upper sashes at remaining window openings; rectangular cast-iron plaque to right of main vehicular bay at first story.

 

West (75th Avenue) Facade: Similar to north (Queens Boulevard) facade; hipped roof with brick corbelling at roofline of main portion of building; two-over-four-over-one triple-hung sashes at first-story paired window openings; four-over-one double-hung sashes at other rectangular window openings; multi-paned sashes and one-over-one double hung sashes at hose-drying tower; one-over-one double-hung sashes with round-arched upper sashes at stair tower.

 

South Facade: Similar to east (75th Avenue) facade; no window or door openings at tower; braced canopy towards eastern end of facade at first story.

 

East Facade: Partially visible; similar to west (75th Avenue) facade

 

Alterations:

 

Repointed; painted water table; portions of metal balconette painted red; original wood windows appear to have been replaced after c. 1965 (new windows match historic sash configurations, see facade descriptions); panning at window openings (all facades); window-screen hinges at most window openings (one window screen at north (Queens Boulevard) facade and several at west (75 th Avenue) facade); filled-in upper sashes of first-story window openings at outer bays of main portion of building at west (75th Avenue) facade; partially filled-in upper sash of westernmost first-story window opening at south facade (multi-paned upper sash lowered, not removed); metal air-conditioner brackets suspended from several window openings at west (75th Avenue), east and south facades; doors replaced at vehicular bay and at first-story entries at all facades; single steps at door openings painted at all facades; brass numbers “111-06” affixed to east of vehicular bay; light fixtures flanking main vehicular bay replaced; other non-historic light fixtures affixed at all facades; metal boxes affixed at first story of west (75 th Avenue) facade; projecting metal enclosure at through-wall vent above door opening at south facade; metal armatures at first and second stories towards western end of south facade; metal bar affixed at first story of hose-drying tower at west (75th Avenue) facade; large duct affixed towards eastern end of south facade; non-original pipe affixed at first story towards southern end of east facade; wiring and conduit at west (75th Avenue) facade; wiring, conduit, electrical boxes and satellite dish at south facade; chain-link fence at entrance to alley alongside eastern facade

 

Site:

 

The firehouse is situated on a corner lot and is surrounded by minimal landscaping, consisting of planted shrubbery and a free-standing flagpole at the intersection of Queens Boulevard and 75 th Avenue. There is a paved area for parking alongside the south facade of the firehouse, as well as a fence-enclosed portion of the tax lot presently used for recreation.

 

- From the 2012 NYCLPC Landmark Designation Report

 

In this view taken on Sunday, July 19th, currently the southern-most Waitomo fuel stop in New Zealand at Foxton's Tasman Fish & Cafe on SH1, which, when opened on Friday, July 10th, 2015, saw an end to the Foxton fuel price monopoly that Foxton Mobil has enjoyed since the closure of the pumps at Foxton BP on July 18th, 2008.

The opening of Foxton's new fuel facility saw Mobil, about a kilometre north on SH1, drop their price from $2.04c a litre for 91 octane to $1.93c in order to compete with the $1.89c that was the Waitomo opening price. (Foxton Mobil offer a 4c a litre discount with a New World fuel voucher which is currently seeing Foxton New World issued 4c discount fuel vouchers for even minimum purchases.)

The Waitomo fuel stop opening also saw Foxton fuel prices better that than in nearby Levin and Palmerston North and plans are to add another four pumps to the new Waitomo fuel outlet.

In the background is the deMolen Dutch windmill.

 

CHEAP FUEL AGAIN IN FOXTON

17/07/2015

Almost seven years to the day the fuel pumps at the service station at the south end of Foxton were closed, petrol is once again flowing onsite.

On July 18 2008, the local BP station officially switched off its pumps, leaving the town with just one fuel outlet at the north end of Foxton.

Kevin Gunther took over the site two and a half years ago and opened Tasman Fish and Cafe. He later added a motor vehicle workshop and a laundromat, which were joined last Friday by Waitomo Foxton, a pay-at-the-pump site offering petrol and diesel.

"We're open 24 hours a day, seven days a week and we're offering the cheapest fuel prices around. We've got petrol at $1.89 per litre and diesel at $1.15," said Kevin.

"There's plenty of truck parking and we've got great food and friendly service. People are also coming in to use the laundromat so it's great to be able to offer the fuel as well."

The site is already proving popular, with locals and visitors alike lining up throughout the day for fuel. Kevin says when the pumps started operating last Friday people were filling cans as well as their cars, mistakenly believing the low prices were an opening day special.

"We started pumping at 3.30pm and it's been amazing really. By Saturday afternoon we had to order our second lot of fuel, way earlier than we would have thought. People can't believe the low prices and it's great for the whole town, especially for businesses."

