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Buddisth Pilgrimage Tour Guide Offering - Deur Kothar, Bharhut, Sarnath, Bodh Gaya, Patilputra, Buddisth Stupa, Buddha Stupa, Ashoka Stupa, Buddha Stupa, Deur Kothar, Deor Kothar - Indian Buddhishta Travel Agent Offering - Deor kothar Tour Packages, Deor kothar Tour, Deor kothar Tour Packages, Visit Deor kothar - The Buddhist firmament is abuzz with word of amazing discoveries at the newly excavated site of Deor kothar in Madhya Pradesh, India. Situated on the ancient Dakshinapath (southern trade route), Deorkothar lies between Sarnath and Sanchi, two major Buddhist centers established in the third century BC. It is surprising that Alexander Cunningham, the nineteenth-century doyen of Indian archaeology who did extensive work in the area, missed the site. Excavations at Deorkothar, which seems to predate the late Mauryan-Sunga period (fourth through first centuries B.C.), when most early stupa (temple) complexes were built, promise to throw light on the genesis and spread of Buddhism in Central India, providing missing links in the history of Buddhist art and architecture.
The Deorkothar complex boasts four brick stupas, the most ever found at a site of this period. The varying sizes of bricks used in construction point to an early date. Such motifs as twirling lotus, conical lotus bud, and a simple flower pot on a three-tiered pedestal-the carving of which foreshadows early Buddhist art, can be seen on the railing posts of the largest brick stupa, which rises to a height of nearly 30 feet. The stencil-cut effect of the friezes, along with their simple ornamentation and the paucity of human and animal figures, suggests these are early attempts at stone railing art. It would therefore seem that the stupa at Deorkothar was built before the famous early free-standing stupa at Sanchi.
The site of Deorkothar also comprises monasteries, a water channel system, an ancient pathway, and 30 stone stupas, many of which contained sherds of high quality northern black polished ware, the pottery of everyday use between 700 and 300 B.C. Such sherds are absent from Sanchi, further indicating that Deorkothar predates that site.
Dotting the site of Deorkothar are 63 rock-shelters, many with art dating to the first century B.C., that were likely used by monks for meditation. One painting depicts a stupa and a tree surrounded by a railing. Others show social or hunting scenes; men, women, and animals; weapons; and designs.
Although the pillar bears the trademark Mauryan polish, it is made not of the Chunar sandstone characteristic of Ashokan sculpture, but of local sandstone. Also found at the site were pottery, pieces of stone caskets and bangles with exquisite polish, some copper fragments, a lead strip coiled ear stud, iron nails and clamps, few coins (one punch-marked), pieces of terra-cotta toys, and beads. Worthy of particular mention are several pieces of Mauryan polished chattra (the multi-tiered "umbrella" at the top of a stupa) with evidence of radial ribs. To the west of the main stupa, iron slag, a lump of iron ore, and white nodules of lime indicate the presence of an iron-smelting furnace nearby.
If you wish to visit this place please contact me, I will arrange a tour package suitable for you and your group -
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Tour Operator
M.I.G. 26, J.P.N. Nagar, Behind P. K. School, Near Sirmour Chowk,
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The reoccurrence of the death tarot card symbolises the foreshadow of change and pressure.
I decided to make the film black and white to use as a mask and to symbolise something being processed.
I used the song "Same Ol Mistakes" by Rihanna because I believe the lyrics are about denying the old you in replace for a new you and a happier life.
(The ending has unfortunately been cut off due to technical difficulties).
"It is he who endured every kind of suffering in all those who foreshadowed him. In Abel he was slain, in Isaac bound, in Jacob exiled, in Joseph sold, in Moses exposed to die. He was sacrificed in the Passover lamb, persecuted in David, dishonoured in the prophets."
- from a homily of Melito of Sardis.
Today is Good Friday, and this is a stained glass detail from King's College, Cambridge.
It is hard to conceive the epic scope of this decisive battle that foreshadowed the end of Hitlers dream of Nazi domination. Overlord was the largest air, land, and sea operation undertaken before or since June 6, 1944. The landing included over 5,000 ships, 11,000 airplanes, and over 150,000 service men.
After years of meticulous planning and seemingly endless training, for the Allied Forces, it all came down to this: The boat ramp goes down, then jump, swim, run, and crawl to the cliffs. Many of the first young men (most not yet 20 years old) entered the surf carrying eighty pounds of equipment. They faced over 200 yards of beach before reaching the first natural feature offering any protection. Blanketed by small-arms fire and bracketed by artillery, they found themselves in hell.
When it was over, the Allied Forces had suffered nearly 10,000 casualties; more than 4,000 were dead. Yet somehow, due to planning and preparation, and due to the valor, fidelity, and sacrifice of the Allied Forces, Fortress Europe had been breached.
Another key foreshadowing of the Eucharist - the sacrifice and food of the New Covenant - is the bread and wine offered by the priest Melchizedek.
For more to explain this typology, see here .
This window is in St Michael's North Gate in Oxford.
Today, Thursday 7 June, is the Feast of Corpus Christi in the Universal Church. This feast celebrates the Lord's gift of the Eucharist.
Barren brown trees and bushes.
Dark heavy clouds fill the sky.
Cold wind on our faces.
Yes, Winter is near.
Maryon Tool House, 1947
R M Schindler
44-870 Cabrillo Ave, Palm Desert
This house designed by R M Schindler in 1947 foreshadows the future of home-building. It looks like it should have been built in 1967, instead of 20 years earlier. It also shows how Schindler's designs influenced Mid-Cenury architects such as Gregory Ain and developers like Joseph Eichler. The compound itself is comprised of two buildings -- the main house (left) and a guest house or studio (right) with an attached garage. Typical of Schindler, the house is built to afford his clients maximum privacy.
- Kansas Sebastian
An afternoon walk, chilly and bright, the kind of brisk that makes you want a cup of hot chocolate but keeps your legs swinging fast, hands never leaving pockets. Winter foreshadowed.
Last summer it was announced that Metra would extend service to Rockford via this line, the Union Pacific Belvidere Subdivision, from just west of Elgin where a new connection will be built to the Metra Milwaukee West (CPKC) line.
The American Association of Private Railcar Owners or AAPRCO hosted its convention in Chicago a year ago over Labor Day weekend and through the following Tuesday ran rare mileage excursions.
This train went to Belvidere and was turned on the wye. Since this train traveled out to Belvidere not only was Metra service announced on the UP Belvidere Subdivision but the Stellantis (Chrysler) plant that anchored the freight business closed in Feburary of this year.
Barbara Loden’s ‘Wanda’ foreshadows, in 1970, the contemporary narrative of pervasive dread and resignation felt by so many people in the 21st century. She is a type of amoral martyr in the small-town Pennsylvania coal fields of her time. Her story illustrates our current Biblical decontextualization and the unconscious cult of the apocalypse, as described recently by Father Antonio Spadaro. Loden’s Wanda wanders around like a stray animal, with no illusions of having a magic wand to make everything better.
www.youtube.com/watch?v=x3YxZ5OlU-k
www.youtube.com/watch?v=lBCbMPWbMx4
This ominous cloud came out of nowhere on an otherwise bright overcast day right before the Hornell Turn passed through. It foreshadowed the crew’s trouble, as the lead engine would cut out at least three times before the crew finally had enough and took it off line. The engineer had to operate the two remaining units from the second locomotive while the conductor stayed in the lead unit to spot and blow the horn for the many grade crossings on this line.
This one really gets to me. I can't help but see the foreshadowing of his future in this shot. In a short time, a memorial would be all that was left of him, too.
