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Side view
The Ionic columns and corner pilasters define eighteen panels; a draped female figure is carved in high relief inside each panel. The spaces between the columns are closed by full balusters, decorated with a simple molding; some of the portrayed female figures are standing in font of the balusters while other are sitting on these; this simple architectural trick gives a remarkable spatial effect to the overall scene by hinting the presence of the porch separating the walls of the cella from the colonnade of the peristalsis.
The female figures inside the panels are portrayed in different postures. Some of them are portrayed in frontal or three quarter standing position. They are wearing a himation, often taken over the head, running down on the shoulders and the chest, releasing the forearm and covering the legs. One shoulder is slightly forward and the head is gradually turned towards this shoulder.
Others are sitting on the baluster, three-quarters right or left, the knees bent, and sometime are holding a dulcimer. Others are leaning against the baluster, the hands crossed on the abdomen and the head down.
The women’s sadness is portrayed in different ways: according to a popular style some women are portrayed with a forearm placed horizontally, one hand supporting the opposite elbow and the forehead or the cheek leaning against the hand. Others hide their tears by covering the face with a corner of the cloth.
Marble Sarcophacus
From Sidon (Lebanon), Royal necropolis
About middle of 3rd cent. BC.
Istanbul; Archaeological Museum
Ionic Capital, North Porch of the Erechtheion, Acropolis, Athens, marble, 421-407 B.C.E. (British Museum, London)
A detail from the restored main court of the British Museum, Ionic giant order really looks at you while you sit down in the museum restaurant... ;-)
Original shot taken with an Olympus e500 digital reflex, 40-150mm zuiko zoom lens, various post processing.
represent architecture through typography? - work at prof. Bonča (UNI-LJ, FA)
made with typewriter, rotring and A4 common paper.
Another view of a nave of the Church of San Polo with ionic style columns added to the church in the 19th century, Venice, Italy.
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Ionic Columns, such as these on the exterior of the Longworth House Office Building, are typified by their capital, depicted as large paired spiral.
For more information on the Longworth House Office Building visit: www.aoc.gov/cc/cobs/lhob.cfm
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This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov.
Salt crystals as they're being dissolved in a drop of water.
See this photo for a fluorescence image of the water where only the depressions made by the crystals can be seen.
Dust Bunny * BoWillow * IONIC * Cute Doll Dudinah's * windsong. * 8f8 * Lyrical * What Next * [AF] Apple Fall * !Follow Us! * Zerkalo * Tres Blah * Cheeky Pea * 3D Trees * [DDD] * HPMD * Heart
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The “naos” and the wall dividing the cult area from the treasury room, the "opisthodomos".
The entire temple was designed on a modular system based on 6 x 6 Ionic feet (1 Ionic foot = 0.295 m.) The overall dimensions of the temple platform are equal 66 x 126 ionic feet; the column bases measure 6 feet wide and are 6 feet apart. The temple may thus be regarded as an attempt at canonization of the Ionic order.
The temple cella is 50 ionic ft (14,75 m.) long and 30 ionic ft. (6,85m) wide. The overall length of central building is 100 Ionic feet, 1 “ekatompeton”, equivalent to 29.5 m. The cella is 50 ft. long, the pronaos 30 ft., the opistodom 12 ft. and the separation walls 8 ft.
Temple of Athena Polias by Pytheos
About 340 – 330 BC
Priene, Turkey
Item Details: Ionic - Item: Various Items As Shown | Genre: Home and Garden | Price: 125L - 155L
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La Basilica di Santa Maria in Trastevere è una chiesa di Roma, la più importante del rione Trastevere.
Fondata nel III secolo da papa Callisto I, la chiesa fu poi rinnovata sotto papa Innocenzo II (1130-1143).
La facciata conserva nella parte superiore un mosaico del XIII secolo, raffigurata Maria in trono allatta il Bambino e affiancata da dieci donne recanti lampade. La facciata è preceduta dal portico progettato da Carlo Fontana (1702).
Sulla sommità del campanile romanico, si vede un mosaico raffigurante la Madonna col Bambino, in una nicchia.
All'interno, a tre navate su colonne ioniche e corinzie architravate, si notano il bel soffitto ligneo, disegnato da Domenichino (autore anche dell'Assunzione al centro) e alcune pitture risalenti al restauro del XIX secolo, sotto papa Pio IX. Nella prima cappella della navata destra si trova Santa Francesca Romana di Giacomo Zoboli mentre nella seconda cappella la Natività di Etienne Parrocel.
Nella conca dell'abside si può ammirare un mosaico raffigurante la Vergine e Cristo assisi sullo stesso trono (XII secolo), ornato, nella parte inferiore, da Storie della Vergine, sempre a mosaico, opera di Pietro Cavallini (1291).
Secondo un'accreditata ipotesi (Ernst Kitzinger) l'iconografia del catino absidale è probabilmente allusiva alla grande processione che nel medioevo si teneva a Roma la notte dell'Assunta. In questa occasione l'icona acheropita del Salvatore dal Laterano veniva solennemente condotta a Santa Maria Maggiore (maggiore chiesa mariana di Roma), al cospetto della celebre icona della Salus populi romani. Quasi un abbraccio tra Madre e Figlio. La processione peraltro prevedeva una tappa intermedia presso un'altra importante chiesa mariana, Santa Maria Nova presso il Foro romano (attuale Santa Francesca Romana). Anche qui vi era un incontro tra icone, custodendo anche questa chiesa una venerata immagine della Vergine. Ed è forse proprio questa seconda icona che fa da modello alla raffigurazione della Vergine nel mosaico trasteverino. La tesi di Kitzinger è basata, oltre che su assonanze stilistiche tra la decorazione musiva e le citate icone (specie tra il volto di Cristo del mosaico e l'acheropita lateranense), sul fatto che entrambe le figure centrali del mosaico hanno in mano dei cartigli con passi del Cantico dei Cantici. È documentato che durante la processione dell'Assunta venisse recitato questo salmo.
La prima cappella della navata sinistra è la cappella Avila, con stucchi in stile barocco di Antonio Gherardi (1680). Tra la quarta e la terza cappella v'è la tomba di Innocenzo II opera dell'architetto Virginio Vespignani che tra il 1866 e il 1877 eseguì un restauro stilistico della chiesa. Nella terza cappella lunette, soffitto e pala d'altare di Ferrau Tenzone.
Tra le altre opere d'arte si segnala l'icona della Madonna della Clemenza o Madonna Theotókos, preziosissimo esemplare risalente forse al VI secolo (ma alcuni storici suppongono all'VIII), dalla rigida frontalità e i colori smaglianti messi in relazione con il primo strato di affreschi della chiesa di Santa Maria Antiqua. La cappella Altemps risale alla fine XVI secolo e ospita il monumento funebre del cardinale Marco Sittico Altemps che nel timpano reca le statue della Fede e della Prudenza di Giovanni Antonio Paracca (il Valsoldo) dove classicismo ed espressività lombarda si fondono mirabilmente.
La basilica ospita le reliquie di San Giulio I e le salme di San Callisto I ed Innocenzo
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A Basílica de Santa Maria in Trastevere é uma igreja de Roma, o maior do bairro Trastevere.Fundada no século III pelo Papa Calisto I, a igreja foi renovada sob o Papa Inocêncio II (1.130-1.143).A fachada, na parte superior de um mosaico do século XIII, representado entronizado Maria amamentando o Menino, ladeada por dez mulheres que carregam lâmpadas. A frente é precedida por um pórtico, projetado por Carlo Fontana (1702). No topo da torre sineira românica, você vê um mosaico de Nossa Senhora e Criança em um nicho. No interior, três naves de lintéis jônicas e coríntias colunas, você percebe o belo teto de madeira, projetado por Domenichino (também autor da Assunção, no centro) e algumas pinturas que datam do restauro do século XIX, sob o Papa Pio IX. Na primeira capela do lado direito é de Santa Francesca Romana di Giacomo Zoboli, enquanto na segunda capela da Natividade Parrocel Etienne. Na bacia do abside pode admirar um mosaico retratando a Virgem e de Cristo sentado no trono em si (século XII), ornamentada na parte inferior, de Histórias da Virgem, também em mosaico de Pietro Cavallini (1291). Segundo un'accreditata hipótese (Ernst Kitzinger) a iconografia da abside é provavelmente uma alusão à grande procissão que se realizou em Roma, na Idade Média, a noite da Assunção. Na ocasião, o ícone do Salvador do acheropita Latrão foi solenemente levada para Santa Maria Maggiore (Maior mariana igreja de Roma), a visão do famoso ícone da Salus Populi Romani. Quase um abraço entre mãe e filho. A procissão também incluiu uma parada em outro importante mariana igreja, Santa Maria Nova, no Fórum romano (agora Santa Francesca Romana). Novamente, houve uma reunião entre os ícones, mesmo guardando a uma igreja venerada imagem da Virgem. Talvez seja este segundo ícone que serve de modelo para a representação da Virgem Maria em Trastevere mosaicos. Kitzinger argumento baseia-se não só sobre as semelhanças de estilo entre os mosaicos e ícones citados (especialmente em face do mosaico de Cristo e de Latrão sem pintura), o fato de que ambas as figuras centrais do mosaico da rola em suas mãos com passagens do Cântico dos Cânticos. Está documentado que durante a procissão da Assunção foi recitado este salmo. A primeira capela do lado esquerdo é a capela de Ávila, com estuques em estilo barroco por Antonio Gherardi (1680). Entre a capela quarto e terceiro, há o túmulo de Inocêncio II, projetado pelo arquiteto Virginio Vespignani que entre 1866 e 1877, ele executou uma restauração estilística da igreja. Nas lunetas terceira capela, o tecto e altar Ferrau Tenzone. Entre outras obras de arte destaca-se o ícone de Nossa Senhora da Misericórdia e de Nossa Senhora Mãe de Deus, precioso espécime provavelmente remonta ao século VI (embora alguns historiadores assumir VIII), pela frontalidade rigorosa e cores deslumbrantes correlacionam-se com a primeira camada de afrescos da igreja de Santa Maria Antiqua. A capela data do final do século XVI Altemps e abriga o túmulo do cardeal Marco Sittico Altemps o tímpano ostenta as estátuas de Fé e prudência por Giovanni Antonio Paracca (o Valsoldo) mostram que a clássica e expressiva mistura Lombard maravilhosamente. A igreja abriga as relíquias de São Júlio I e os restos de São Calisto e I. Inocêncio I
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The Basilica of Santa Maria in Trastevere is a church of Rome, the largest in the Trastevere neighborhood.