Carole Fafeita of Foxton was filling her car on Tuesday and said the low prices were excellent.

"It was a monopoly here so it's about time someone came in and gave us some competition. I told my husband he had to fill up here too," she said.

Kevin says when he first began looking into the possibility of adding fuel pumps to the site he had never heard of Waitomo branded petrol.

"They weren't the first people I talked with but once I found them there was no need to talk to anyone else. I'd do it all again with them. They are kiwi and family owned, just like my business."

Waitomo was founded in 1947 by Desmond Ormsby of Te Kuiti. Before the transport and oil industries in New Zealand became deregulated, Waitomo operated exclusively in the Waitomo District.

The company has now grown to become one of the country's largest independent suppliers of petroleum products.

Following a period of joint ownership between the Ormsby family and Mobil Oil New Zealand, Waitomo reverted back to 100 per cent kiwi family ownership in 2003.

Within the next two weeks Kevin is planning an official opening and says there will be some giveaways. - Horowhenua Chronicle, July 17, 2015

 

PETROL PUMPS OFF AS FOXTON BP WINDS UP

22/07/2008

Foxton shoppers who cherish their discount fuel vouchers will now have to travel at least 20km to cash them in.

On Friday [18 July 2008] the local BP petrol station officially switched off its pumps in preparation for shutting-up shop for good.

The closure is a blow to residents who buy their groceries at the local New World, which offers a discount at BP on its dockets.

Local New World owner-operator George Samson had not been warned the BP was closing, and said he was "shocked" by the news, and disappointed for his customers.

The discount vouchers were important to a lot of people, but now they would be worthless because people would have to travel to Levin or Palmerston North to use them, he said.

"Now my customers are going to say they're a waste of time, because I have to spend money to try and save money."

But he did not expect there to be any long-term effects on his business.

Jean and Stuart Marshall have owned the BP for 20 years and had about 10 employees, who were a mix of full and part-time.

While the pumps were off, the shop was remaining open until remaining stock was cleared, Mrs Marshall said yesterday.

She would not say why they had decided to close.

"I'd prefer not to make any comments."

Soaring fuel costs had made life hard though, she said.

"Petrol pricing is an issue that affects everybody, and margins are almost non-existent for independent operators. It makes it very difficult."

An armed robbery in May had played a role in the decision, but was not the deciding factor, she said.

"We've had several [robberies], and it's all part of the mix."

It was sad having to shut the doors. "Twenty-years of our life here, and we basically built it from a little garage."

They were yet to decide what they would do with the land, and she would not say what would happen to any remaining fuel or the tanks.

BP New Zealand spokeswoman Diana Stretch said they were in negotiations with the Marshalls about the issue.

Mobil Foxton owner Bob Wilkinson said tiny margins and a growing number of drive-offs meant it was a hard business to be now.

They had been marginally busier since the closure, but he was sad to see the competition closing.

"I'd rather see both of us thriving, but in the present climate it's very difficult to do that." - Manawatu Standard

Source: en.wikipedia.org/wiki/Greenville,_Illinois

 

Greenville is a city in Bond County, Illinois, United States, 51 miles (82 km) east of St. Louis. The population as of the 2010 census was 7,000. It is the county seat of Bond County.

 

Greenville is part of the St. Louis Metropolitan Statistical Area. It is also considered part of the Metro East region of Illinois.

 

Greenville celebrated its Bicentennial in 2015 as one of the oldest communities in Illinois. It is home to Greenville University, the Richard Bock Museum, the American Farm Heritage Museum, the Armed Forces Museum and the Demoulin Museum and a federal prison, Federal Correctional Institution, Greenville (FCI Greenville). It is also home to internationally known companies, including Nevco Scoreboard, the largest privately owned scoreboard company in the world, and DeMoulin Brothers, the world's oldest and largest manufacturer of band uniforms.

 

Source: www.americanfarmheritagemuseum.com/about-us.html

 

The American Farm Heritage Museum was one man's dream. The Museum became a reality when a group of men, mostly farmers, sitting in coffee shop, talked about the dream of building a museum to preserve the farm heritage. Sixty farmers, collectors, and civic leaders held a meeting to share their ideas with the public in April of 2002. It was agreed that Bond County, being near the middle of the state and right along 1-70, would be the perfect place. Meetings were conducted, fundraisers were held, and ideas were passed around. In 2002 the land for the museum was acquired and a name for the museum was chosen.

 

The American Farm Heritage Museum would sit on seventeen acres, along the south side of interstate 70, just east of the Route 127 overpass. Its goal would be to promote and share the heritage of America's rural life: living, farming and travel. One very generous family purchased the land and leased it for ninety-nine years to the American Farm Heritage Museum, NFP organization. After a year of planning, the first 32'x64' building, with a gambrel roof, was completed. It was finished just days before the first Heritage Days Show in July 2004. This building, originally was to be a tractor maintenance shop, but later became known as the Lil' Red Barn Museum.