Reposting this after a sad day in Canada yesterday. This is the spot where Cpl. Nathan Cirillo was gunned down by a wretched coward as he stood on guard at the war memorial and the tomb of the unknown soldier. Then he went and attacked our parliament buildings where he was killed himself. One less hater in the world. Though it seems I may be turning into one myself.
Like the maenad with the baby, the image of the two maenads proceeding in opposite directions holding a young deer between them is a symbol that foreshadows the bloody revenge of a repudiated Dionysus.
Source: inha.revues.org/3976
For my class assignment we must read an article about advertisement and how they affect and mirror society's values. We study the cause and effects, self-loathing, eating disorders, depression, & the pressure to alter your values to engage in this increasingly compulsive behavior to change your physical appearance to meet others' standards. Then, we compose a photo response to those ideas. Sandy and I collaborated on this project together [props to her for the 'death' costume!], so be sure to see her version as well. [She's holding the light in mine]
In our case, we have a typical girl [of course, you men are affected by this too, but we just happen to be girls ^^] in a home setting, to which we can all relate to, reading a common fashion magazine. The problem lies in that little voice programmed in her [and your] subconscious that grows increasingly louder. These dementor-like creatures represent that voice, the evil. They foreshadow the death that comes with depression and eating disorders.
The PMLR Bridge consists of two towers each of which is made up of two pylons thru each of which 10 cables will run. Depending on where you stand on the Ross Island Bridge, on the west tower you can see just 3 or all 6 of the cables installed so far, foreshadowing just two of the many more complex patterns of cables that will be visible when the main structure of the bridge is complete in Summer of 2014 (even though it won't open until Fall 2015). i4s63228,30
Civic Center, Downtown Manhattan, New York City, New York, United States
Summary
The Temple Court Building and Annex consists of two connected structures on the designated Landmark Site. The nine-story (ten stories in certain portions) Temple Court Building was commissioned by Eugene Kelly, an Irish-American multi-millionaire-merchant-banker, and built in 1881-83 to the design of architects Silliman & Farnsworth. Executed in red Philadelphia brick, tan Dorchester stone, and terra cotta above a two-story granite base, the handsome vertically-expressed design employs Queen Anne, neo-Grec, and Renaissance Revival motifs. Today, Temple Court is the earliest surviving, essentially unaltered, tall "fireproof" New York office building of the period prior to the full development of the skyscraper.
Furthermore, it is an early example of the use of brick and terra cotta for the exterior cladding of tall office buildings in the 1870s and 80s, as well as a rare surviving office building of its era constructed around a full-height interior skylighted atrium. Its two towers foreshadow the pyramidal form that later became popular for skyscrapers.
The Annex to the building, clad in Irish limestone on its principal, Nassau Street facade, was constructed for Kelly in 1889-90 to the design of James Farnsworth, in an arcaded Romanesque Revival style that complements the original building. Temple Court's significance is enhanced by its visibility as it rises above the low buildings of Park Row facing City Hall Park, its prominent towers, and its articulated facades on three sides.
Eugene Kelly
The Temple Court Building was commissioned by Eugene Kelly in 1881. Born in Ireland and apprenticed to a draper, Kelly (1808-1894) immigrated to New York City around 1835 to work as a clerk for Donnelly & Co., one of New York's foremost dry goods importers.
With the Donnelly s' assistance, he established a successful drygoods business on his own in Maysville, Ky., and later opened a branch of the Donnelly firm in St. Louis, Mo. Kelly had married Sarah Donnelly, sister of his former employer. After her death, he retired a wealthy man but, swept up in the "gold fever" of 1849, moved to San Francisco in 1850 and helped to found Donohoe, Murphy, Grant & Co., another drygoods firm.
In 1857 he married Margaret Hughes, niece of New York's first archbishop, John J. Hughes. By 1861 Kelly had also helped found two banking houses, Donohoe, Ralston & Co. (known as Donohoe, Kelly & Co. after 1864)4 in San Francisco, and Eugene Kelly & Co. in New York City, the latter the main focus of Kelly's professional attention upon his return to New York.
After the Civil War, Kelly invested in the reconstruction of Southern railroads and was a founder of the Southern Bank of Georgia, in Savannah. His various financial endeavors made him a multimillionaire, and Kelly served as a director of the Bank of New York, Emigrant Savings Bank, National Park Bank, Lloyd's, and Equitable Life Assurance Society. Active in Democratic and Irish-American politics, as well as numerous civic causes, he was chairman of the state's Electoral Committee (1884); member of the Board of Education for thirteen years; member of the Washington Arch and Statue of Liberty committees; trustee of the Metropolitan Museum of Art; president of the National Federation of America; and treasurer of the Irish Parliamentary Fund.
He was also a major philanthropist of Catholic institutions, serving on the committee for the building of St. Patrick's Cathedral5 (begun by archbishop Hughes), and as a trustee of Seton Hall College, and a founder and trustee of Catholic University in Washington, D.C. After separating from his San Francisco firm in 1890, Kelly retired with an estate estimated at between ten and fifteen million dollars in 1892. Eugene Kelly & Co. was dissolved in 1894, several months prior to his death.
The Lady Chapel of St. Patrick's Cathedral (1901-06, Charles T. Matthews), constructed through a memorial donation of his wife and sons, contains the burial vault of Eugene Kelly and other members of the Kelly family.
The Architects
The firm of Silliman & Farnsworth, architects of the Temple Court Building, practiced from 1876 to 1882. James Mace Farnsworth (dates undetermined) apparently began his career around 1872 and worked as a draftsman with Calvert Vaux by 1873. Benjamin Silliman, Jr. (1848-1901) was the third generation in his direct family line with the same name; his grandfather, considered "the most prominent and influential scientific man in America during the first half of the nineteenth century, " had been a professor of chemistry and natural history at Yale (1802-53), while his father was also a noted professor of chemistry at Yale.
Silliman, Jr., graduated from Yale University in 1870, studied architecture for three years in Charlottenburg [Berlin], Germany, and upon his return to the U.S. worked for the firm of Vaux, Withers & Co., where he met Farnsworth. Silliman & Farnsworth obtained a number of prominent office and institutional building commissions, for which they produced designs influenced by the Rundbogenstil and the neo-Grec and Queen Anne styles, most executed in red brick and terra cotta.
Their widely-praised Morse Building (1878-80), 140 Nassau Street, was an early tall "fireproof" office building (and the location of their office). The firm also designed the Vassar Brothers Laboratory (1879-80, demolished), Vassar College, Poughkeepsie, N.Y., with a central tower capped by a pyramidal roof; the Orange Music Hall (1880, demolished), Orange, N.J.; a hospital (1880, demolished) at Lexington Avenue and East 52nd Street; two commercial buildings at Nos. 19 and 21 East 17th Street (1881-82);8 and Temple Court (1881-83).
Farnsworth practiced independently from 1883 to 1897, producing numerous designs for commercial and office buildings and warehouses for prominent builder-developer John Pettit, including additions to the cast-iron Bennett Building9 in 1890-94. He was responsible for the Singer Building (1886), Pittsburgh, Pa. Farnsworth also designed the Temple Court Annex, built in 1889-90, and maintained his office in Temple Court in 1890-92. Associated with a number of other architects over the years, he worked with Charles E. Miller from 1897 to 1900, then with [J.A. Henry] Flemer & [V. Hugo] Koehler in 1900-01, and as part of Koehler & Farnsworth in 1907-10; he practiced alone until around 1923.
Little is known of Silliman's subsequent practice, though he remained listed in New York City directories until around 1900. He moved to Yonkers around 1883, and former colleague George
Martin Huss reminisced after Silliman's death that "I believe [he] built largely in Yonkers."
