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[6 photos make up this series on this Kenbridge, Virginia home] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
This brick 2 1/2-story Queen Anne house in Kenbridge, Virginia was built about 1890. The hip and gable roof is shingled with slate and a dentiled box cornice. The chimneys are corbelled near the top. The broken pedimented front gable dormer has a Palladian leaded glass window. The second story façade has four windows with an ornamental panel in the center and a wraparound picketed balustrade. In the rear a frame tower was added and there’s also a balustrade on the second level. A bay of 5-sides, just under a side dormer, is on the right side of the building, facing the front; distinctive brickwork connects the sides of the bay. The wraparound porch has eleven bays with the main steps in front and steps on either side of the house. Ionic columns support the flat porch roof with balustrade. At the asymmetrically located entrance is a double-leaf shutter door, leaded glass sidelights and a segmented leaded glass transom.The house is part of the Fifth Avenue Historic District, Kenbridge, Virginia, which was listed February 22, 2006 on the National Register of Historic Places with reference ID #06000066.
The final nomination form to the NRHP is located at the Virginia Department of Historic Resources website: www.dhr.virginia.gov/registers/Counties/Lunenburg/247-000...
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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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Item Details: Ionic - Item: Various Items As Shown | Genre: Home and Garden | Price: 125L - 155L
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Roman-period (mid second century) Ionic capital and base from the Sanctuary of Asklepios at Pergamon. "The classical detail is rich and varied, mainly a very elaborate Ionic . . ." (Ward-Perkins 1970: 394). These elements decorated the portico that extended around the enormous rectangular forecourt of the enclosure.
RBU2013.2851
Splendid table setting at a restaurant terrace in Taormina with views across the Ionic Sea at dusk, Sicily, Italy
Hypogeum Lagrasta I. Dromos tomb of 9 rooms with Ionic pilasters, red and white plaster and "house" relief carving. Hellenistic-Daunian, belonging to the Dasimii family. Built primarily in the 3rd Century BC, used 3rd Century BC - 2nd Century AD. Carved into the tuf groundrock. Excavated 1843 AD - 1853 AD. Canosa di Puglia, Barletta, Apulia, Italy. Copyright 2016, James A. Glazier. I would have liked to visit more of these tombs, but Jim was impatient.
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.
Located outside near the south entrance to the Brooklyn Museum (which is next door to the Brooklyn Botanic Garden), the Garden consists of architectural sculptures rescued from New York City demolition sites..
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
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
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.
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!
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.
Me encanta hacer este Cubito que es precioso...con colores mas alegres y brillantes.
Pueden conseguir su patron en
Copic sketch from one of my photo's. I struggled with this one - and a couple of my copics ran out! Reserves came through the post today.
Here we stand at lone beach at Messonghi village resort, located i think about 20 km south from Corfu town. We found this peaceful and beatuful place accidentaly and further more, we found an awesome hotel right on the beach with perfect view to Ionic sea.
Ancient Roman Temple of Portunus (Tempio di Portuno) in Piazza della Bocca della Verità, Rome (Italy)
This temple has a previous and mistaken name: Temple of Fortuna Virilis ("manly fortune"). It was built in the 1st Century BC in the Ionic Order, which is fully represented in all details of this portico. (The Ionic Order is my own favourite of the great classical orders of architecture.) The temple was also a church for some of its history but is now an ancient monument. It has clearly been much restored, while still showing quite a bit of damage to its details. Since this is such a text-book example of Ionic architecture, I have tagged this photo for most of the key features of the Ionic Order. I've also labelled them in notes on the picture.