Founded in the third century by Pope Callistus I, the church was renewed under Pope Innocent II (1130-1143).
The facade at the top of a mosaic of the thirteenth century, depicted enthroned Mary suckling the Child, flanked by ten women bearing lamps. The front is preceded by a portico, designed by Carlo Fontana (1702).
On top of the Romanesque bell tower, you see a mosaic of the Madonna and Child in a niche.
Inside, three aisles of Ionic and Corinthian columns lintels, you notice the beautiful wood ceiling, designed by Domenichino (also author of the Assumption in the center) and some paintings dating from the restoration of the nineteenth century, under Pope Pius IX. In the first chapel on the right is Santa Francesca Romana di Giacomo Zoboli while in the second chapel of the Nativity Etienne Parrocel.
In the basin of the apse you can admire a mosaic depicting the Virgin and Christ seated on the throne itself (XII century), ornamented at the bottom, from Stories of the Virgin, also in mosaic by Pietro Cavallini (1291).
According un'accreditata hypothesis (Ernst Kitzinger) the iconography of the apse is probably an allusion to the great procession that was held in Rome in the Middle Ages the night of the Assumption. On this occasion the icon of the Savior from the Lateran acheropita was solemnly carried to Santa Maria Maggiore (Greater Marian church in Rome), the sight of the famous icon of the Salus Populi Romani. Almost a hug between Mother and Son. The procession also included a stopover at another important Marian church, Santa Maria Nova at the Roman Forum (now Santa Francesca Romana). Again, there was a meeting between icons, even guarding the church a venerated image of the Virgin. Perhaps it is this second icon that serves as a model to the depiction of the Virgin Mary in Trastevere mosaics. Kitzinger's argument is based not only on stylistic similarities between the mosaics and icons mentioned (especially in the face of the mosaic of Christ and the unpainted Lateran), the fact that both central figures in the mosaic of the scrolls in their hands with passages from the Song of Songs. It is documented that during the procession of the Assumption was recited this psalm.
The first chapel on the left is the chapel of Avila, with stucco in baroque style by Antonio Gherardi (1680). Between the fourth and third chapel there is the tomb of Innocent II, designed by architect Virginio Vespignani that between 1866 and 1877 he executed a stylistic restoration of the church. In the third chapel lunettes, the ceiling and altarpiece Ferrau Tenzone.
Among other works of art we highlight the icon of Our Lady of Mercy and Our Lady Theotokos, precious specimen probably dates back to VI century (though some historians assume VIII), by the strict frontality and dazzling colors correlate with the first layer of frescoes in the church of Santa Maria Antiqua. The chapel dates from the late sixteenth century Altemps and houses the tomb of Cardinal Marco Sittico Altemps the tympanum bears the statues of Faith and Prudence by Giovanni Antonio Paracca (the Valsoldo) show that classical and expressive Lombard blend wonderfully.
The church houses the relics of St. Julius I and the remains of St. Calixtus and Innocent I. I
The Ionic Temple graces the north end of the terrace. The temple was not just picturesque but also practical, serving as a space to rest and dine in. Despite its practical purpose, it's decorated with a splendid fresco depicting mythological scenes and ornate 18th-century furniture.
Ionic temple dedicated to Athena, Poseidon, Erechtheus, and other chthonic deities of Attica, 421-406 B.C.
Ionic Column, North Porch of the Erechtheion, Acropolis, Athens, marble, 421-407 B.C.E. (British Museum, London)
50 Year Masonic Pin presentation by M.W.Bro. Raymond S. J. Daniels, Grand Master of the Grand Lodge of Canada in the Province of Ontario.
Ray Daniels Obit:
Lifetimes: Beloved music teacher’s legacy went far beyond classroom.
Ray Daniels of Waterloo. Born: Sept. 2, 1937, in Orillia; Died: Jan. 24, 2016, of age-related illness.
Waterloo Region Record
By Valerie Hill
Ray Daniels was a conundrum, a man who sculpted himself a career that shot him into the limelight, but who also refused public accolades and often downplayed his abilities. Outgoing or introverted? Ray was both, and that is what made him so interesting and a bit mysterious.
Ray taught vocal music at Eastwood Collegiate for 23 years, started numerous choirs and co-founded the Waterloo Regional Gilbert & Sullivan Society, launching it at the school. Because
of Ray, students not only found their voices but several went on to professional careers including Alex Mustakas, artistic director of Drayton Entertainment.
Alex recalled, "I learned more about music and the works of Gilbert and Sullivan from him than anyone else I have ever met. He set the musical bar for me, no pun intended. An amazing human being."
Opera singer Thomas Goerz wrote a lengthy tribute to his old teacher, speaking of Ray's ability to inspire students. Ray was always at school an hour early and he led at least three choirs while encouraging even the most reluctant singer to open his mouth and just try.
"Raymond Daniels was known to many an Eastwood music student as Uncle Ray, Mister D, but usually just good ol' Ray," recalled Thomas. "Though I came from a musical family, it was Ray Daniels who was the true difference maker. He gave me the confidence to take the plunge into the unknown: a career in the performing arts."
Ray's father was an orchestral musician so the love of music might have been genetic. As a child, Ray studied piano then graduated to the organ at 13. At 17, he was hired as church organist in Barrie and later studied for a decade with a Toronto organist and at Syracuse University in New York. Ray also held diplomas from Trinity College of Music in London, England, and an undergraduate degree from Wilfrid Laurier University in music and history.
Ray was hired by a church in Simcoe where he was also music supervisor for the school board.
It was in Simcoe that he met Brenda, a music teacher. Brenda declined to be interviewed for this feature. The couple, married for 52 years, didn't have children.
In 1967 Ray accepted the vacated organist's position at Trinity United Church in Kitchener. He was aware of the church's reputation and told a Record reporter at the time "one of the reasons for my wanting to come to Trinity was its tradition of music. Because of the background and the service already done here the church staff was anxious that they be continued. I am also."
Ray and Brenda were musical powerhouses in the region. Brenda sang in the Grand Philharmonic Choir, then known as the K-W Philharmonic Choir, and Ray served as accompanist.
Retired conductor Howard Dyck said Ray was an exceptional accompanist, an intuitive musician who anticipated the choir's needs, sometimes before Howard did.
"An accompanist has to be a pretty good pianist," said Howard. "He needs to be looking at the choir, watching what the choir is doing."
Ray had to play with emphasis if a particular section was faltering, trying to get them back on track and he usually knew exactly which bar to start at after the conductor stopped the singing to fix a problem.
"Ray was able to do this magnificently," said Howard. "He was a very fine musician."
Howard also spoke of how much his friend loved Great Britain, particularly the musical history, and he had taken The Renaissance Singers, a choral group he founded in 1972, to perform at festivals in England.
"He was an Anglophile, he loved all things English," said Howard. "He was a walking encyclopedia of music, very knowledgeable."
Ray often suggested beautiful but neglected pieces of music, works that even Howard didn't know.
On a personal level, Howard said his friend was "a quirky guy who didn't suffer fools gladly. He would say really irreverent things about people he thought were uninformed. He was very funny."
As Ray began winding down his musical career, he poured his energies into Freemasonry. Ray had joined his father's Orillia lodge in 1959 and he was an active Mason during his teaching
career. By the early 1990s, he started moving up until he reached the highest rank in the province, that of Grand Master. Ray shared his fraternity's basic tenet of gentlemanly behaviour
and compassion for others.