The Tall Office Building in New York City in the Early 1880s
During the nineteenth century, commercial buildings in New York City developed from four-story structures modeled on Italian Renaissance palazzi to much taller skyscrapers. Made possible by technological advances, tall buildings challenged designers to fashion an appropriate architectural expression. Between 1870 and 1890, nine- and ten-story buildings transformed the streetscapes of lower Manhattan between Bowling Green and City Hall.
During the building boom following the Civil War, building envelopes continued to be articulated largely according to traditional palazzo compositions, with mansarded and towered roof profiles. The period of the late 1870s and 1880s was one of stylistic experimentation in which commercial and office buildings in New York incorporated diverse influences, such as the Queen Anne, Victorian Gothic, Romanesque, and neo-Grec styles, French rationalism, and the German Rundbogenstil under the leadership of such architects as Richard M. Hunt and George B. Post. New York's tallest buildings — including the seven-and-one-half-story Equitable Life Assurance Co. Building (1868-70, Gilman & Kendall and George B. Post) at Broadway and Cedar Street, the ten-story Western Union Building (1872-75, George B. Post) at Broadway and Liberty Street, and the ten-story Tribune Building (1873-75, Richard M. Hunt), at 154 Nassau Street, all now demolished — incorporated passenger elevators, iron floor beams, and fireproof building materials.
Fireproofing was of paramount concern as office buildings grew taller, and by 1881-82 systems had been devised to "completely fireproof" them.
An additional consideration in office building design was to provide maximum light and ventilation, for which contemporary architects devised several solutions. While some tall buildings in New York had open interior light wells or courts, George B. Post is credited as one of the first architects to introduce and popularize major light courts that faced the street.
Another variant was the interior court or atrium covered by a skylight. The Temple Court Building utilized the successful design, construction, fireproofing, and planning techniques of these earlier buildings.
"Newspaper Row": Park Row and Nassau Street
The vicinity of Park Row, Nassau Street, and Printing House Square, roughly from the Brooklyn Bridge to Ann Street, was the center of newspaper publishing in New York City from the 1840s through the 1920s, while Beekman Street became the center of the downtown printing industry.
Beginning in the 1870s, this area was redeveloped with tall office buildings, most associated with the newspapers, and Park Row (with its advantageous frontage across from City Hall Park and the U.S. Post Office) and adjacent Nassau Street acquired a group of important late-nineteenth-cenrury structures: Tribune Building (1873-75, demoUshed); Morse Building (1878-80; 1900-02); Temple Court Building and Annex (1881-83; 1889-90); Potter Building (1883-86, N.G. Starkweather), 35-38 Park Row;15 New York Times Building (1888-89, George B. Post; 1904-05, Robert Maynicke), 40 Park Row; World (Pulitzer) Building (1889-90, George B. Post, demolished), 53-63 Park Row: American Tract Society Building (1894-95, R.H. Robertson), 150 Nassau Street; and Park Row Building (1896-99, R.H. Robertson), 15 Park Row.
Construction and Design of the Temple Court
In April 1881, Silliman & Farnsworth filed for the construction of a nine-story (ten stories in certain portions) office building for Eugene Kelly, to be located at the southwest corner of Beekman and Nassau Streets on the lot that Kelly had acquired in 1868 from the National Park Bank, of which he was a director.18 Both the New York Times and the Real Estate Record & Guide carried lengthy and detailed descriptions of the proposed $400,000 structure, to be known as the Kelly Building.
According to the Times, "it will be one of the finest in the lower part of the City" and was to be "constructed of granite to the third story, above which it will be Philadelphia brick, lad in red mortar, with Dorchester stone trimmings, and terra cotta panels between the windows."
Construction began in May under builder Richard Deeves; completion was originally anticipated on May 1, 1882, although a bricklayers strike in 1881 was undoubtedly one factor that contributed to a different outcome.
The Kelly Building was among the first of the major downtown office buildings to be erected after 1879, when recovery began from the financial Panic of 1873. Several notices in the Record & Guide during construction of the building indicated the shrewdness of Kelly's investment, as the nature of office buildings and the demand for space downtown changed. In December 1881 the weekly commented that the demand for offices is no longer confined to the neighborhood of the Stock, Mining, Cotton and Produce Exchanges. All the great industries which are represented in New York are using offices instead of stores, and these last are very profitable. Eugene Kelly paid $230,000for the lots on the corner of Nassau and Beekman streets. The building he erected is a very costly one, yet it is said it will net him a profit of 20 per cent, per annum.
This was followed in February 1882 by the statement that
in no part of the city has there been so great an increase in rents as in the great business centres, especially in the lower part of the island. . . The demand for well-located offices in Broad, Pine, Cedar, Wall and New streets, Exchange place and Broadway below Fulton street, is not only keeping pace, but fast outrunning the accommodations which have been provided, or which are nearing completion. Already many of the offices in the Marquand, Kelly, Mills, and Tribune structures are engaged, and at very fair figures.
An item in March 1882 indicated that a new name for the Kelly Building had been chosen: "Temple Court is the name of the splendid building just erected. . . by Mr. Eugene Kelly. Persons who wish offices in this splendid building should see Messrs. Ruland & Whiting. . . without delay, as the offices are being rented rapidly. The building is fire-proof, and has all the modern office improvements.1,24 And in May 1882 was the further comment that "the Tribune, Times, Morse buildings and Temple Court are nearer the law courts, and better for lawyers and public offices."
The Temple Court Building was completed in May 1883. Its design reflects the shift from the palazzo model for office buildings begun in the 1870s by Richard M. Hunt with the Tribune Building, among others. Temple Court was also one of the early tall office buildings that employed brick and terra-cotta cladding. The location on Beekman and Nassau Streets and Theatre Alley allows for three facades, each of which has a tripartite arrangement with end pavilions.
The vertically-expressed design is organized by continuous piers, and the building is arranged horizontally into a base, midsection, and upper section. Articulation of the facades on Beekman and Nassau Streets (and the corner return on Theatre Alley), employing Queen Anne, neo-Grec, and Renaissance Revival motifs, is similar, the walls elaborated by ornamental stone capitals, cornices, bandcourses, corbelling, arches, and terra-cotta panels. (The remainder of the Theatre Alley facade below the roof is more simply articulated.) The building is capped by a two-story slate mansard roof with dormers and has two prominent corner towers with octagonal pinnacled roofs, intended "to obtain a striking and satisfactory effect making the building appear less high than it really is."
The towers foreshadow the pyramidal form that later came to dominate skyscrapers. Temple Court provides an interesting contrast with the slightly earlier Morse Building, by the same architects, and the slightly later Potter Building, all three executed in red brick and terra cotta, at the same intersection of streets.
As built, the interior of Temple Court featured an impressive polychrome atrium entered through the main entrance and adjoining entrance hall on Beekman Street; an open ironwork staircase surrounds the central of three elevators on the south side.
More than two hundred feet square, rising nine stories, and covered by a large pyramidal skylight, the atrium has galleries supported by elaborate ornamental iron brackets and lined with iron railings surrounding it on each floor. Gallery floors are laid in encaustic tiles and gallery ceilings are formed by unusual ornamental cast-iron plates. The building's 212 offices were arranged so that they opened onto both the atrium and the exterior.
An exterior light well to the south of the staircase provided further light to the interior. Construction of the building was considered "solidly fireproof," with iron floor beams, and exterior brick walls that varied in thickness from 52 inches in the foundations to 32 inches in the upper walls.