 

In the winter of 2005, owners of a truck terminal building in St. Louis gave the building to the Museum, if we took it down. Several members went to work and got the 200'x100' building moved and rebuilt. Since then other buildings and groups have been added to the show grounds.

 

We are growing with each passing year. Our Main building is the site of numerous events throughout the year. The Lil' Red Barn is a little piece of history, with collections of items from the past. In 2009 this building received the Illinois Governor's Home Town Award. The Tractor Shed displays different makes of tractors and tools of the past. Our Christmas building, which operates as a work shop and houses all the Christmas boxes for The Christmas Lights Wonderland, partners with The Lil' Red Barn, Railroad, Hill's Fort and the Armed Forces Museum to put on a spectacular Christmas display.

 

The American Heritage Railroad, established in 2003 is a division of the American Farm Heritage Museum. Many rail-enthusiast members realized as farms were connected by the American Railroad so should the Museum have an operating railroad for its historic value, as well as provide a fun ride for visitors. May 10, 2005 the railroad division was officially formed and an intensive search began to procure equipment. Many thousands of hours of volunteer labor, by friends of the railroad, have resulted in over a mile of 13" gauge track being laid, on the grounds. It is our desire to honor the great railroads that have served Bond County, such as the Vandalia, Nickel Plate, Pennsylvania and CB & Q. In 2005 the Ben Winter's Museum railroad was purchased which provided a G-15 diesel train set. The final move of the Ben Winter's railroad was completed in November, in three days with 20 volunteers, 9 trailers and one semi-truck. The collection has grown to include both diesel and steam engines and a variety of rolling stock. The railroad owns three steam locomotives. It is hoped the 1926 Wagner 4-4-2 steam engine will be ready for operation for the 2015 season.

 

2005 Hill's Fort also joined the Museum. Hill's Fort played an important part in the opening of Northwest Territory. Hill's Fort may have started as early as 1806 when early settlers first arrived. The Fort's location appears on an 1808 survey map by Capt. Isaac Hill, leader of a team commissioned by President Thomas Jefferson to survey the Illinois Territory. The Legislature fixed Hill's Fort as the temporary county seat. Earliest records are preserved from Hill's Fort and include court and marriage dockets. The Bond County seat was later moved to Perrysville and, in 1821 to Greenville, Illinois. No longer useful as a fort or county seat, Hill's Fort was abandoned and fell to ruin.

 

Following excruciating study of the original site, a replica of the Fort has been recreated on the grounds of the Farm Museum. It is open to the public on the 1st Saturday of the month from May through October and also open, for tours and special occasions. At Christmas time they are open Friday and Saturday nights for the Christmas lights. They dress in period dress and cook over the open fireplace in the cabin, and are eager to answer questions.

 

In 2012 The Armed Forces Museum, "Memories of Steel", joined our Museum. It maintains as its sole mission, to preserve these important pieces of military history. The Museum houses one of the largest collections of military vehicles in the County. It currently watches over approximately 15 privately-owned and 25 museum-owned vehicles. The members are involved in a program called "Living history" which furnishes displays of t1istoric vehicles and memorabilia and, works with re-enactors at civil events like Armed Forces Day and Veterans Day. Each of these vehicles has an historic story and plays a very important role in connecting us with the soldiers who lived and died in their service to the country.

The NF stands for Not a Ferrari, because there are no Ferraris in Star Wars. Regardless of the fact that this is basically an F1 nose and bargeboards and the rear of a 499P hypercar, this is totally its own Star Wars thing. Right...

 

This was a very fun build. The 499P is my favourite of the current generation hypercars in WEC, and what better way to improve it than to make the spoiler even bigger, slap a V8 in the back, and switch out the yellow for flouro-yellow, which I only have in a few parts, but it suffices for highlights. It really is a powerful colour. I quite like it.

 

I actually dialed down the craziness of the barge boards, hopefully it's less visually all over the place than it was. In fact, I wish they were more visible. I take pictures with hope that they're not appalling, and frequent disappointment when that turns out to be not the case. Oh well.

 

Keep scrolling for pictures of all three current speeders together. Imagine how disheartening it must be to have built your speeder from a junkyard, then rock up to the race and your opponent turns up in this super-streamlined monster with full professional support. Good luck!

 

Next on the docket, and actually almost finished, is a much Star Wars-ier entrant. In fact it's one of the speeders from the upcoming Galactic Racer game. Expect that next week or thereabouts.