Fellow Mason David Cameron said that Ray worked hard to open lines of communication between the general public and the Masons, an organization that has long suffered from
distorted public opinion about what goes on behind closed doors.
"He wanted to be open with them, get the facts out there as opposed to all those conspiracy theories," said David. "He rose to the top quickly because of his enthusiasm and his teaching
ability."
Ray came up with the idea of the Masons and Brock University partnering to establish the prestigious Dr. Charles A. Sankey Lecture Series on Masonic studies and they also established a
Masonic lodge in Afghanistan on a Canadian Forces base, to give young soldiers a sense of fraternity.
"He made it happen," said David.
What made Ray a good Grand Master? David thinks it was his friend's caring manner and how he would gravitate to new members ensuring they felt welcome.
"He always had a smile when he'd greet you," said David. "He was always approachable."
vhill@therecord.com
A second obit:
M.W. Bro. Raymond S.J. Daniels
Landmarks/Doric Lodge No.654
Passed January 24,2016
That incredibly rigorous intellectual mind and that gifted eloquence that were his trademarks will be no more; the friendship that was offered so graciously is now but a memory and we gather to bid a fond farewell to a friend and brother.
Raymond Sydney James Daniels, the 74th grand master of the Grand Lodge of Canada in the Province of Ontario first saw the light of Masonry in his father’s Lodge, Orillia Lodge No. 192 in Orillia in 1959. He was to hold membership in a number of lodges throughout this jurisdiction, was the Worshipful Master of New Hope Lodge – now Mystic Tie Lodge No. 279 – and New Light Daylight Lodge No. 744 when it was founded in 2001. He was elected Grand Junior Warden for the term 2000-2001 and served on the Board of General Purposes from 2001 until 2007 when he was elected Deputy Grand Master. He was installed as Grand Master on July 15, 2009.
As his theme for office Ray used the words of an ancient Hebrew scribe which best describe his approach to Masonic life – “get knowledge, get wisdom, but with all thy getting, get understanding”, for he believed that understanding the real and profound meaning of freemasonry should be the quest of every serious mason. Throughout his Masonic career Ray did just that – not only did he seek that profound understanding himself, but he tried to get people to understand that Freemasonry and Education are really synonymous terms. Right to the very end his Masonic Minutes were a source of enlightenment to those who studied them and I am grateful for those brethren of the Ancient Landmarks incorporating Doric Lodge of Hamilton who have taken the time to bring all of these Masonic Minutes together in one publication so that all Masons, present and future, may benefit from them.
In his efforts to ensure that all Masons had access to the benefits offered by our fraternity he spearheaded the initiative that led to the formation of Canada Lodge (UD) in Kandahar, Afghanistan. He also lent his full support to the campaign devised to provide free Tim Horton’s cards to personnel serving in the Afghan sphere of operations a simple “taste of home” that was appreciated by countless numbers of our warriors abroad.
His other initiative of note, the formation of the Sankey Lectures in coordination with Brock University and his attempt to develop a centre for the study of the impact that Freemasonry has had upon this country is still evolving. M.W. Bro. Daniels was a visionary in this regard and I sincerely hope we do not let this vision fade in years to come.
M.W. Bro. Daniels was never happier than when he was surrounded by young men with a willingness to listen and an eagerness to learn. His Socratic approach to teaching enabled others to become imbued with some of his own desire for knowledge and become enthused by the fire of his rhetoric.
Ray was also a trained and accomplished musician who truly appreciated the classics and in his lifetime he brought the joy of classical and sacred music to countless students and concert goers. Ray was not of course all seriousness - he had a highly developed, dry sense of humour that he often used to bring those with inflated egos back to earth and I am certain that at one time or another many in this theatre today have benefitted from his gentle but well aimed, barbs.
Given his frequent visits to the Ottawa Valley a group of brethren conferred “Honorary Valley Lad” status upon Ray and at some point during every visit to the area he reminded one and all that he really belonged as he was simply, a valley lad. At heart he truly was, for Ray enjoyed the people and the country which had borne them.
Raymond Sydney James Daniels, a man of simple tastes, a man who was renowned far and wide as a scholar, a teacher, a friend, a good man and a good Mason; a man who lived a good life and a man whose fortunes are not indeed, a matter of indifference to God. As is recorded in the gospel of Matthew 25:21 – “well done thou good and faithful servant”. He may be gone from us physically but his legacy will continue to be felt for years to come.
Honorary Life Member of Landmarks/Doric No. 654 It is with deepest regret and and profound sense of a great loss that we notify you of the death of our Past Grand Master. M.W. Bro. Raymond S.J. Daniels Sept 2, 1937 to Jan. 24, 2016 Grand Master July 2009 to July 2011.
A Masonic Memorial Service was held on Sunday January 31, 2:00pm at Dunfield Theatre Cambridge, 46 Grand Avenue South, Cambridge.
---------- Forwarded message ----------
From: Georgian South Communications
Date: Sun, Jul 3, 2016 at 10:16 PM
Subject: Fw: Fwd: [GL-IC] - Special Announcement - New Publication - The Collected Works of M.W. Bro. Raymond S.J. Daniels
To:
From: BOYD
Sent: Saturday, July 02, 2016 8:36 PM
To: gsdcommprdirector@rogers.com
Cc: Rory MacDonald
Subject: Fwd: [GL-IC] - Special Announcement - New Publication - The Collected Works of M.W. Bro. Raymond S.J. Daniels
V. W. Sir:
Please distribute the attached to the district. Thank you.
Fraternally
R. W. Bro. David J. Boyd
DDGM Georgian South
1 Kelly Place
Barrie, On
L4N 8N2
(705) 728-4640
Begin forwarded message:
From: "Peter Sialtsis"
Date: July 2, 2016 at 11:43:29 AM EDT
To: "'Peter Sialtsis'"
Subject: [GL-IC] - Special Announcement - New Publication - The Collected Works of M.W. Bro. Raymond S.J. Daniels
Distribution to:
Grand Master
Past Grand Masters
Deputy Grand Master
District Deputy Grand Masters
Board of General Purposes
Team Leaders
Other Grand Lodge Officers & Initiatives (per current list)
District Secretaries (per current list)
Distribution:
The District Deputy Grand Masters are strongly encouraged to distribute this message, to the Lodges of the District, so that they may have ready access to resource documents that would be of interest and relevance to the Brethren of your District.
Dear Sirs & Brethren:
I am pleased to send you this Special Announcement, which is sent with high importance and a request that it be fully distributed among all member of our Grand Jurisdiction.
*******************************
Important General Announcement for all Members
District Deputy Grand Masters are requested to immediately make the members of the District aware of this opportunity.
Brethren,
We are extremely pleased to inform you that a local initiative that was commenced in Hamilton District C, which started out small and became much more than originally intended, has finally come to fruition. The Grand Secretary has just announced that a “new” 300 page soft cover book, published by the Grand Lodge of A.F. & A.F. of Canada in the Province of Ontario, entitled The Collected Works of M.W. Bro. Raymond S. J. Daniels, will be available for sale, at the Book Table, during our Annual Communication this July in Toronto. This book will also be available through the Grand Lodge office.
The following is the Preface from the publication.
The Collected Works of M.W. Bro. Raymond S. J. Daniels
PREFACE
It was at a summer meeting in Muskoka Lodge No. 360, in August 1994, that Raymond Daniels introduced himself as a Mason seeking my thoughts about the future of the Craft. Little was I aware that this initial meeting would lead to the writing of this preface for his collected works. Raymond was a summer cottager in Muskoka, starting to taper down his music and educational career at Eastwood Collegiate in Kitchener. Through his insatiable reading he was becoming energized to jump-start his Masonic career which had been somewhat latent due to other commitments that consumed his available time. During our travels and discussions, I soon found myself sharing noteworthy and fulfilling experiences of the growth and development of Grand Lodge and its programming . However, looking in the rear view mirror, my germane thoughts were catalytic in his ascendency in Freemasonry.
Becoming the Worshipful Master of New Hope Lodge No. 279, in 1999, afforded him the opportunity to spread his wings by serving on the Grand Lodge Instruction team, where he could utilize his pedagogical expertise, and develop lasting friendships. He always believed that Masonic events were opportunities to meet colleagues, develop new friendships, compare and discuss developments and learn from each other. As a volunteer at the Grand Lodge Library, Museum and Archives in Hamilton, Raymond would not only share his talents, but had complete access to the finest Masonic Library in Canada. This just whetted his Masonic appetite, but he needed more.
Being acclaimed Grand Junior Warden in 2000, the name Daniels became known province wide, along with requests as a speaker from all parts of the jurisdiction. While elected to the Board of General Purposes he chaired the Committees of Masonic Education and Lodge Resources, and it was through an electronic system of distribution via the internet, that his monthly educational messages were disseminated to all present and past DDGMs for distribution to all lodges within their districts. The exponential growth of Masonic Education was phenomenal, and Raymond had the disposition to fuel their desires. Becoming an inveterate researcher and writer, his congenial personality allowed him to share with all who would read and listen. Raymond perfected the “tool kit”, a collection of items from which he would moralize on, to prove their Masonic worth as a free-thinking Mason. The concept of the “tool kit” spread throughout the Districts especially among the newer Masons. Just recently I witnessed this when a newer Mason removed from a large plastic bag, three empty 12-pack cartons of Labatt’s, Molson’s and Keith’s beer. His research on their founders made for most interesting Masonic Education.