As with most prominent tall buildings of the late nineteenth century in New York, contemporary comment on Temple Court was mixed. While Cornelius Mathews of The Manhattan. An Illustrated Literary Magazine, an early tenant, thought the building "stalwart and sumptuous," the British publication The Building News found "its architecture is nondescript, and it is surmounted by two towers, like donkey's ears, on its northern side, which give it a very unfortunate appearance." (Critic Montgomery Schuyler, however, had praised the design, prior to construction, for "that animation in the sky line.")
King's Handbook in 1892 called it "one of the finest office-buildings in New York. . . an edifice that is creditable in architecture and pleasing in nomenclature. . . a modern building in every sense. . . the quaint towers of Temple Court, with their high pyramidal roofs, are unmistakable land-marks in the heart of New York, and point the way to the scenes of vast and momentous transactions in business and finance."
New York 1895. Illustrated considered Temple Court "the pioneer among the great office buildings and the beginning of the revolution in these structures," and American Architect & Building News in 1901 called it "a popular and profitable structure.
Today, the Temple Court Building is the earliest surviving (as well as one of the very few surviving), essentially unaltered, tall "fireproof New York office building of the mid-1870s to mid-1880s, the period prior to the full development of the skyscraper.35 Its significance is enhanced by the visibility of its location near City Hall Park, its prominent towers, and its three articulated facades. (For discussion of the Annex, see below.)
Temple Court. Brick, and Architectural Terra Cotta in New York City
The Temple Court Building is an early example of the use of brick and terra cotta for the exterior cladding of tall office buildings in the 1870s and 80s, a trend seen in such brick structures as the Boreel, Western Union, and Tribune Buildings/' As observed in 1881 by Montgomery Schuyler: the architects of the present generation found commercial New York an imitation of marble, either in cast-iron or in an actual veneer of white limestone. They are likely to leave it in brick. . . Whatever of interest has since been done in business buildings has been done in baked clay, more and more including the use of terra-cotta as well as of brick. The first of the noteworthy attempts to build in brick alone . . . was Messrs. Silliman and Farnsworth's Morse Building. . .
While there had been several attempts in the 1850s to employ architectural ornament of terra cotta in New York, it was after the Chicago and Boston fires of 1871 and 1872 that terra cotta began to be used as a significant interior and exterior building material in the United States. Walter Geer noted that "by these fires it was conclusively demonstrated that fire-proof buildings could not be made of unprotected stone or iron, and that only brick and terra-cotta walls were practically fire-proof.
This increased use of brick work, and of terra-cotta as a constructive and decorative material in connection with brick work, revived the demand for the manufacture of this material in or near New York."40 In the 1870s and early 1880s architectural terra cotta was often a color that matched stone (commonly brownstone, buff or red) that could be employed in pleasant juxtaposition with brick, or as a substitute for brownstone. The Record & Guide remarked that during this period "terra cotta is most generally used for the trimming and ornamentation of buildings, taking the form of panels, courses, friezes, small tiles, roofing tiles and paving blocks. "
George B. Post was the leader in New York City in the use of exterior terra cotta, in his designs for the Braem House (1878-80), Long Island Historical Society (1878-81), New York Produce Exchange (1881-84), and Mills Building (1881-83). Among the other contemporary architects who employed terra cotta were Kimball & Wisedell, designers of the Casino Theater (1881-82), an early New York building having highly intricate, exotic terra-cotta ornament, and Silliman & Farnsworth.
The Morse Building, with terra cotta by the Boston Terra Cotta Co., was then considered the first prominent New York office building to employ exterior terra cotta (though it was used sparingly for architectural details, in conjunction with molded red and black brick).
Temple Court was an early and significant building to employ exterior architectural terra cotta, and is today a rare surviving example of a tall New York office building of its era employing exterior brick and terra cotta.
The Skylighted_Atrium in Nineteenth-Century
The nineteenth-century interior court or atrium covered by a skylight, a form that evolved in the United States for a variety of building types, allowed for both natural lighting and an enclosed, usually grand and highly decorative, volume of space. Carl Condit, in American Building Art: The Nineteenth Century, discussed the American use of the "skylighted interior court, or arcade," which he traced first to the three-story Arcade Building (1827-28, James C. Bucklin & Russell Warren), Providence, R.I. The concept was later "adapted to iron construction in New York in the 1850s in the five-story uptown A.T. Stewart Store (1859-62, John Kellum, demolished), Broadway and 10th Street.
The skylighted atrium became a popular feature for arcades, hotels, libraries, exhibition halls, department stores, and office buildings, often in association with cast-iron framing and decoration. Two significant libraries that featured cast-iron galleries around skylighted courts were the four-story State Department Library (1871-75) in Alfred B. Mullett's State, War and Navy Building, Washington, and the seven-story Peabody Institute Library (1876-78, Edmund G. Lind), Baltimore.
The Shillito Store (1878, James W. McLaughlin; altered and court filled in), Cincinnati, had a six-story interior court, while the Model Hall (c. 1878-80, Adolf Cluss & Paul Schulze) of the U.S. Patent Office Building, Washington, consisted of a long two-story skylighted gallery, and the Pension Building (1882-85, Montgomery C. Meigs), Washington, was constructed around a colossal three-and-one-half-stoiy court. In New York City, the New York Produce Exchange (1881-84, George B. Post, demolished), 2 Broadway, and the downtown A.T.
Stewart Store (after its conversion to offices in 1883-84), among other buildings, had skylighted atriums that did not rise the full height of the structure (the courts were open above), a variant exemplified by the Rookery Building (1885-86, Burnham & Root), Chicago. Schuyler mentioned of the eight-story Boreel Building (1878-79, Stephen Decatur Hatch, demolished), 115 Broadway, its "interesting plan, which is a large glazed court upon which the inner offices open."
The use of the full-height interior skylighted atrium culminated in the late nineteenth century in such prominent office and commercial buildings as the ten-story Society for Savings Building (1887-90, Burnham & Root; atrium filled in), Cleveland: the thirteen-story Chamber of Commerce Building (1888-89, Edward Baumann & Harris W. Huehl, demolished), Chicago; the twelve-story Guaranty Loan Building (1888-90, Edward T. Mix, demolished), Minneapolis; the five-story Cleveland Arcade (1888-90, John M. Eisenmann & George H. Smith), Cleveland; the nine-story Brown Palace Hotel (1889-92, Frank E. Edbrooke), Denver; the twenty-story Masonic Temple Building (1890-92, Burnham & Root, demolished), Chicago; the eight-story court of the U.S. Post Office (1892-99, Willoughby J. Edbrooke), Washington; and the five-story Bradbury Building (1893, George H. Wyman), Los Angeles.
Temple Court is an early and rare surviving example of an office building of its era constructed around an interior skylighted atrium.
Construction of the Temple Court Annex
The success of the Temple Court Building led Eugene Kelly to plan an expansion. James Farnsworth filed in January 1889 for the construction of an Annex, on the adjacent lot to the south (at 119-121 Nassau Street) that Kelly had acquired in 1886. Expected to cost $150,000, the ten-story Annex was originally to be clad in granite, brick, and Dorchester stone, the materials of the original building.
An amendment, however, was filed by Farnsworth on March 1, "substituting a new design for front, to be constructed of 'Irish limestone' as per new plans and elevations" and resulting in an estimated cost of about $200,000.
In May, the Record & Guide clarified that "the front will be a limestone from Balinasloe, Ireland, and the design will have a tendency toward the Romanesque."
Construction by September 1889 was "nearly up to the top floor" and was considered by the Record & Guide "a remarkable example of quick work."