A Chinaman named Chin Say Hing, a patient of the Avondale Asylum since 1892, died yesterday at the institution. An inquest was held by Dr. Philson, coroner, when, after hearing the evidence adduced, the jury returned a verdict of "Death from natural causes."

paperspast.natlib.govt.nz/newspapers/NZH18950905.2.54

 

Plot 76: Chin Sai Hing (55) 4/9/1895 – at Asylum *Removed to send to China

 

unmarked grave

 

CHINESE RESURRECTIONISTS AT WAIKUMETE.

DISINTERMENT OF CORPSES.

A GRUESOME SPECTACLE.

Time, 5.30 a.m., on a bitterly cold morning, in Waikumete Cemetery. Half-frozen, a pressman and a photographer attached to the staff of the "Graphic" make their way from the sexton's house to the furthermost corner of the cemetery, where is situated the section for Chinese and Atheists and aliens unprovided for elsewhere. A noise of hammering comes from the section, which is a good half-mile from the Anglican and Presbyterian allotments, and on arrival work found to be in full operation. The reception of our reporter and his photographic confrere is the reverse of friendly, and an immediate wrangle ensues amongst the gravediggers, evidently on the subject of the camera fiend's presence. A Chinese halfcaste European insists on their instant ejectment. The sexton, however, who has been handed proper credentials, proves a firm friend, and insists that he, and not any Chinaman, or half-caste Chinaman, is in change of the cemetery, and that he has his instructions. Things then calm down a trifle, but the work is resumed amidst much grumbling, and many vindictive and malignant glances are cast at the camera, and muttered curses uttered at the photographer as he dodges round looking for a chance shot. Once, indeed, when the shutter clicks, a furious celestial raises his pick in menace, and mutters a threat to do for the intruders, but he thinks better of it, and at the intervention of the European coffinmaker a truce is declared until arrival of "the boss." That individual presently arrives. He scans the permit; gloomily enough, and bids that the photos be taken forthwith, and the photographer and pressman depart. It toeing pointed out that there is no picture yet to take, and seeing that bluff has no effect, all active opposition as at once and finally dropped, and no difficulty put in the way of obtaining pictures or witnessing the proceedings save in giving mendacious information, lighting fires to obscure the graves with smoke, and endeavouring to tire out the patience of the reporters, etc.

By ten o'clock four graves, are opened, but owing to the non-arrival of some solder and zinc from Auckland it, is decided to open only two coffins on this occasion. The first of these contained the corpse of one Kong Shang, who died in 1891, a young Celestial of 36. It was thought that there would be nothing but dry bones there, but the stiff white clay is evidently a preservative, for when the coffin, which is full of water, is opened, it is seen that the bones have a decided covering of what had once been flesh and though drenched in carbolic acid a sickening odour makes itself felt at intervals. Directly an attempt is made to stir the body it all falls to pieces, the decomposed flesh falling off in almost imperceptible flakes, which had doubtless been dust had the grave been dry. Very carefully the impassive Chinaman in the grave rinses and unconcernedly places on a sieve a thigh bone, then some ribs, and a skull, followed by the rest of the bones, minute search, indescribable in print, being made for the smaller bones and joints. It is an intensely gruesome spectacle, and the horror is added to by the indifference to sight and smell or sentiment evinced by the Celestial workmen. The venerable clerk, a fine old fellow, with the face of an ascetic and a student, carefully tallies the bones which, having been rescoured in a large white tub, are finally dried and wrapped up, each duly docketed by the methodical old gentleman, who is evidently a most conscientious and probably deeply religious man. He, too, is fastidiously clean, and does not, one notes, eat as the others do in the midst of their noisome labours. The next body is that of a man who must have been of exceptional stature and weight for a Chinaman, and who has been dead but two years and a-half. There is much difficulty in getting this coffin to the surface, and the opening thereof, and the awful stench which completely dominated all disinfectants when the body was removed to the zinc one prepared by the European tinsmith beggars description, and may be left to the imagination. None of those whose duty called them to be present are likely to forget the experience, or to desire a renewal of the same. The soldering having been completed, it must be admitted no effluvia was discernable. The zinc coffin was then put in a rude case and packed in sawdust ready for shipment. There is no reason to think the zinc coffins will not prove effective and inoffensive under ordinary ciroumstances, and careful usage, but a fall or any accident in loading would, one imagines, have very disastrous effects. The work ceased at noon to-day. Mr Winstanley, Government Sanitary Inspector, is present, and looks after his work in so thorough a manner that no fears need be entertained by settlers or the general public. The pictures secured by the "Graphic" protographer are of a unique nature and the most gruesome details having been omitted, are quite without offence. They will be published on Wednesday.