As Deputy Grand Master in 2007, Raymond’s writings continued as he visualized the lodge as a classroom for educating Masons and he encouraged the Masters to become teachers as well as ritualists and keepers of the Constitution. He noted that the essential part of the trip of self-discovery through Masonic activities is the ritual which distinguished Freemasons from others. He would challenge the Worshipful Master to make use of the ‘Teachable Moments’ available in every lodge meeting. Education was the process, learning was the method, and knowledge was the product.
As Grand Master of the Grand Lodge of Canada in the Province of Ontario, in 2009, Most Worshipful Brother Raymond S. J. Daniels’ theme was “Get Knowledge, Get Wisdom, but with all thy Getting, Get Understanding.” The demands of his office never seemed to impact upon his continued desire to express his Masonic thoughts, especially when meeting the press. His active mind and gifted eloquence became trademarks, as he encouraged his Craft to seek the true calling of Freemasonry. In the interest of inspiring a daily advancement in Masonic Knowledge, he issued a directive to all lodges imploring “if the regular agenda of every meeting of every Lodge included a minute or two of interesting instruction, it would be a real incentive for all Brethren to come to Lodge.” Thus the term ‘Masonic Minute’ was coined. Through his visioning, a lodge was sanctioned for CAF troops in Kandahar, Afghanistan, along with Tim Horton’s coffee cards so the troops could have a ‘taste of home.’ His Grand Master’s Project was to establish a Centre to study the impact Fraternalism in general and Freemasonry in particular, has had on the history of Canada over the past three centuries. With the inaugural lecture at Brock University, St. Catharines, Ontario, on April 17, 2010, annually it has continued to attract over 500 students, Masons and their families.
M.W. Bro. Daniels’ unconditional drive to share and serve his fellow Masons did not come lightly, as his health was beginning to let him know that he should be slowing his most strenuous pace. From 2009 he tried to take things a bit easier, but his Masonic Minutes continued. He saw the erection of that “Temple of Character” as the real ‘work’ of a Freemason, discovering, examining and evaluating the inner man. This being a personal process, with Freemasonry providing the compass as a ‘light unto the path’ for a life-long journey of self discovery.
At the October 29, 2015 monthly Publication Team meeting of Hamilton Masonic District C, the vision of archiving all of M.W. Bro. Daniels’ Masonic Minutes on our District Website, was reviewed as a viable project, but of course would need the author’s agreement and support. Raymond was most humbled by such a request, and readily agreed and cooperated to his fullest. Committee members had archived several, but there was no centralized registry of all that had been produced, which made for a most interesting quest. However with the help of several, including R.W. Bro Dr. David Cameron, we believe we finally have them all.
Sadly, on January 24th, 2016, M.W.Bro. Daniels passed to the Grand Lodge Above in his sleep. His January Masonic Minutes are printed. As the numbers increased, a decision to post them under five subsections was implemented. Thus the Anthology of his Masonic Works includes: Masonic Minutes; Masonic Moments; Masonic Research; Masonic Press; and Masonic Memorial. Subsequent nudging by a few Past Grand Masters, along with the co-operation of the Grand Secretary’s Office, lead to a shifting of platforms from the District C website to this book, "The Collected Works of M.W. Bro. Raymond S.J. Daniels", dedicated to a great Mason.
As he often said, “The future is in our hands, yours and mine. Let us be sure that those that follow us tomorrow can be forever proud of our achievements in Freemasonry today.” In the “light” of Freemasonry, we are given new vision to see the natural Beauty and keener minds to comprehend divine Truth.
Greek Archaic period, ca. 600-550 BCE
No archaeological provenience
In the collection of, and photographed on display in, the Museo Archeologico Nazionale di Venezia, Venice, Italy
Formerly 18th-19th c. Venetian private collection
University of Glasgow Library
Special Collections
Giacomo Barozzio da Vignola
Regola delli cinque ordini d’architettura [Rome: 1562?]
Sp Coll S.M. 1911
Copyright photo PS
Looking north near the Temple of Apollo.
On the right is part of a ruined cella (cult chamber).
The white column supports the inverse-hemisphere sundial of Apollo. There's an inscription of the donor part way down. This Ionic column with sundial was put up in the time of Augustus.
[There's a similar inverted-hemisphere sundial, carved from white marble, and with bronze gnomon rod, in the House if Caius Julius Polybius.]
The Temple of Apollo had a portico of 48 columns, with a statue in the courtyard.
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Enlarge:
1. Simply click the diagonal arrows.
2. Further enlarge: Then press F11 on a PC, or Fullscreen. Allow re-focus.
Or
3. Max enlarge: If flickr's +cursor is showing, click it for max enlargement and allow to re-focus. Explore detail moving cursor.
.
Or
.
View larger + F11
.
50 Year Masonic Pin presentation by M.W.Bro. Raymond S. J. Daniels, Grand Master of the Grand Lodge of Canada in the Province of Ontario.
Ray Daniels Obit:
Lifetimes: Beloved music teacher’s legacy went far beyond classroom.
Ray Daniels of Waterloo. Born: Sept. 2, 1937, in Orillia; Died: Jan. 24, 2016, of age-related illness.
Waterloo Region Record
By Valerie Hill
Ray Daniels was a conundrum, a man who sculpted himself a career that shot him into the limelight, but who also refused public accolades and often downplayed his abilities. Outgoing or introverted? Ray was both, and that is what made him so interesting and a bit mysterious.
Ray taught vocal music at Eastwood Collegiate for 23 years, started numerous choirs and co-founded the Waterloo Regional Gilbert & Sullivan Society, launching it at the school. Because
of Ray, students not only found their voices but several went on to professional careers including Alex Mustakas, artistic director of Drayton Entertainment.
Alex recalled, "I learned more about music and the works of Gilbert and Sullivan from him than anyone else I have ever met. He set the musical bar for me, no pun intended. An amazing human being."
Opera singer Thomas Goerz wrote a lengthy tribute to his old teacher, speaking of Ray's ability to inspire students. Ray was always at school an hour early and he led at least three choirs while encouraging even the most reluctant singer to open his mouth and just try.
"Raymond Daniels was known to many an Eastwood music student as Uncle Ray, Mister D, but usually just good ol' Ray," recalled Thomas. "Though I came from a musical family, it was Ray Daniels who was the true difference maker. He gave me the confidence to take the plunge into the unknown: a career in the performing arts."
Ray's father was an orchestral musician so the love of music might have been genetic. As a child, Ray studied piano then graduated to the organ at 13. At 17, he was hired as church organist in Barrie and later studied for a decade with a Toronto organist and at Syracuse University in New York. Ray also held diplomas from Trinity College of Music in London, England, and an undergraduate degree from Wilfrid Laurier University in music and history.
Ray was hired by a church in Simcoe where he was also music supervisor for the school board.
It was in Simcoe that he met Brenda, a music teacher. Brenda declined to be interviewed for this feature. The couple, married for 52 years, didn't have children.
In 1967 Ray accepted the vacated organist's position at Trinity United Church in Kitchener. He was aware of the church's reputation and told a Record reporter at the time "one of the reasons for my wanting to come to Trinity was its tradition of music. Because of the background and the service already done here the church staff was anxious that they be continued. I am also."
Ray and Brenda were musical powerhouses in the region. Brenda sang in the Grand Philharmonic Choir, then known as the K-W Philharmonic Choir, and Ray served as accompanist.
Retired conductor Howard Dyck said Ray was an exceptional accompanist, an intuitive musician who anticipated the choir's needs, sometimes before Howard did.
"An accompanist has to be a pretty good pianist," said Howard. "He needs to be looking at the choir, watching what the choir is doing."
Ray had to play with emphasis if a particular section was faltering, trying to get them back on track and he usually knew exactly which bar to start at after the conductor stopped the singing to fix a problem.
"Ray was able to do this magnificently," said Howard. "He was a very fine musician."
Howard also spoke of how much his friend loved Great Britain, particularly the musical history, and he had taken The Renaissance Singers, a choral group he founded in 1972, to perform at festivals in England.
"He was an Anglophile, he loved all things English," said Howard. "He was a walking encyclopedia of music, very knowledgeable."
Ray often suggested beautiful but neglected pieces of music, works that even Howard didn't know.
On a personal level, Howard said his friend was "a quirky guy who didn't suffer fools gladly. He would say really irreverent things about people he thought were uninformed. He was very funny."