In February 1890, the Record & Guide noted that "the handsome addition to Temple Court. . . is now being rented in single rooms and suites for office purposes.. . The building is certainly one of the best of the down-town structures." Labor issues, threatening to delay completion, were satisfactorily resolved in the spring of 1890; after a strike was called on the Temple Court Annex due to the contractor's use of non-union masonry workers, Kelly strongly urged the contractor to come to terms with the union, and the building was completed by the target date of May 1.
King's Handbook in 1892 thought that the front (Nassau Street) Annex facade "presents an attractive and imposing appearance."
Running through the block from Nassau Street to Theatre Alley, the Temple Court Annex was framed with iron. The original Buildings Department application indicated that the front and rear walls were to be "carried on girders and columns." Plans were amended to include some plate girders, as well as the notation that "all iron construction will be fireproofed with terra cotta blocks, to make same entirely fireproof.
The Annex suffered a fire, of unknown origin, in April 1893 that destroyed offices on the top four floors. This fire was of great interest to those in construction, due to the fact that it was "the most serious fire which has ever occurred, so far as we recall, in a thoroughly fireproof office building," according to Engineering News, and that "there have been so few practical tests of the modern system of fireproof construction that there is much doubt and dispute as to the actual behavior of fireproofing materials when placed in actual use and subjected to the ordeal of a conflagration. "
The fire was also covered in a front-page article in the New York Times The structure of the Annex and most of the fireproofing remained intact; furthermore, the original building was not damaged.
Later History
Throughout its history, Temple Court has housed a wide variety of office and commercial tenants. Among the original tenants were Ruland & Whiting, real estate agents (established in 1867), the Nassau Bank, and The Manhattan. An Illustrated Literary Magazine. Other tenants have included lawyers, accountants, publishers, press agents, insurance and advertising agents, architects, business representatives, detectives, unions, organizations, and employment agencies.
The trustees of Eugene Kelly's estate in 1907 transferred the Temple Court Building and Annex (located on separate lots until 1961-62) to the Temple Court Co. (Thomas Hughes Kelly, president). Thomas H. Kelly (1865-1933), son of the original owner, was trained as a lawyer but concentrated on the management of the various properties he had inherited, as well as on official corporate and institutional duties.
He was considered "one of the most important lay dignitaries of the Catholic Church in the United States," according to the New York Times, serving as Papal Chamberlain for thirty years. Emigrant Industrial Savings Bank, which held the mortgage, took over the properties in 1942.
Conveyed in 1945 to the Wakefield Realty Corp., they were acquired by the Region Holding Corp. (Rubin Shulsky, president) in 1946. The properties were transferred in 1953 to the Larsan Holding Corp./Satmar Realty Corp., another Shulsky interest and still the current owners.
Description
TEMPLE COURT BUILDING (For description of the Annex, see below.)
The nine-story (ten stories in certain portions) building has facades on Beekman Street, Nassau Street, and Theatre Alley. Of fireproofed construction with iron floor beams, it was built around an interior skylighted atrium (now enclosed), with an additional exterior light well on the south side. It is clad in granite on the two-story base, and red Philadelphia brick (originally laid with red mortar), tan Dorchester stone trim, and terra-cotta panels on the upper stories.
Much of the building, other than pans of the Theatre Alley facade, has been painted. Articulation on the facades on Beekman and Nassau Streets, as well as part of that on Theatre Alley, is similar, employing Queen Anne, neo-Grec, and Renaissance Revival motifs and ornamental details. The design is arranged horizontally into a base, midsection, and upper section (with mansard roof and towers), and in addition, it has a tripartite arrangement with end pavilions on each facade.
The building is vertically expressed with continuous piers. Windows originally had one-over-one double-hung wood sash (some were double windows with a central mullion); most have been replaced by anodized aluminum windows with a variety of configurations.
Base
The two-story base is clad in granite, that on the piers rockfaced. Each story is capped by a cornice. Second-story windows in the center of the facades on Beekman and Nassau Streets are segmentally arched. All of the ground-story bays of the facades on Beekman and Nassau Streets (except the main entrance) have been converted to shopfronts over the years, and have been altered so that little historic fabric survives. Shopfronts are currently framed in metal, with rolldown gates.
Base: Beekman Street
The main entrance, located in the central bay, originally had polished red granite columns supporting an entablature bearing the name of the building, capped by an iron balustrade flanked by pinnacles; in 1949-50 the main entrance was altered with a polished marble surround, metal and glass doors, a transom, and the letters "5 Beekman." The bays flanking the entrance were originally windows; surviving below the cornice in each bay are a paneled band and decorative metal band.
The end pavilions were originally tripartite, having a central door flanked by columns and windows with bulkheads and transoms; they were later altered to single bays with a bulkhead, display window, door, and broad sign band (since altered). The easternmost storefront is still framed by original fluted stone pilasters with stylized floral capitals.
Base: Nassau Street
End pavilion bays were originally tripartite, divided by piers. These bays, as well as those of the central section, had paired windows with bulkheads and transoms (the south end undoubtedly had an entrance door to the elevator hall); these bays were later altered in a manner similar to the pavilion bays of the Beekman Street facade (since altered).
Surviving below the cornice in the south pavilion bay are a paneled band and decorative metal band.
Base: Theatre Alley
The northern section has articulation similar to that on Beekman Street. The ground and second stories of the center and southern sections are capped by stone bandcourses. The ground-story bays of these sections are divided by cast-iron piers and have transoms and ornamental iron bulkhead bands. All bays have been filled with cinderblock.
The second-story bays of the center and southern sections are divided by cast-iron piers. Midsection The brick midsection consists of the third through the sixth stories. Articulation on the principal facades (and north pavilion of Theatre Alley) is similar, with terra-cotta spandrel panels above the third, fourth, and fifth stories; bandcourses, and stone capitals with a stylized floral design on the piers, on the third, fourth, and fifth stories; windows capped by round arches (with decorative tympana) in the center sections of the fifth story; and a stone cornice capping the sixth story.
Most of the Theatre Alley facade is unadorned " Croton-faced" brick, with simple bluestone lintels and sills.
Upper Section
The upper section consists of the seventh through the tenth stories. The north section of the Theatre Alley facade has articulation similar to that on Beekman and Nassau Streets. The center portion of the two principal facades has paired windows with entablatures on the seventh story (the Theatre Alley facade is capped by a corbelled cornice on the seventh story), surmounted by, on each of the three facades, a two-story slate mansard roof with pedimented dormers (the upper dormers on Nassau Street, all dormers on
Theatre Alley, and the flanking dormers on Beekman Street, are iron). The sections of roof on Beekman and Nassau Streets appear covered with asphalt.
The end pavilions have bandcourses and terra-cotta spandrel panels above the seventh and eighth stories; round-arched windows, a subcornice, and cornice on the ninth story; a central pedimented window, and cornice with flared corner projections, on the tenth story of the northern pavilions; and a pediment on the tenth story of the southern pavilions (with a rondel on Nassau Street and corbelling on Theatre Alley).
Roof
Surviving decorative iron railings cap the mansard roof of the center section of each facade. Two prominent corner towers above the Beekman Street pavilions have octagonal pinnacled roofs, covered with slate and capped by metal finials. The corners of the pavilions are ornamented with pinnacles, and the inner side of each pavilion (except Theatre Alley) is flanked by a chimney.
The southern pavilions have gable roofs. The center portion of the building is covered by a large pyramidal skylight with a monitor.
- From the 1998 NYCLPC Landmark Designation Report
"In Sorte Diaboli" (nom latin signifiant en français Dans le destin du Diable) est le septième album studio du groupe de black metal symphonique norvégien Dimmu Borgir.