The custom of the Chinese at home is to disinter bodies after seven years, and place the main bones in a large jar alongside the grave. It is in order to forward the bones to China for relatives to do this that the present exporting of remains is undertaken.

paperspast.natlib.govt.nz/newspapers/AS19020929.2.45

 

THE CHINESE CORPSES

The disinterment of the bodies of the Chinese from cemeteries throughout the colony during last, and the early part of the present month excited a good deal of interest. In Greymouth nearly 200 bodies were "resurrected" and stored in a shed in the cemetery, much to the disgust of the residents, who unsuccessfully protested against the bodies being allowed to remain above ground until the arrival of the Ventnor. The expenses of the removal of the dead Chinese to their native land, where alone their spirits could find perfect peace, was borne by their friends, the undertaking being so costly that, only the wealthier relatives could afford the expenditure, many hundreds of unhappy Celestials being obliged "to lie in cold corruption and to rot" in the cemeteries of the "foreign devil."

The exhumation of all the bodies was carried out by the one party of "resurrectionists," Chinese with a half-caste leader and a European plumber. The Chinamen carried out their gruesome work with the utmost indifference, knocking off to eat their meals immediately after handling the bodies without a thought of nauseation.

Some bodies had been interred about twenty years ago, others within the last year. In the case of those which had been reduced to skeletons the bones were carefully sorted, and packed in boxes ready for shipment. In other cases the flesh had reached an advanced stage of putrefaction, and in these the bones were stripped and similarly, treated to the skeletons of older bodies. When the bodies were still whole they were packed in air-tight coffins, soldered down, and labelled with the name of the departed.

In all eleven corpses were taken from their graves at Waikumete. These were not shipped on the Ventnor at Auckland, but were taken down the coast in smaller vessels to Wellington, and there transhipped to the Ventnor.

The Chinese in Auckland were excited on the receipt of the news of the foundering, but when questioned as to what, according to Confucianism, would become of the spirits of the sunken Celestials, they professed ignorance.

paperspast.natlib.govt.nz/newspapers/AS19021029.2.54.5

 

LOSS OF THE VENTNOR.

FOUNDERED NEAR HOKIANGA.

BOAT AND CREW MISSING.

HOKIANGA, October 29.

The steamer Ventnor, which left Wellington for Hongkong on Sunday, foundered off the Hokianga Bar last night at about a quarter to nine.

The Ventnor left Wellington, as stated, on Sunday, with 500 Chinese bodies and 6400 tons of coal. She was owned by Gow, Harrison and Co., of Glasgow, her port of register, and was captained by H. G. Ferry. Before she had been long out, at forty minutes after midnight on Sunday, a shock which shook the vessel from stem to stern made manifest to everyone aboard that the steamer had struck a rock, a subsequent investigation showing that the reef hit was to the southward of Cape Egmont.

The engines were at once reversed, and in a short time the vessel managed to get off. The wells were then sounded, and it was found that the vessel was making water in No. 1 hold.

The vessel was headed off shore to a safe distance, and then proceeded up the coast.

Meanwhile, the steam pumps were got to work, but from the first it was found that they were unequal to the task of coping with the inflow, and gradually the water gained, rising higher and higher in the hold.

On Tuesday morning it was found that the ballast tanks in the peak were full, putting the steamer down by the head, and making it evident that she had but a short time to float.

In the evening her bow was so far under water that she became unmanageable, and it was seen that she was gradually sinking, despite every effort that could be made.

At about 9 p.m. it became evident that the vessel was going down fast, and all hands were ordered to the boats.

These were launched by their respective crews, who immediately pulled away from the sides of the doomed vessel.

Hardly had they reached a safe distance when the vessel's stern rose in the air, and she sank, bow first.

The Hokianga Heads light was seen at a distance of about ten miles, and the boats pulled in the direction of the light.

At daylight this morning two boats arrived on the Omapere Beach, bearing fourteen of the crew, including the chief mate, John Cameron, the second and third engineers, D. Bailee and K. Muir, and two cooks, and a messman.

Mr Martin, harbourmaster, has taken the small steamer Energy out off Whangape to pick up two more boats which were sighted from the pilot station. One of these was picked up at 10 o'clock, but the other had not been reached at the time of wiring, 10.30 a.m.

Besides her crew of 31 persons, including five Chinese, the Ventnor had six Chinamen as passengers. Of the coffins 489 were insured in the Alliance Company for £5490. The fungus was insured for about £320 in various offices. She was under the charge of Captain H. Ferry, who has been seventeen years in the employment of the same company. The steamer was under charter to W. Scott Fell and Co., of Sydney, contractors. Messrs John Mill and Co., of Dunedin and Wellington, were the colonial agents.

Of the coffins 489 were shipped by the Chong Shin Tong Society, which is a branch of the big society in China called the Tai Chuen. The other ten coffins were shipped by Yei Chong, of Manners-street, and did not belong to any society.