As Ray began winding down his musical career, he poured his energies into Freemasonry. Ray had joined his father's Orillia lodge in 1959 and he was an active Mason during his teaching
career. By the early 1990s, he started moving up until he reached the highest rank in the province, that of Grand Master. Ray shared his fraternity's basic tenet of gentlemanly behaviour
and compassion for others.
Fellow Mason David Cameron said that Ray worked hard to open lines of communication between the general public and the Masons, an organization that has long suffered from
distorted public opinion about what goes on behind closed doors.
"He wanted to be open with them, get the facts out there as opposed to all those conspiracy theories," said David. "He rose to the top quickly because of his enthusiasm and his teaching
ability."
Ray came up with the idea of the Masons and Brock University partnering to establish the prestigious Dr. Charles A. Sankey Lecture Series on Masonic studies and they also established a
Masonic lodge in Afghanistan on a Canadian Forces base, to give young soldiers a sense of fraternity.
"He made it happen," said David.
What made Ray a good Grand Master? David thinks it was his friend's caring manner and how he would gravitate to new members ensuring they felt welcome.
"He always had a smile when he'd greet you," said David. "He was always approachable."
vhill@therecord.com
A second obit:
M.W. Bro. Raymond S.J. Daniels
Landmarks/Doric Lodge No.654
Passed January 24,2016
That incredibly rigorous intellectual mind and that gifted eloquence that were his trademarks will be no more; the friendship that was offered so graciously is now but a memory and we gather to bid a fond farewell to a friend and brother.
Raymond Sydney James Daniels, the 74th grand master of the Grand Lodge of Canada in the Province of Ontario first saw the light of Masonry in his father’s Lodge, Orillia Lodge No. 192 in Orillia in 1959. He was to hold membership in a number of lodges throughout this jurisdiction, was the Worshipful Master of New Hope Lodge – now Mystic Tie Lodge No. 279 – and New Light Daylight Lodge No. 744 when it was founded in 2001. He was elected Grand Junior Warden for the term 2000-2001 and served on the Board of General Purposes from 2001 until 2007 when he was elected Deputy Grand Master. He was installed as Grand Master on July 15, 2009.
As his theme for office Ray used the words of an ancient Hebrew scribe which best describe his approach to Masonic life – “get knowledge, get wisdom, but with all thy getting, get understanding”, for he believed that understanding the real and profound meaning of freemasonry should be the quest of every serious mason. Throughout his Masonic career Ray did just that – not only did he seek that profound understanding himself, but he tried to get people to understand that Freemasonry and Education are really synonymous terms. Right to the very end his Masonic Minutes were a source of enlightenment to those who studied them and I am grateful for those brethren of the Ancient Landmarks incorporating Doric Lodge of Hamilton who have taken the time to bring all of these Masonic Minutes together in one publication so that all Masons, present and future, may benefit from them.
In his efforts to ensure that all Masons had access to the benefits offered by our fraternity he spearheaded the initiative that led to the formation of Canada Lodge (UD) in Kandahar, Afghanistan. He also lent his full support to the campaign devised to provide free Tim Horton’s cards to personnel serving in the Afghan sphere of operations a simple “taste of home” that was appreciated by countless numbers of our warriors abroad.
His other initiative of note, the formation of the Sankey Lectures in coordination with Brock University and his attempt to develop a centre for the study of the impact that Freemasonry has had upon this country is still evolving. M.W. Bro. Daniels was a visionary in this regard and I sincerely hope we do not let this vision fade in years to come.
M.W. Bro. Daniels was never happier than when he was surrounded by young men with a willingness to listen and an eagerness to learn. His Socratic approach to teaching enabled others to become imbued with some of his own desire for knowledge and become enthused by the fire of his rhetoric.
Ray was also a trained and accomplished musician who truly appreciated the classics and in his lifetime he brought the joy of classical and sacred music to countless students and concert goers. Ray was not of course all seriousness - he had a highly developed, dry sense of humour that he often used to bring those with inflated egos back to earth and I am certain that at one time or another many in this theatre today have benefitted from his gentle but well aimed, barbs.
Given his frequent visits to the Ottawa Valley a group of brethren conferred “Honorary Valley Lad” status upon Ray and at some point during every visit to the area he reminded one and all that he really belonged as he was simply, a valley lad. At heart he truly was, for Ray enjoyed the people and the country which had borne them.
Raymond Sydney James Daniels, a man of simple tastes, a man who was renowned far and wide as a scholar, a teacher, a friend, a good man and a good Mason; a man who lived a good life and a man whose fortunes are not indeed, a matter of indifference to God. As is recorded in the gospel of Matthew 25:21 – “well done thou good and faithful servant”. He may be gone from us physically but his legacy will continue to be felt for years to come.
Honorary Life Member of Landmarks/Doric No. 654 It is with deepest regret and and profound sense of a great loss that we notify you of the death of our Past Grand Master. M.W. Bro. Raymond S.J. Daniels Sept 2, 1937 to Jan. 24, 2016 Grand Master July 2009 to July 2011.
A Masonic Memorial Service was held on Sunday January 31, 2:00pm at Dunfield Theatre Cambridge, 46 Grand Avenue South, Cambridge.
---------- Forwarded message ----------
From: Georgian South Communications
Date: Sun, Jul 3, 2016 at 10:16 PM
Subject: Fw: Fwd: [GL-IC] - Special Announcement - New Publication - The Collected Works of M.W. Bro. Raymond S.J. Daniels
To:
From: BOYD
Sent: Saturday, July 02, 2016 8:36 PM
To: gsdcommprdirector@rogers.com
Cc: Rory MacDonald
Subject: Fwd: [GL-IC] - Special Announcement - New Publication - The Collected Works of M.W. Bro. Raymond S.J. Daniels
V. W. Sir:
Please distribute the attached to the district. Thank you.
Fraternally
R. W. Bro. David J. Boyd
DDGM Georgian South
1 Kelly Place
Barrie, On
L4N 8N2
(705) 728-4640
Begin forwarded message:
From: "Peter Sialtsis"
Date: July 2, 2016 at 11:43:29 AM EDT
To: "'Peter Sialtsis'"
Subject: [GL-IC] - Special Announcement - New Publication - The Collected Works of M.W. Bro. Raymond S.J. Daniels
Distribution to:
Grand Master
Past Grand Masters
Deputy Grand Master
District Deputy Grand Masters
Board of General Purposes
Team Leaders
Other Grand Lodge Officers & Initiatives (per current list)
District Secretaries (per current list)
Distribution:
The District Deputy Grand Masters are strongly encouraged to distribute this message, to the Lodges of the District, so that they may have ready access to resource documents that would be of interest and relevance to the Brethren of your District.
Dear Sirs & Brethren:
I am pleased to send you this Special Announcement, which is sent with high importance and a request that it be fully distributed among all member of our Grand Jurisdiction.
*******************************
Important General Announcement for all Members
District Deputy Grand Masters are requested to immediately make the members of the District aware of this opportunity.
Brethren,
We are extremely pleased to inform you that a local initiative that was commenced in Hamilton District C, which started out small and became much more than originally intended, has finally come to fruition. The Grand Secretary has just announced that a “new” 300 page soft cover book, published by the Grand Lodge of A.F. & A.F. of Canada in the Province of Ontario, entitled The Collected Works of M.W. Bro. Raymond S. J. Daniels, will be available for sale, at the Book Table, during our Annual Communication this July in Toronto. This book will also be available through the Grand Lodge office.
The following is the Preface from the publication.
The Collected Works of M.W. Bro. Raymond S. J. Daniels
PREFACE:
It was at a summer meeting in Muskoka Lodge No. 360, in August 1994, that Raymond Daniels introduced himself as a Mason seeking my thoughts about the future of the Craft. Little was I aware that this initial meeting would lead to the writing of this preface for his collected works. Raymond was a summer cottager in Muskoka, starting to taper down his music and educational career at Eastwood Collegiate in Kitchener. Through his insatiable reading he was becoming energized to jump-start his Masonic career which had been somewhat latent due to other commitments that consumed his available time. During our travels and discussions, I soon found myself sharing noteworthy and fulfilling experiences of the growth and development of Grand Lodge and its programming . However, looking in the rear view mirror, my germane thoughts were catalytic in his ascendency in Freemasonry.
Becoming the Worshipful Master of New Hope Lodge No. 279, in 1999, afforded him the opportunity to spread his wings by serving on the Grand Lodge Instruction team, where he could utilize his pedagogical expertise, and develop lasting friendships. He always believed that Masonic events were opportunities to meet colleagues, develop new friendships, compare and discuss developments and learn from each other. As a volunteer at the Grand Lodge Library, Museum and Archives in Hamilton, Raymond would not only share his talents, but had complete access to the finest Masonic Library in Canada. This just whetted his Masonic appetite, but he needed more.