C'est le deuxième album enregistré avec "Hellhammer" , batteur de "Mayhem" , si l'on compte la ré-édition de l'album studio "Stormblåst" "Stormblåst MMV" .
L'album est sorti le 30 avril 2007 en France sous le label "Nuclear Blast" .
Liste des morceaux
The Serpentine Offering - 5:10
The Chosen Legacy - 4:17
The Conspiracy Unfolds - 5:23
The Sacrilegious Scorn - 4:00
The Fallen Arises (morceau instrumental) - 3:00
The Sinister Awakening - 5:10
The Fundamental Alienation - 5:16
The Invaluable Darkness - 4:44
The Foreshadowing Furnace - 5:50
Un DVD bonus est aussi présent et contient :
Video clip The Serpentine Offering (04:42 min)
Making of the album with Dimmu Borgir (studio report) (17:25 min)
Making of The Serpentine Offering video clip (21:52 min)
Photogallery
Formation
Shagrath: chant
Silenoz: guitare et chant
Galder: guitare
ICS Vortex: basse et chant clair
Mustis: claviers
Hellhammer: batterie
An older photo from New York City with the US Post Office on 8th Avenue in the background. The plaza is named for Joe Louis one of the great heavyweight boxing champions during the WW II era.
The bout that helped put him in the media spotlight occurred on June 25, when Louis knocked out 6'6", 265-pound former World Heavyweight Champion Primo Carnera in six rounds. Foreshadowing the Louis-Schmeling rivalry to come, the Carnera bout featured a political dimension. Louis' victory over Carnera, who symbolized Benito Mussolini's regime in the popular eye, was seen as a victory for the international community, particularly among African Americans, who were sympathetic to Ethiopia, which was attempting to maintain its independence by fending off an invasion by fascist Italy. America's white press began promoting Louis' image in the context of the era's racism; nicknames they created included the "Mahogany Mauler", "Chocolate Chopper", "Coffee-Colored KO King", "Safari Sandman", and one that stuck: "The Brown Bomber"
Louis had a match against the German boxer, Max Schmeling who had been a champion. Louis spent much time learning the game of golf instead of training and lost the match in 1936.
The rematch between Louis and Schmeling would become one of the most famous boxing matches of all time and is remembered as one of the major sports events of the 20th century. Following his defeat of Louis in 1936, Schmeling became a national hero in Germany. Schmeling's victory over an African American was touted by Nazi officials as proof of their doctrine of Aryan superiority. When the rematch was scheduled, Louis retreated to his boxing camp in New Jersey and trained incessantly for the fight. A few weeks before the bout, Louis visited the White House, where President Franklin D. Roosevelt told him, "Joe, we need muscles like yours to beat Germany." Louis later admitted: "I knew I had to get Schmeling good. I had my own personal reasons and the whole damned country was depending on me." (Wikipedia)
"...So you'd think I could learn
How to tell you goodbye
You don't bring me flowers anymore..."*
Miss Havisham was happy to return home after her walk. She had picked roses and was eager to add them to the many flowers she already had. She become a collector, of sorts, of flowers: to her, they were irresistible. Mainly, they reminded her of her fiancé, Mr. Compeyson, and the one time he had given her a bouquet of roses. Since then, she had hinted to him that she wished he would give her another bouquet; "I mustn't nag for a sign of affection, however," she reminded herself. "It wouldn't be ladylike."
To compensate, Miss Havisham found herself bringing flowers home almost daily and fantasizing that they were from her fiancé; in fact, she had so many that they were falling off of the tables and onto the floor. At times, she barely noticed as they began to fade and wither, feeling that she could not throw away what had been a beautiful sign of love.
"I shall simply put fresh flowers alongside them and continue to love them all, even those destroyed so quickly by time. I shan't stop 'collecting' them as I simply cannot have enough..."
Perhaps in the back of Miss Havisham's mind was a poem foreshadowed her future:
"GATHER ye rosebuds while ye may,
Old Time is still a-flying:
And this same flower that smiles to-day
To-morrow will be dying....
That age is best which is the first,
When youth and blood are warmer;
But being spent, the worse, and worst
Times still succeed the former..."
--"To the Virgins, to make much of Time" by Robert Herrick
*"You Don't Bring Me Flowers" by Barbra Streisand & Neil Diamond (1982); written by Alan Bergman, Marilyn Bergman, Neil Diamond
Icon Paintings Manchester Cathedral
Left to right
St Denis
The Theotokos Hodegetria (an icon depicting the Virgin Mary as ‘God bearer’ and ‘Our Lady of the Way’)
The Holy Trinity (according the design of Rublev’s icon which depicts the three angels who visited Abraham at the Oak of Mamre as foreshadowing the Christian understanding of God as Trinity)
Jesus Christ Pantocrator (‘ruler of all’)
St George
"Where you are now you cannot even imagine what the bottom will be like.
Only after disaster can we be resurrected.
Its only after you've lost everything that you're free to do anything.
Nothing is static.
Everything is evolving.
Everything is falling apart...."
---
Explored #460!
Lindi Ortega
OCA Spazio Ansaldo (MI)
19 Marzo 2013
© Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
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Tutti i diritti sono riservati.
L'immagine non può essere usata in nessun caso senza autorizzazione scritta dell'autore.
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Nashville beckoned, and Lindi Ortega answered the call.
Armed with an inimitable, irresistible singing voice The Independent hails as “a truly magnificent instrument,” and a heart bursting with creative ambition, the Canadian songstress whom American Songwriter calls “the love child of Johnny Cash and Nancy Sinatra” decided to relocate to Music City from her
native Toronto to birth her brand new musical offspring, Cigarettes & Truckstops.
A logical follow-up to her 2011 critically acclaimed alt-country masterpiece Little Red Boots, the 10-song Cigarettes & Truckstops further flaunts Ortega’s distinctive vision; one that embraces the oft-neglected, politically incorrect realism of traditional country and frames it in a charmingly, and sometimes darkly humourous contemporary context.
Bookended by a couple of romantic road ballads in the title track and the reflective “Every Mile Of The Ride,” Cigarettes & Truckstops further evolves the promise foreshadowed by the JUNO-Award nominated-and-Polaris-Music-Prize-long-listed Little Red Boots.
The writing is stellar, her musical discipline undoubtedly galvanized by a fearless 2010-2012 tour schedule that saw Lindi open for a variety of acts, from punk vets Social Distortion; pop icon Burton Cummings; country fave Dierks Bentley; folk outfit Noah & The Whale and Academy Award winner Kevin Costner with attention-grabbing finesse, making serious inroads with North American and European audiences, and prompting Exclaim! to declare Ortega an “electrifying” performer.
Whether it’s the plucky shuffle of the hilarious “The Day You Die;” the angry harrumph of “Don’t Wanna Hear It;” the high lonesome feel of “Heaven Has No Vacancy” or the haunting twang of guilt that is “Murder of Crows,” Ortega continues to deliver a refreshing twist that walks vintage and contemporary lines in imaginative and inventive manners.
But in order to realize this next step of her artistic fruition, the two-time JUNO Award nominee (Canada’s equivalent to the Grammy Awards) had to pull up her Canadian stakes and come to the well.
“I was really inspired by being here in Nashville,” explains Ortega, the daughter of a Northern Irish mother and Mexican father who has been performing since she picked up a guitar at age 16.
“I wanted the authenticity of my influences to shine through on this record. I knew I liked country and I think moving here, I wanted to delve into those influences more genuinely.
“To be able to read a Hank Williams biography and then go to where his house was, or the places that they talk about, and absorb that was invaluable.”