The Ventnor's crew numbered thirty-one, and those on board included nine Chinese body attendants. These attendants of the dead are old and decrepit Chinamen, who are being sent home to China by the Chong Shin Tong, and given sufficient money to keep them from work for the remainder of their lives.

paperspast.natlib.govt.nz/newspapers/AS19021030.2.87

 

SS Ventnor with details of final voyage:

en.wikipedia.org/wiki/SS_Ventnor

 

My handbag today, not very exciting but this is what is usually in it, give or take a few items.

The Peppermint Tic Tacs have to go though, it seems my ulcer does not like them :(

CHINESE RESURRECTIONISTS AT WAIKUMETE.

DISINTERMENT OF CORPSES.

A GRUESOME SPECTACLE.

Time, 5.30 a.m., on a bitterly cold morning, in Waikumete Cemetery. Half-frozen, a pressman and a photographer attached to the staff of the "Graphic" make their way from the sexton's house to the furthermost corner of the cemetery, where is situated the section for Chinese and Atheists and aliens unprovided for elsewhere. A noise of hammering comes from the section, which is a good half-mile from the Anglican and Presbyterian allotments, and on arrival work found to be in full operation. The reception of our reporter and his photographic confrere is the reverse of friendly, and an immediate wrangle ensues amongst the gravediggers, evidently on the subject of the camera fiend's presence. A Chinese halfcaste European insists on their instant ejectment. The sexton, however, who has been handed proper credentials, proves a firm friend, and insists that he, and not any Chinaman, or half-caste Chinaman, is in change of the cemetery, and that he has his instructions. Things then calm down a trifle, but the work is resumed amidst much grumbling, and many vindictive and malignant glances are cast at the camera, and muttered curses uttered at the photographer as he dodges round looking for a chance shot. Once, indeed, when the shutter clicks, a furious celestial raises his pick in menace, and mutters a threat to do for the intruders, but he thinks better of it, and at the intervention of the European coffinmaker a truce is declared until arrival of "the boss." That individual presently arrives. He scans the permit; gloomily enough, and bids that the photos be taken forthwith, and the photographer and pressman depart. It toeing pointed out that there is no picture yet to take, and seeing that bluff has no effect, all active opposition as at once and finally dropped, and no difficulty put in the way of obtaining pictures or witnessing the proceedings save in giving mendacious information, lighting fires to obscure the graves with smoke, and endeavouring to tire out the patience of the reporters, etc.

By ten o'clock four graves, are opened, but owing to the non-arrival of some solder and zinc from Auckland it, is decided to open only two coffins on this occasion. The first of these contained the corpse of one Kong Shang, who died in 1891, a young Celestial of 36. It was thought that there would be nothing but dry bones there, but the stiff white clay is evidently a preservative, for when the coffin, which is full of water, is opened, it is seen that the bones have a decided covering of what had once been flesh and though drenched in carbolic acid a sickening odour makes itself felt at intervals. Directly an attempt is made to stir the body it all falls to pieces, the decomposed flesh falling off in almost imperceptible flakes, which had doubtless been dust had the grave been dry. Very carefully the impassive Chinaman in the grave rinses and unconcernedly places on a sieve a thigh bone, then some ribs, and a skull, followed by the rest of the bones, minute search, indescribable in print, being made for the smaller bones and joints. It is an intensely gruesome spectacle, and the horror is added to by the indifference to sight and smell or sentiment evinced by the Celestial workmen. The venerable clerk, a fine old fellow, with the face of an ascetic and a student, carefully tallies the bones which, having been rescoured in a large white tub, are finally dried and wrapped up, each duly docketed by the methodical old gentleman, who is evidently a most conscientious and probably deeply religious man. He, too, is fastidiously clean, and does not, one notes, eat as the others do in the midst of their noisome labours. The next body is that of a man who must have been of exceptional stature and weight for a Chinaman, and who has been dead but two years and a-half. There is much difficulty in getting this coffin to the surface, and the opening thereof, and the awful stench which completely dominated all disinfectants when the body was removed to the zinc one prepared by the European tinsmith beggars description, and may be left to the imagination. None of those whose duty called them to be present are likely to forget the experience, or to desire a renewal of the same. The soldering having been completed, it must be admitted no effluvia was discernable. The zinc coffin was then put in a rude case and packed in sawdust ready for shipment. There is no reason to think the zinc coffins will not prove effective and inoffensive under ordinary ciroumstances, and careful usage, but a fall or any accident in loading would, one imagines, have very disastrous effects. The work ceased at noon to-day. Mr Winstanley, Government Sanitary Inspector, is present, and looks after his work in so thorough a manner that no fears need be entertained by settlers or the general public. The pictures secured by the "Graphic" protographer are of a unique nature and the most gruesome details having been omitted, are quite without offence. They will be published on Wednesday.