Being acclaimed Grand Junior Warden in 2000, the name Daniels became known province wide, along with requests as a speaker from all parts of the jurisdiction. While elected to the Board of General Purposes he chaired the Committees of Masonic Education and Lodge Resources, and it was through an electronic system of distribution via the internet, that his monthly educational messages were disseminated to all present and past DDGMs for distribution to all lodges within their districts. The exponential growth of Masonic Education was phenomenal, and Raymond had the disposition to fuel their desires. Becoming an inveterate researcher and writer, his congenial personality allowed him to share with all who would read and listen. Raymond perfected the “tool kit”, a collection of items from which he would moralize on, to prove their Masonic worth as a free-thinking Mason. The concept of the “tool kit” spread throughout the Districts especially among the newer Masons. Just recently I witnessed this when a newer Mason removed from a large plastic bag, three empty 12-pack cartons of Labatt’s, Molson’s and Keith’s beer. His research on their founders made for most interesting Masonic Education.
As Deputy Grand Master in 2007, Raymond’s writings continued as he visualized the lodge as a classroom for educating Masons and he encouraged the Masters to become teachers as well as ritualists and keepers of the Constitution. He noted that the essential part of the trip of self-discovery through Masonic activities is the ritual which distinguished Freemasons from others. He would challenge the Worshipful Master to make use of the ‘Teachable Moments’ available in every lodge meeting. Education was the process, learning was the method, and knowledge was the product.
As Grand Master of the Grand Lodge of Canada in the Province of Ontario, in 2009, Most Worshipful Brother Raymond S. J. Daniels’ theme was “Get Knowledge, Get Wisdom, but with all thy Getting, Get Understanding.” The demands of his office never seemed to impact upon his continued desire to express his Masonic thoughts, especially when meeting the press. His active mind and gifted eloquence became trademarks, as he encouraged his Craft to seek the true calling of Freemasonry. In the interest of inspiring a daily advancement in Masonic Knowledge, he issued a directive to all lodges imploring “if the regular agenda of every meeting of every Lodge included a minute or two of interesting instruction, it would be a real incentive for all Brethren to come to Lodge.” Thus the term ‘Masonic Minute’ was coined. Through his visioning, a lodge was sanctioned for CAF troops in Kandahar, Afghanistan, along with Tim Horton’s coffee cards so the troops could have a ‘taste of home.’ His Grand Master’s Project was to establish a Centre to study the impact Fraternalism in general and Freemasonry in particular, has had on the history of Canada over the past three centuries. With the inaugural lecture at Brock University, St. Catharines, Ontario, on April 17, 2010, annually it has continued to attract over 500 students, Masons and their families.
M.W. Bro. Daniels’ unconditional drive to share and serve his fellow Masons did not come lightly, as his health was beginning to let him know that he should be slowing his most strenuous pace. From 2009 he tried to take things a bit easier, but his Masonic Minutes continued. He saw the erection of that “Temple of Character” as the real ‘work’ of a Freemason, discovering, examining and evaluating the inner man. This being a personal process, with Freemasonry providing the compass as a ‘light unto the path’ for a life-long journey of self discovery.
At the October 29, 2015 monthly Publication Team meeting of Hamilton Masonic District C, the vision of archiving all of M.W. Bro. Daniels’ Masonic Minutes on our District Website, was reviewed as a viable project, but of course would need the author’s agreement and support. Raymond was most humbled by such a request, and readily agreed and cooperated to his fullest. Committee members had archived several, but there was no centralized registry of all that had been produced, which made for a most interesting quest. However with the help of several, including R.W. Bro Dr. David Cameron, we believe we finally have them all.
Sadly, on January 24th, 2016, M.W.Bro. Daniels passed to the Grand Lodge Above in his sleep. His January Masonic Minutes are printed. As the numbers increased, a decision to post them under five subsections was implemented. Thus the Anthology of his Masonic Works includes: Masonic Minutes; Masonic Moments; Masonic Research; Masonic Press; and Masonic Memorial. Subsequent nudging by a few Past Grand Masters, along with the co-operation of the Grand Secretary’s Office, lead to a shifting of platforms from the District C website to this book, "The Collected Works of M.W. Bro. Raymond S.J. Daniels", dedicated to a great Mason.
As he often said, “The future is in our hands, yours and mine. Let us be sure that those that follow us tomorrow can be forever proud of our achievements in Freemasonry today.” In the “light” of Freemasonry, we are given new vision to see the natural Beauty and keener minds to comprehend divine Truth.
Door to the Norman Mayer Memorial Building at 211 Camp Street in the Central Business District of New Orleans, Louisiana.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Tenuous Link: googly eye → ox eye (window).
The Tarantella is a folk dance, from the South of Italy.
It was originally used as musical exorcism for bite victims of the Tarantula.
Today is one of the most popular dances in Italy! In this picture, the Ionica Aranea group performing during one of the local festivities in Felline, Apulia: you just can't help dancing!
[This set has 9 images] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
The James L. Kemper house (circa 1852) (in Madison, Madison County Virginia) is a two-story wood frame Greek Revival structure, painted white with dark green shutters. There are two stories above a raised basement. The hipped roof is of seam metal. A small center porch on the first story consists of Ionic columns, which support a roof and balustrade. The metal railing on the steps is a modern convenience. The windows are 6 over 6 with flat lintels and window surrounds with corner blocks. The doorway is derived from the American architect, Asher Benjamin; it has a continuous, segmented transom and sidelights. Interior chimneys are on both sides and are of prominent size. Image 9 provides a view of the depth of the house. Several outbuildings are on the site. Today the building is the Health Department of Madison County. The building is in the Madison County Courthouse Historic District, which was listed on the National Register of Historic Places August 16, 1984 with reference ID #84003549.
James Lawson Kemper (1823-1895), a native of Madison and a lawyer served in the Confederate army as a major-general, ultimately being wounded at Gettysburg. He later (1874-1877) became governor of Virginia. Upon retirement from public life, he sold the home in 1881 and moved to Orange County, Virginia where he died.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
Originally opened in 1912, the Leongatha Masonic Hall on the corner of Bruce Street and Masonic Lane has served the local community for one hundred years.
The current building of clinker and brown brick is a more recent construction, enveloping the original 1912 hall with a new facade and adding to the lodge in the 1930s. Low slung and minimal in detail, the Leongatha Masonic Hall is typical of architecture of the Streamline Moderne movement. Unlike many Art Deco buildings which focussed on a vertical emphasis, Streamline Moderne buildings often featured horizontal emphasis. This is evident in the wide entranceway to the lodge on Bruce Street. This section, constructed in the 1930s also features a flat roof which is another common feature of Streamline Moderne buildings. The gable on the left hand corner of the Bruce Street facade is in fact the original 1912 lodge with a more modern facade. The Functionalist metal windows installed beneath the gable are accentuated by the addition of ornamental buttresses which are capped with neat stone carvings. The entrance itself is flanked by classically inspired columns with Ionic capitals.
Leongatha is a town in the foothills of the Strzelecki Ranges, South Gippsland Shire, Victoria, Australia, located 135 kilometres south-east of Melbourne. The town is the civic, commercial, industrial, religious, educational and sporting centre of the region. The Murray Goulburn Co-operative Co. Limited, is a farmers' co-operative which trades in Australia under the Devondale label, and has a dairy processing plant just north of the town producing milk-based products for Australian and overseas markets. First settlement of the area by Europeans occurred in 1845. The Post Office opened as Koorooman on 1 October 1887 and renamed Leongatha in 1891 when a township was established on the arrival of the railway. The Daffodil Festival is held annually in September. Competitions are held and many daffodil varieties are on display. A garden competition is also held and there are many beautiful examples throughout the provincial town. The South Gippsland Railway runs historical diesel locomotives and railcars between the market and dairy towns of Nyora and Leongatha, passing through Korumburra.
History of the James Blackstone Memorial Library 1893-
The James Blackstone Memorial Library was given to Branford by Timothy B. Blackstone in memory of his father, who was born in Branford in 1793.
Timothy Beach Blackstone, born in Branford in 1829, devoted a lifelong career to railroad service. Moving from New England to Illinois in 1851, he was associated with the Illinois Central, Joliet & Chicago, and, from 1864-1899 the Chicago & Alton Railroad as its president. He died in Chicago in 1900.
For three years the project was under construction and plans were made. In accordance with Mr. Blackstone's wishes, a special charter was obtained from the Connecticut Legislature, vesting control of the library in a self-perpetuating board of trustees consisting of six residents of Branford and the librarian of Yale University. The act of incorporation of the James Blackstone Memorial Library Association was approved by the governor on March 23, 1893, and construction began that year.
Architect Solon S. Beman of Chicago, in making plans for the building, chose the Ionic columns in the portico, the marble doorways, and the egg and dart molding in evidence everywhere, which are taken from the Erechtheum on the Acropolis in Athens. For additional information on the building itself, read "Description of Branford Library Building" written by the architect.
The white marble used for the exterior of the building came from eastern Tennessee and is unusually durable. The pink and gray marble used in the interior also came from Tennessee.
The mural decorations in the dome were made by Oliver Dennett Grover. For additional information on the paintings, read "Description of the Paintings in the Dome" written by the artist.