As Ortega is the first to admit, she’s anything but a “straight-up country artist,” so other elements played into the equation.
“I found that I was really inspired by going to New Orleans, after I shot that music video for (Little Red Boots’) “Black Fly” – and the Deep South.
“After Little Red Boots I read the Hank Williams biography and I learned that he was very highly influenced by a man named “Tee-Tot.” (Rufus Payne). Tee-Tot was a blues guy, and I discovered that a lot of early country drew influence from early blues. So I really started getting into listening to blues.”
She recruited a sympathetic visionary to produce the album in fellow Canadian Colin Linden, (O Brother Where Art Thou, Blackie & The Rodeo Kings, Bruce Cockburn, The Band), who also happens to reside in Nashville.
“When it was time to start working with producers, Colin’s name was thrown in the hat,” recalls Ortega. “I looked him up on YouTube,and the first thing I saw him perform was this crazy awesome Dobro solo.
“I realized that I loved that instrument, and I needed to have it all over my record,” she laughs.
“There was something about the sound of it that resonated so much with me. Colin was very influenced by the blues and had a lot of knowledge about its background and history, and I thought it would be cool to bring that into the record.”
The blues touch is a subtle one, a seasoning of sorts on this album of longing and vulnerability; travel and romance; of anger and passion; of fact and fiction.
A big breakthrough was Ortega’s topical candour.
“I was sort of delving into the darker corners of my mind with some things, which was interesting for me, and not being afraid to put some other things out there,” she reveals. “The song from my first record, “All My Friends,” alludes to certain things in a metaphorical way, where on this album, I’m a little more straight up about it. I’m not trying to hide.
“I guess that I’m just willing to take that risk. I’m just being honest and talking about my experiences, and by doing that, I’m not advocating anything and I’m not telling anybody they need to do anything: I’m just writing about my life and the experiences that I go through.”
But it’s not all autobiographical: “Murder of Crows,’ co-authored by Matt Nolan and one of three co-writes on Cigarettes & Truckstops, is pure Man In Black-inspired fiction.
“I was actually thinking of Johnny Cash’s Murder album when I wrote that,” Ortega chuckles. “I just wanted to delve into fictitious territory, and not write from experience – sort of make up stories.
“In a lot of old Cash songs, there’s a lot that didn’t come from his experience: he made them up. It’s cool to be able to make up crazy stories like that.”
One of the album’s real kickers is the Bruce Wallace co-write “The Day You Die,” a humorous look at love’s clichés, a future classic that begins with the opening stanza,
“You said you’d love me ‘til the cows comes home/Well I’m hoping that they all go blind.”
“That’s why I love writing with Bruce, because we never set out to write,” Ortega admits. “We just get together as friends and pick up guitars and it just happens naturally. He’s a quirky guy, because he totally gets where I’m coming from in that respect.
“We pick up the guitar and make up joke songs. We thought it would be cool if all these cliché things that people say to people, things like ‘Love you ‘til this, love you ‘til that’,” were taken literally, what would they have to do to keep the love going?”
There are more gems on Cigarettes & Truckstops that are ripe for personal discovery, a riveting tour-de-force of an album that will open up more ears and hearts to the scintillating sounds of Lindi Ortega and an appreciation of the unique perspective she brings to her craft.
Two trademarks impel her artistry: sincerity and honesty.
“I’m not going to deny it because I can’t,” Ortega admits. “It just comes out. I owe it to the song and to myself to expel that expression, put it into music and be very honest and forthright about the good, the bad and the ugly of Lindi Ortega.”
Buddisth Pilgrimage Tour Guide Offering - Deur Kothar, Bharhut, Sarnath, Bodh Gaya, Patilputra, Buddisth Stupa, Buddha Stupa, Ashoka Stupa, Buddha Stupa, Deur Kothar, Deor Kothar - Indian Buddhishta Travel Agent Offering - Deor kothar Tour Packages, Deor kothar Tour, Deor kothar Tour Packages, Visit Deor kothar - The Buddhist firmament is abuzz with word of amazing discoveries at the newly excavated site of Deor kothar in Madhya Pradesh, India. Situated on the ancient Dakshinapath (southern trade route), Deorkothar lies between Sarnath and Sanchi, two major Buddhist centers established in the third century BC. It is surprising that Alexander Cunningham, the nineteenth-century doyen of Indian archaeology who did extensive work in the area, missed the site. Excavations at Deorkothar, which seems to predate the late Mauryan-Sunga period (fourth through first centuries B.C.), when most early stupa (temple) complexes were built, promise to throw light on the genesis and spread of Buddhism in Central India, providing missing links in the history of Buddhist art and architecture.
The Deorkothar complex boasts four brick stupas, the most ever found at a site of this period. The varying sizes of bricks used in construction point to an early date. Such motifs as twirling lotus, conical lotus bud, and a simple flower pot on a three-tiered pedestal-the carving of which foreshadows early Buddhist art, can be seen on the railing posts of the largest brick stupa, which rises to a height of nearly 30 feet. The stencil-cut effect of the friezes, along with their simple ornamentation and the paucity of human and animal figures, suggests these are early attempts at stone railing art. It would therefore seem that the stupa at Deorkothar was built before the famous early free-standing stupa at Sanchi.
The site of Deorkothar also comprises monasteries, a water channel system, an ancient pathway, and 30 stone stupas, many of which contained sherds of high quality northern black polished ware, the pottery of everyday use between 700 and 300 B.C. Such sherds are absent from Sanchi, further indicating that Deorkothar predates that site.
Dotting the site of Deorkothar are 63 rock-shelters, many with art dating to the first century B.C., that were likely used by monks for meditation. One painting depicts a stupa and a tree surrounded by a railing. Others show social or hunting scenes; men, women, and animals; weapons; and designs.
Although the pillar bears the trademark Mauryan polish, it is made not of the Chunar sandstone characteristic of Ashokan sculpture, but of local sandstone. Also found at the site were pottery, pieces of stone caskets and bangles with exquisite polish, some copper fragments, a lead strip coiled ear stud, iron nails and clamps, few coins (one punch-marked), pieces of terra-cotta toys, and beads. Worthy of particular mention are several pieces of Mauryan polished chattra (the multi-tiered "umbrella" at the top of a stupa) with evidence of radial ribs. To the west of the main stupa, iron slag, a lump of iron ore, and white nodules of lime indicate the presence of an iron-smelting furnace nearby.