The custom of the Chinese at home is to disinter bodies after seven years, and place the main bones in a large jar alongside the grave. It is in order to forward the bones to China for relatives to do this that the present exporting of remains is undertaken.

paperspast.natlib.govt.nz/newspapers/AS19020929.2.45

 

THE CHINESE CORPSES

The disinterment of the bodies of the Chinese from cemeteries throughout the colony during last, and the early part of the present month excited a good deal of interest. In Greymouth nearly 200 bodies were "resurrected" and stored in a shed in the cemetery, much to the disgust of the residents, who unsuccessfully protested against the bodies being allowed to remain above ground until the arrival of the Ventnor. The expenses of the removal of the dead Chinese to their native land, where alone their spirits could find perfect peace, was borne by their friends, the undertaking being so costly that, only the wealthier relatives could afford the expenditure, many hundreds of unhappy Celestials being obliged "to lie in cold corruption and to rot" in the cemeteries of the "foreign devil."

The exhumation of all the bodies was carried out by the one party of "resurrectionists," Chinese with a half-caste leader and a European plumber. The Chinamen carried out their gruesome work with the utmost indifference, knocking off to eat their meals immediately after handling the bodies without a thought of nauseation.

Some bodies had been interred about twenty years ago, others within the last year. In the case of those which had been reduced to skeletons the bones were carefully sorted, and packed in boxes ready for shipment. In other cases the flesh had reached an advanced stage of putrefaction, and in these the bones were stripped and similarly, treated to the skeletons of older bodies. When the bodies were still whole they were packed in air-tight coffins, soldered down, and labelled with the name of the departed.

In all eleven corpses were taken from their graves at Waikumete. These were not shipped on the Ventnor at Auckland, but were taken down the coast in smaller vessels to Wellington, and there transhipped to the Ventnor.

The Chinese in Auckland were excited on the receipt of the news of the foundering, but when questioned as to what, according to Confucianism, would become of the spirits of the sunken Celestials, they professed ignorance.

paperspast.natlib.govt.nz/newspapers/AS19021029.2.54.5

 

LOSS OF THE VENTNOR.

FOUNDERED NEAR HOKIANGA.

BOAT AND CREW MISSING.

HOKIANGA, October 29.

The steamer Ventnor, which left Wellington for Hongkong on Sunday, foundered off the Hokianga Bar last night at about a quarter to nine.

The Ventnor left Wellington, as stated, on Sunday, with 500 Chinese bodies and 6400 tons of coal. She was owned by Gow, Harrison and Co., of Glasgow, her port of register, and was captained by H. G. Ferry. Before she had been long out, at forty minutes after midnight on Sunday, a shock which shook the vessel from stem to stern made manifest to everyone aboard that the steamer had struck a rock, a subsequent investigation showing that the reef hit was to the southward of Cape Egmont.

The engines were at once reversed, and in a short time the vessel managed to get off. The wells were then sounded, and it was found that the vessel was making water in No. 1 hold.

The vessel was headed off shore to a safe distance, and then proceeded up the coast.

Meanwhile, the steam pumps were got to work, but from the first it was found that they were unequal to the task of coping with the inflow, and gradually the water gained, rising higher and higher in the hold.

On Tuesday morning it was found that the ballast tanks in the peak were full, putting the steamer down by the head, and making it evident that she had but a short time to float.

In the evening her bow was so far under water that she became unmanageable, and it was seen that she was gradually sinking, despite every effort that could be made.

At about 9 p.m. it became evident that the vessel was going down fast, and all hands were ordered to the boats.

These were launched by their respective crews, who immediately pulled away from the sides of the doomed vessel.

Hardly had they reached a safe distance when the vessel's stern rose in the air, and she sank, bow first.

The Hokianga Heads light was seen at a distance of about ten miles, and the boats pulled in the direction of the light.

At daylight this morning two boats arrived on the Omapere Beach, bearing fourteen of the crew, including the chief mate, John Cameron, the second and third engineers, D. Bailee and K. Muir, and two cooks, and a messman.

Mr Martin, harbourmaster, has taken the small steamer Energy out off Whangape to pick up two more boats which were sighted from the pilot station. One of these was picked up at 10 o'clock, but the other had not been reached at the time of wiring, 10.30 a.m.

Besides her crew of 31 persons, including five Chinese, the Ventnor had six Chinamen as passengers. Of the coffins 489 were insured in the Alliance Company for £5490. The fungus was insured for about £320 in various offices. She was under the charge of Captain H. Ferry, who has been seventeen years in the employment of the same company. The steamer was under charter to W. Scott Fell and Co., of Sydney, contractors. Messrs John Mill and Co., of Dunedin and Wellington, were the colonial agents.