Mr. Grover also painted the medallion portraits of Bryant, Emerson, Hawthorne, Longfellow, Whittier, Holmes, Lowell, and Stowe that are placed in the marble spandrels between the arches. The height of the dome from the main floor is 50 feet.
The building was completed in 1896 and is said to have cost about $300,000. Mr Blackstone also provided an endowment fund of $300,000. Mrs. Blackstone, who died in Chicago in 1928, left a bequest of $50,000. The library was dedicated on June 17, 1896, and the next day it was opened for use with a stock of 5,000 books.
Description of the Paintings in the Dome by the Artist,
Oliver Dennett Grover, of Chicago.
In the decorations of the dome it is designed to illustrate pictorially and in a decorative way the evolution of book-making. The first step in this direction is presumed to be the gathering of Egyptian papyrus with a view to providing materials for scroll inscriptions, which may be regarded as the primitive book-making of the earliest time. This first picture of the series of eight is entitled "Gathering the Papyrus."
The palm, the tall heavy reeds and the simply attired figures in the foreground show almost in silhouette against a warm sky and the reflecting surface of the river at the back, while in the distance rising from the level plain are pyramids tipped with gold by the rays of the declining sun.
"Records of the Pharaohs," the second of the series and also Egyptian, shows another phase of that civilization in the massive architecture, the emblematic ornamentation, the calm dignity and consciousness of power of the dominant race.
The picture represents an officer of the court of Pharaoh with an attendant guard by his side dictating from a papyrus roll which lies open across his knees, to a worker who is transferring the records to the base of a monument. While in this panel sufficient license has been taken to preserve the artistic harmony and decorative composition, the detail of character, costume, ornament and architecture is carefully studied and accurately rendered from correct and acknowledged authorities.
Number three, "Stories of the Iliad," carries us from the land of the lotus to the shadow of the Acropolis. In the land of the ancient Greek those legends and stories finally gathered together and preserved to us by Homer in the form of the Iliad were for ages almost sung by wandering minstrels; committed to memory and transmitted from one to another, from father to son, from generation to generation.
The incident taken to illustrate this period of literary development is that of a minstrel reciting to an interested group of listeners "Stories from the Iliad," while one of them, a Greek youth with stylus and tablet, is transcribing to enduring form the words as they fall from his lips.
In "Mediæval Illumination" is illustrated the illumination of books by white-robed monks. In the soft tones of the picture and the quiet earnestness of the three figures are suggested the infinite patience of those who, counting time as naught in living for eternity, left the world richer than they found it by the exquisite art which, in passing, paved the way for much that is best in what followed it.
In "Venetian Copper-plate Printing" is shown the beginning of the modern tendency towards mechanical reproduction. In comparison with ancient methods it was an extremely rapid and labor-saving way of working. Printing from engraved or etched plates with the clumsy hand press was very early brought to a high state of perfection and for certain kinds of work has never been superseded, nor indeed materially improved upon.
The next important point in the development of the book is taken to be the introduction of movable type, and the sixth panel "First Proof - Gutenberg Bible" supposes the instant when the German inventor, Gutenberg, inspects the first proof of the now famous Gutenberg Bible as it is handed him by his assistant. His interest and anxiety is shared by the wife who stands at his side, and who, it may be believed, was equally anxious with him for the success of the undertaking. The picturesque garb of the time and the quaint details of the interior give local color and artistic life to the composition.
The scene of the seventh picture is laid in America and supposes a printing room in which two men dressed in the costume of Colonial times are operating what is known as the "Franklin Press," an improvement on the old-time machines of Gutenberg and his contemporaries.
In front of the low broad window at the back of the room is seated a man at a table correcting proof and in the foreground lies a pile of books.
The strong daylight from the partially draped window touching only the outlines of the figures, throws them in strong relief against the warm grey of the background, and a glimpse of sunny sky and trees seen through the small panes, gives a strong note of light and color to the scene.
The eighth and last picture deals entirely with that part of book-making which may be and often does amount to a fine art in itself. But the dress of most modern books is put on amid the buzzing of wheels and the clicking of machinery. Such a bindery is here represented as far as the artistic necessities would permit realistic representation.
Shafts, pulleys and belts, steam and electricity would hardly seem hopeful materials from which to build a decorative composition, but a careful adjustment of tones and arrangement of lines, together with its pictorial illustration of the subject, "A Book Bindery – 1895," brings it into harmony with its neighbors and makes it a fitting ending to the series
.
Description of the Blackstone Library Building by the Architect,
S.S. Beman of Chicago.
The library grounds, which are of ample size, occupy a central and commanding point on the main street.
The building is designed in the purest Grecian Ionic style; the architectural details being taken from the beautiful Erechtheion of the Athenian Acropolis. The exterior, including the roof of the dome, is entirely of Tennessee marble of a very light tone.
The main front, the principal feature of which is a beautiful colonnade of fluted Ionic columns of marble, is toward the south. Back of the colonnade and extending its full length is an open loggia, reached by a broad flight of marble steps. Over this portico is a Greek attic story with pediment. The central portion of the building is two stories high, dominated by a graceful low dome of marble. Flanking this central mass on the west and east are two circular one story and basement wings, containing respectively the stack room and main reading room
The extreme outside dimensions of the building are 162 by 129 feet, the plan approximating the form of a Latin cross.
The construction of the building is of the most permanent character, and is fire-proof throughout, steel beams, tile arches and partitions, being used.
In the basement is located the boiler room, heating apparatus, store rooms, gymnasium, bath rooms, etc.
The main floor is devoted to the lecture hall, librarian’s room, students’ rooms, reading room and stack or book room. This floor is approached from the outside by a flight of marble steps 39 feet wide, terminating at a deeply recessed loggia back of the Ionic colonnade. Passing this loggia and through a spacious marble vestibule, the rotunda or central feature of the building is reached. The massive main entrance doors are of pure bronze, of rich design and weigh nearly 2,000 pounds.
The rotunda is octagonal in form, and the various departments, such as reading room, lecture hall, stack room, etc., are centered on the axial lines radiating from the center of the rotunda. The rotunda is 44 feet in diameter and is paved with a fine marble mosaic floor, made from a special design in Paris. The walls, piers, arches and entablature of the rotunda are entirely of polished marble.
The dome which covers this rotunda is embellished with large paintings, illustrating the history or evolution of book making. These pictures are set in panels and are each about 6 by 9 feet. Their respective titles are "Gathering the Papyrus," "Records of the Pharaohs," "Stories from the Iliad," "Mediæval Illumination," "Venetian Copper-plate Printing," "First Proof of Gutenberg Bible," "Franklin Press," and a "Book Bindery, 1895." The paintings are the work of the well known artist, Oliver Dennett Grover of Chicago. Mr. Grover has also painted the medallion portraits of New England authors, placed in the marble spandrills between the arches. These portraits are of Longfellow, Holmes, Hawthorne, Lowell, Whittier, Bryant, Emerson and Mrs. Stowe. The large dome paintings are framed in the richly ornamented and gilded ribs of the dome. The rotunda is lighted from an ornamental skylight forming the eye of the dome. The extreme height of the dome from floor is fifty feet.
Opening off the rotunda to the right as you enter is the main reading room, 38 feet wide and 40 feet long, one end being circular in form. In the handsome fire-place hangs a portrait of Hon. James Blackstone, father of the donor of the building. This room is floored with marble mosaic and finished in oak.
Opening off this reading room are two students’ rooms communicating with the central rotunda. The furniture of these rooms is from the architect’s designs and is of white oak, to correspond with the finish of the rooms.
To the left of the rotunda and directly opposite the reading room is the stack or book room. This room is the same in dimensions as the reading room, and corresponds to it in form. In the circular end the book stacks are placed, and set radiating from a common center. The book stacks are of iron, of rustless finish, and are two stories in height. The floor of the second story or gallery is slate and is reached by a central staircase of marble.
Off the stack room are the librarian’s room and the catalogue room, both of which communicate with the rotunda. The floors of all these rooms are laid with marble mosaic.
The librarian’s room is provided with a fire-proof vault.
Opening from the central rotunda to the north is the staircase hall, and vestibule to lecture room. The walls and ceiling of the hall are entirely finished in polished marble. The stairs to the second story and basement are of solid marble built self-supporting on the arch principle.
The architraves of all door-ways, of halls, rotunda and vestibules are richly moulded and carved.
The lecture room opens from this hall. It is finished in antique white oak, richly paneled and carved to a height of 16 feet all around the room. The platform is set in a circular niche with an arched ceiling, and provided with retiring rooms on each side. The lecture room is 50 feet long and 40 feet wide, and its ceiling of elliptical form and paneled, the spring line of arch being from top of wainscotted walls. The room is well lighted by large windows in the side walls. The seating capacity is 350 for main floor and 50 for gallery.