If you wish to visit this place please contact me, I will arrange a tour package suitable for you and your group -
R.K. Agrawal
Tour Operator
M.I.G. 26, J.P.N. Nagar, Behind P. K. School, Near Sirmour Chowk,
REWA (M.P.), India, Pin Code - 486 001
Mobile No. - +91 9424722414
Fax No. - 91 7662 251251,
E mail - info@gtvresort.com
Web Site - www.gtvresort.com
From The Encyclopædia Britannica:A Dictionary of Arts, Sciences, Literature And General Information, 11th edition, published in 29 volumes, 1910-1911 [public domain]:
[Cont. from Lincoln 4]
The slavery question presented vexatious difficulties in conducting the war. Congress in August 1861 passed an act (approved August 6th) confiscating rights of slave-owners to slaves employed in hostile service against the Union. On the 30th of August General Fremont by military order declared martial law and confiscation against active enemies, with freedom to their slaves, in the State of Missouri. Believing that under existing conditions such a step was both detrimental in present policy and unauthorized in law, President Lincoln directed him (2nd September) to modify the order to make it conform to the Confiscation Act of Congress, and on the 11th of September annulled the parts of the order which conflicted with this act. Strong political factions were instantly formed for and against military emancipation, and the government was hotly beset by antagonistic counsel. The Unionists of the border slave states were greatly alarmed, but Lincoln by his moderate conservatism held them to the military support of the government.5 Meanwhile he sagaciously prepared the way for the supreme act of statesmanship which the gathering national crisis already dimly foreshadowed. On the 6th of March 1862, he sent a special message to Congress recommending the passage of a resolution offering pecuniary aid from the general government to induce states to adopt gradual abolishment of slavery. Promptly passed by Congress, the resolution produced no immediate result except in its influence on public opinion. A practical step, however, soon followed. In April Congress passed and the president approved (6th April) an act emancipating the slaves in the District of Columbia, with compensation to owners—a measure which Lincoln had proposed when in Congress. Meanwhile slaves of loyal masters were constantly escaping to military camps. Some commanders excluded them altogether; others surrendered them on demand; while still others sheltered and protected them against their owners. Lincoln tolerated this latitude as falling properly within the military discretion pertaining to local army operations. A new case, however, soon demanded his official interference. On the 9th of May 1862 General David Hunter, commanding in the limited areas gained along the southern coast, issued a short order declaring his department under martial law, and adding—“Slavery and martial law in a free country are altogether incompatible. The persons in these three States—Georgia, Florida and South Carolina—heretofore 707 held as slaves are, therefore, declared for ever free.” As soon as this order, by the slow method of communication by sea, reached the newspapers, Lincoln (May 19) published a proclamation declaring it void; adding further, “Whether it be competent for me as commander-in-chief of the army and navy to declare the slaves of any state or states free, and whether at any time or in any case it shall have become a necessity indispensable to the maintenance of the government to exercise such supposed power, are questions which under my responsibility I reserve to myself, and which I cannot feel justified in leaving to the decision of commanders in the field. These are totally different questions from those of police regulations in armies or camps.” But in the same proclamation Lincoln recalled to the public his own proposal and the assent of Congress to compensate states which would adopt voluntary and gradual abolishment. “To the people of these states now,” he added, “I must earnestly appeal. I do not argue. I beseech you to make the argument for yourselves. You cannot, if you would, be blind to the signs of the times.” Meanwhile the anti-slavery sentiment of the North constantly increased. Congress by express act (approved on the 19th of June) prohibited the existence of slavery in all territories outside of states. On July the 12th the president called the representatives of the border slave states to the executive mansion, and once more urged upon them his proposal of compensated emancipation. “If the war continues long,” he said, “as it must if the object be not sooner attained, the institution in your states will be extinguished by mere friction and abrasion—by the mere incidents of the war. It will be gone, and you will have nothing valuable in lieu of it.” Although Lincoln’s appeal brought the border states to no practical decision—the representatives of these states almost without exception opposed the plan—it served to prepare public opinion for his final act. During the month of July his own mind reached the virtual determination to give slavery its coup de grâce; on the 17th he approved a new Confiscation Act, much broader than that of the 6th of August 1861 (which freed only those slaves in military service against the Union) and giving to the president power to employ persons of African descent for the suppression of the rebellion; and on the 22nd he submitted to his cabinet the draft of an emancipation proclamation substantially as afterward issued. Serious military reverses constrained him for the present to withhold it, while on the other hand they served to increase the pressure upon him from anti-slavery men. Horace Greeley having addressed a public letter to him complaining of “the policy you seem to be pursuing with regard to the slaves of the rebels,” the president replied on the 22nd of August, saying, “My paramount object is to save the Union, and not either to save or destroy slavery. If I could save the Union without freeing any slave, I would do it; if I could save it by freeing all the slaves, I would do it; and, if I could do it by freeing some and leaving others alone, I would also do that.” Thus still holding back violent reformers with one hand, and leading up halting conservatives with the other, he on the 13th of September replied among other things to an address from a delegation: “I do not want to issue a document that the whole world will see must necessarily be inoperative like the pope’s bull against the comet.... I view this matter as a practical war measure, to be decided on according to the advantages or disadvantages it may offer to the suppression of the rebellion.... I have not decided against a proclamation of liberty to the slaves, but hold the matter under advisement.”
The year 1862 had opened with important Union victories. Admiral A. H. Foote captured Fort Henry on the 6th of February, and Gen. U. S. Grant captured Fort Donelson on the 16th of February, and won the battle of Shiloh on the 6th and 7th of April. Gen. A. E. Burnside took possession of Roanoke island on the North Carolina coast (7th February). The famous contest between the new ironclads “Monitor” and “Merrimac” (9th April), though indecisive, effectually stopped the career of the Confederate vessel, which was later destroyed by the Confederates themselves. (See Hampton Roads.) Farragut, with a wooden fleet, ran past the twin forts St Philip and Jackson, compelled the surrender of New Orleans (26th April), and gained control of the lower Mississippi. The succeeding three months brought disaster and discouragement to the Union army. M’Clellan’s campaign against Richmond was made abortive by his timorous generalship, and compelled the withdrawal of his army. Pope’s army, advancing against the same city by another line, was beaten back upon Washington in defeat. The tide of war, however, once more turned in the defeat of Lee’s invading army at South Mountain and Antietam in Maryland on the 14th and on the 16th and 17th of September, compelling him to retreat.
With public opinion thus ripened by alternate defeat and victory, President Lincoln, on the 22nd of September 1862, issued his preliminary proclamation of emancipation, giving notice that on the 1st of January 1863, “all persons held as slaves within any state or designated part of a state the people whereof shall then be in rebellion against the United States shall be then, thenceforward and for ever free.” In his message to Congress on the 1st of December following, he again urged his plan of gradual, compensated emancipation (to be completed on the 1st of December 1900) “as a means, not in exclusion of, but additional to, all others for restoring and preserving the national authority throughout the Union.” On the 1st day of January 1863 the final proclamation of emancipation was duly issued, designating the States of Arkansas, Texas, Mississippi, Alabama, Florida, Georgia, South Carolina, North Carolina, and certain portions of Louisiana and Virginia, as “this day in rebellion against the United States,” and proclaiming that, in virtue of his authority as commander-in-chief, and as a necessary war measure for suppressing rebellion, “I do order and declare that all persons held as slaves within said designated states and parts of states are and henceforward shall be free,” and pledging the executive and military power of the government to maintain such freedom. The legal validity of these proclamations was never pronounced upon by the national courts; but their decrees gradually enforced by the march of armies were soon recognized by public opinion to be practically irreversible.6 Such dissatisfaction as they caused in the border slave states died out in the stress of war. The systematic enlistment of negroes and their incorporation into the army by regiments, hitherto only tried as exceptional experiments, were now pushed with vigour, and, being followed by several conspicuous instances of their gallantry on the battlefield, added another strong impulse to the sweeping change of popular sentiment. To put the finality of emancipation beyond all question, Lincoln in the winter session of 1863-1864 strongly supported a movement in Congress to abolish slavery by constitutional amendment, but the necessary two-thirds vote of the House of Representatives could not then be obtained. In his annual message of the 6th of December 1864, he urged the immediate passage of the measure. Congress now acted promptly: on the 31st of January 1865, that body by joint resolution proposed to the states the 13th amendment of the Federal Constitution, providing that “neither slavery nor involuntary servitude, except as a punishment for crime, whereof the party shall have been duly convicted, shall exist within the United States or any place subject to their jurisdiction.” Before the end of that year twenty-seven out of the thirty-six states of the Union (being the required three-fourths) had ratified the 708 amendment, and official proclamation made by President Johnson on the 18th of December 1865, declared it duly adopted.
[cont. on Lincoln 6]