Of the coffins 489 were shipped by the Chong Shin Tong Society, which is a branch of the big society in China called the Tai Chuen. The other ten coffins were shipped by Yei Chong, of Manners-street, and did not belong to any society.

The Ventnor's crew numbered thirty-one, and those on board included nine Chinese body attendants. These attendants of the dead are old and decrepit Chinamen, who are being sent home to China by the Chong Shin Tong, and given sufficient money to keep them from work for the remainder of their lives.

paperspast.natlib.govt.nz/newspapers/AS19021030.2.87

 

SS Ventnor with details on final voyage:

en.wikipedia.org/wiki/SS_Ventnor

 

Plot 73: Ah Gin (25) 19/3/1896 – Gardener * disinterred to China *fallen headstone

The Chief Justice of the Ohio Supreme Court is not only that of a justice, but also that of a chief., Judge Brown has extensive leadership and management experience that will serve the courts of Ohio well. He has owned and successfully operated two small businesses, and for his leadership, his local chamber of commerce selected him as its business person of the year. He served more than a decade as a leader of the Cuyahoga County Bar Association. While working for the Ohio Attorney General, he served as assistant and acting chief of the Consumer Protection Section, leading a staff of 70 working to protect Ohio consumer from fraud. Brown also served the Attorney General as Tobacco Litigation Counsel, helping to manage the largest litigation in Ohio history, supervising staff attorneys, and coordinating Ohio’s efforts with those of 40 other states. As Franklin County Common Pleas Court Judge, he handled more than 5,000 cases on his docket. Now, as the sole judge of the Franklin County Common Pleas Court, Probate Division, Judge Brown leads a staff of 50, including seven magistrates.

It is a little hard to see, but this image was taken at Tampa International Airport. If you look closely, you can see that the "designer" has placed sign language representations of the letters next to the each. I'm sure they thought it was a great idea, but didn't stop to think "Hey, deaf people can't hear, but they aren't illiterate." Perhaps next on the docket is giant braille tiles for reading with your full hand.

Brown v. Board of Education, National Historic Site.

Topeka, Kansas

Theme: "Expressions for Freedom and Equality"

 

Show: May 1 - June 30, 2013

Reception: TBA

 

Artwork Due: April 15, 2013 (Postmarked Deadline)

 

Sign up at: www.thedreamrocket.com

   

"We conclude that in the field of public education the doctrine of "separate but equal" has no place.

Separate educational facilities are inherently unequal."

 

-From the opinion written by Chief Justice Earl Warren in 1954 Supreme Court decision Brown v. Board of Education.

   

Contact Person: Jennifer Marsh at jennifer@thedreamrocket.com

 

Location: Brown v. Board of Education

1515 SE Monroe Street, Topeka, Kansas 66612

Phone: (785) 354-4273

Website: www.nps.gov/brvb/contacts.htm

 

Museum Contact Person: Dave Schafer, Superintendent

 

Interactive Link:

mms.nps.gov/ram/mwr/road31.swf

"The Road to Justice" is an interactive activity that allows you to think like an African American student in 1950. Find your way through the many challenges to a successful outcome!

 

"The Brave Warrior of Justice"

www.nps.gov/features/malu/feat0002/wof/index.htm

 

"The Civil War: 150 Years"

www.nps.gov/civilwar150/index.html

 

History & Culture

 

"The U.S. Supreme Court decision in Brown v. Board of Education (1954) is one of the most pivotal opinions ever rendered by that body. This landmark decision highlights the U.S. Supreme Court’s role in affecting changes in national and social policy. Often when people think of the case, they remember a little girl whose parents sued so that she could attend an all-white school in her neighborhood. In reality, the story of Brown v. Board of Education is far more complex.

 

In December, 1952, the U.S. Supreme Court had on its docket cases from Kansas, Delaware, the District of Columbia, South Carolina, and Virginia, all of which challenged the constitutionality of racial segregation in public schools. The U.S. Supreme Court had consolidated these five cases under one name, Oliver Brown et al. v. the Board of Education of Topeka. One of the justices later explained that the U.S. Supreme Court felt it was better to have representative cases from different parts of the country. They decided to put Brown first “so that the whole question would not smack of being a purely Southern one.” (For more information on each of the five cases, click on the highlighted state's name above.)

 

This collection of cases was the culmination of years of legal groundwork laid by the National Association for the Advancement of Colored People (NAACP) in its work to end segregation. None of the cases would have been possible without individuals who were courageous enough to take a stand against the segregated system."

-Brown v. Board of Education, NPS, Website