The second story of the building is reached by the marble staircase already referred to. At the head of the stairs and opening to the right is the entrance to the lecture hall gallery. Immediately in front is the trustees’ room, and to the left the hall opens on the octagonal corridor surrounding and overlooking the rotunda. The rotunda side of the corridor is protected by a marble balustrade and is surrounded by eight marble arches, springing from the balustrade level, and supporting the dome. From this corridor and through the arches the best view of the dome paintings is obtained. Opening off the rotunda corridor are three rooms which may be used for art galleries. With these are connected ladies’ and gentlemen’s parlors and toilet rooms. All the floors are laid with marble mosaic and antique oak is used for finish.
The toilet rooms throughout the building are floored with marble mosaic and wainscotted with marble, and the plumbing is of the best modern sanitary character, all pipes exposed and nickel-plated.
The building is heated by a combination of indirect and direct systems. All radiator screens and registers are of solid bronze from special designs. The staircase balustrades and finishing hardware are also of solid bronze.
All of the windows are glazed with plate glass.
The light fixtures are of bronze of graceful design, and arranged for both gas and electric light.
The decorations of the various rooms are in harmonious colors, in plain tints.
The construction of the dome is of the most substantial character, being built of solid concrete and roofed with marble eight inches thick.
THE HISTORY IS USED WITH PERMISSION.
COPYRIGHT BY THE JAMES BLACKSTONE MEMORIAL LIBRARY.
Back to Saturday Market Place.
On the left is the Guildhall of the Holy and Undivided Trinity. Or as one of the plaques says - Hall of the Guild of the Holy and Undivided Trinity.
I was suprised to find the Town Hall and the older Guildhall had the same architectural design. I guess that back in 1895 the architects decided that the Town Hall should look similar to the Guildhall. Perhaps both are used by the local council.
It is a Grade I listed building.
Guildhall (of the Holy and Undivided Trinity), now part of
civic accommodation. 1422-28; porch and interior alterations
of 1624.
Brick with ashlar and flint dressings. Plain tiled roofs.
Narrow site, set gable-end to street. Two elements. To right
(east) is the gabled guildhall proper, with the Stone Hall
forming the upper 2 floors and lit through a 7-light
Perpendicular arched window with panel tracery. Moulded jambs.
Stone string course divides this from ground floor.
Ground floor is a brick undercroft used, when built, to store
the guilds goods. Originally entered through 2 timber
doorways, these removed and replaced with two 2-light,
round-arched Y-tracery windows. One small 2-light window
flanks right and left. Polygonal corner turrets close
elevation and rise to gabled roof. Whole of facade decorated
with knapped flint squares alternating with stone squares to
produce chequered flushwork.
Original entrance to Stone Hall was via a dog-leg staircase
against west wall. In 1624 present porch built to protect new
staircase; this forms left (west) element in overall design.
Of same materials and with same chequered flushwork.
3 storeys and gabled roof. Diminishing polygonal corner shafts
and string courses at each floor. Central round-headed doorway
with pair of engaged Doric columns. Guttae under flat hood.
Small subsidiary doors either side under lunettes. First floor
lit through 6-light transomed casement. Top floor with a large
re-used coat of arms relating to reign of Elizabeth, and
inscribed Edward Hargae, Mayor, 1624. This flanked by a small
light each side and another in each of returns. When noticed
that coat of arms to Elizabeth was re-used, a new achievement
relating to Charles II was erected on parapet at Restoration
and inscribed William Wharton, Mayor, 1664.
INTERIOR. Porch doorway leads to timber staircase. Fluted
Ionic timber columns on high bases right and left. Balustrade
with fat turned balusters and moulded handrail. Dog-legs to
right to approach entrance to Stone Hall: moulded stone jambs
and arch, with double plank and muntin doors. Stone Hall in 4
bays (originally 6). Chamfered wall arches. Wainscoting from
1895. Roof of crenellated tie beams supported on arched braces
with pierced tracery spandrels. Roof above is scissor-braced,
but boarded. Scheduled Ancient Monument.
Guildhall (of the Holy and Undivided Trinity) - King's Lynn - Heritage Gateway
On the right is a former prison called Gaol House. Now a museum.
It dates to 1784 and housed the towns gaoler, replacing an earlier gaoler's house. There were some prison cells in the late 18th century. It was a Police Station until 1954.
Gaol House is Grade II* listed.
Courthouse and prison, now offices and exhibition centre. 1784
by William Tuck. Gault brick with ashlar dressings. Plain
tiled roof. 3 storeys in 5 bays. Rusticated quoins and string
courses between each floor. Central rusticated field rising
into first floor to terminate in an open pediment: arched
doorway to ground floor below a recessed panel containing iron
shackles and chains. Under pediment is a barred lunette. This
grille pattern repeated in fanlight of the panelled door.
Fenestration of sashes with glazing bars and gauged skewback
arches. Low parapet with a stone achievement bearing a sundial
arm. Gabled roof with internal gable-end stacks. INTERIOR.
Prison yard to rear entered through an iron-clad lattice door
with original fittings. Rectangular yard enclosed by high
walls of surrounding buildings now contains brick cell block
of 1937. Within west and north walls of court are four C18
cells. Round-headed brick openings contain iron-clad timber
doors flanked by shuttered iron lattice grilles. 3 western
cells have groin-vaulted interiors, northern one has flat
brick ceiling.
Gaol House - King's Lynn - Heritage Gateway
Shot from the car park - I erased the car licence plates.
Me encanta hacer este Cubito que es precioso...con colores mas alegres y brillantes.
Pueden conseguir su patron en
Inside The Galleries of Justice Museum located in The Lace Market - High Pavement in Nottingham.
The tour continues, although by this point you are free to explore the areas. But in the mens exercise yard is a "prison guard" who gives a little talk.
men's exercise yard
Place for male prisoners to exercise, or to be hanged! Some criminals are buried here!
The building is Grade II* listed.
Shire Hall and Adjoining County Gaol, Nottingham
NOTTINGHAM
SK5739NE HIGH PAVEMENT
646-1/21/275 (South side)
24/10/88 Shire Hall and adjoining county gaol
(Formerly Listed as:
HIGH PAVEMENT
Shire hall and attached offices)
GV II*
Shire hall and adjoining county gaol, now disused, with
attached steps and railings. Designed 1769-70 by James Gandon
and built 1770-72 by Joseph Pickford of Derby. Eastern
addition 1875-76 by W Bliss Sanders. Remodelled and extended
to west 1876-79 by TC Hine, following a fire.
Beneath, and at the rear, extensive rock-hewn caves and cells,
C18 and earlier, and various C19 brick additions, including
retaining walls to the cliff. Ashlar, with ashlar dressings
and slate roofs with skylights. Neo-Classical style with
additions in Italian Renaissance style.
EXTERIOR: largely original central block has a deep
dentillated cornice and pierced balustrade. 2 storeys; 7
window range. Projecting centre, 3 bays, divided by giant
Ionic half-columns. Central round-arched doorway with keystone
and panelled double doors, flanked by C19 round-arched cross
casements. Above, a rectangular blank panel flanked by
roundels, all with moulded surrounds. The frieze is decorated
with Roman symbols of justice, and above the cornice is a
panelled parapet containing an inscribed datestone. Beyond, on
each side, 2 round-arched doorways with pediments on brackets,
panelled doors and fanlights. Above, 2 rectangular blank
panels. In front, 3 parallel flights of steps.
To left, addition, 1875-76, with rusticated basement, sill
bands, string course, moulded cornice and pierced balustrade.
2 storeys plus basement; 3 window range. Projecting central
entrance bay flanked on each floor by paired Ionic columns and
topped with a panelled parapet and the City coat of arms.
Round-arched doorway with keystone, with panelled double doors
and fanlight. On either side, a round-arched window, the left
one fronted by a balustraded balcony. Under the windows,
round-arched doorways with mask keystones. Above, 3 blanks
with moulded surrounds, the central one round-arched.
In front, steps up to the central door flanked by short ashlar
balustrades with panelled piers, 2 of them topped with
cast-iron lamps. Beyond, steps down to the basement, with
pairs of wrought-iron gates.
To right, a projecting stair turret, 1876, topped with a
square lead dome and cast-iron crest. Rusticated basement,
paired Ionic angle pilasters, dentillated cornice, pierced
balustrade. On each side, a round-arched cross mullioned
window under a pediment, and above it, a blank panel. Above
again, a pedimented dormer with a round-arched cross casement.
To left, an entrance with wrought-iron gate and overthrow.
INTERIOR has a central entrance hall, 2 storeys, with
round-arched arcades on 3 sides, with round columns and
waterleaf capitals. To east, County Court, refitted 1876, with
raised public galleries on 3 sides, with 2 pairs of Ionic
columns in antis between square Ionic piers. Complete wooden
fittings of 1876, including dock, jury box, judge's throne,
and seating for court officials. To west, Civil Court, 1876, 2
storeys, with raised octagonal round-arched arcade with marble
columns. Complete original fittings including brass gas lamps.
Coffered ceiling with central skylight.
(The Buildings of England: Pevsner N: Nottinghamshire: London:
1979-: 225; Get to know Nottingham: Brand K: The Shire Hall
and old County Gaol: Nottingham).
Listing NGR: SK5759239606
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.