----- en.wikipedia.org/wiki/Temple_of_Portunus
----- en.wikipedia.org/wiki/Ionic_order
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LONDON - PARIS - CATANIA - ROME - LONDON ----- DAY 8
Photo from the eighth day of our crazy long distance rail trip from home (London) to Sicily. We had had an unscheduled but happy first night stopover in Paris because our Eurostar train out of London was badly delayed due to 'a fatality [unexplained - perhaps fortunately] on the train'. We therefore missed our onward sleeper train connection to Rome, so spent our second day in Paris. We left Paris that evening, on the equivalent sleeper train service a day later. We reached Rome during the third day, where we changed to a daytime train for Catania, Sicily, arriving there the same evening. Our fourth day was our first full day in Sicily, and we spent this in the centre of Catania itself. We spent our fifth day on an excursion to Mount Etna run by GeoEtnaExplorer. We chose this tour company because the guides are geologists. Our particular tour went high up on the flanks on the summit, but not to the summit proper. For this sixth day, our final full day in Sicily, we took the bus from Catania (our base) to Siracusa, in search of Ancient Greek remains, while also getting distracted by other interesting sights, and some excellent ice cream, at various points in the day. But perhaps the most spectacular thing was the huge thunderstorm which hit us in the early part of the afternoon. The seventh day was the start of our homeward journey, for which we took our sixth train of the trip, from Catania and ending with an overnight stop in Rome. We spent the eighth day on a long walk through the heart of Rome, where we hadn't been back since I worked there briefly many years ago, before continuing our way home to London by catching a sleeper train that evening to Paris.
By the end of the whole holiday trip we had seen things and sites from ancient Greek time to modern, so the trip felt like a mini Grand Tour. Or given the rich mythology of Sicily, Etna and the Straits of Messina (Odysseus, the Cyclops, Scylla & Charybdis, etc.) perhaps our trip was like a modern mini Odyssey of our times. Odysseus took ten years to get home. It took us ten trains - but no monsters.
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Photo
Darkroom Daze
If you would like to use or refer to this image, please attribute.
ID: DSC_6841 - Version 2ps
**Marshall County Courthouse** - National Register of Historic Places Ref # 84003154, date listed 8/23/1984
Courthouse Sq.
Madill, OK (Marshall County)
The Marshall County Courthouse (1914) is a large, three-story, approximately square building of faced stone blocks. All four sides are identical. The central portion of each side is slightly recessed and has five window bays separated by Ionic columns rising from above the first floor to the frieze. The windows are modern, with metal frames. Large pilasters define the corners of the building. The doorways are centered and recessed on each side of the courthouse. The building has a projecting cornice, which Is surmounted by a parapet. The overall design of the building Is very stately and massive. The structure has a flat roof.
The Marshall County Courthouse is significant because it serves the community as the center of county governmental activity and because its architect was Jewell Hicks. Jewell Hicks also contributed to the design of the Oklahoma State Capitol Building, This courthouse reflects Hicks’ skill in combining classical elements with the simple, contemporary lines of public monumental architecture. The courthouse is the landmark of Madill. Built in the center of a plaza, traffic flows by the structure daily. Rows of businesses and shops face the four sides of the courthouse square. The Marshall County Courthouse is the central feature of both the town and the county. (1)
References (1) NRHP Nomination Form s3.amazonaws.com/NARAprodstorage/lz/electronic-records/rg...
Greenwich Village, Manhattan, New York City, New York, United States
ummary
The rowhouse at 129 MacDougal Street in Greenwich Village was constructed c. 1828-29 in the Federal style, characterized by its 2-1/2-story height, Flemish bond brickwork, low stoop with wrought-ironwork, entrance with Ionic columns, entablature and transom, molded lintels with end blocks, peaked roof, molded cornice, and pedimented double dormers. This was one of four houses (Nos. 125-131) speculatively built on lots owned by Alonzo Alwyn Alvord, a downtown hat merchant, as the area around Washington Square (converted from a potter’s field in 1826-28) was being developed as an elite residential enclave. Until 1881, No. 129 was continually owned by and leased to families of the merchant class. In the later 19th century, as the neighborhood’s fashionable heyday waned, this house was no longer a single-family dwelling and became a lodging house. In the 1910s, this block of MacDougal Street became a cultural and social center of bohemian Greenwich Village, which experienced a real estate boom in the 1920s.
No. 129 was owned from 1920 to 1961 by Harold G. and Dorothy Donnell Calhoun, the former an assistant to the U.S. Attorney General; the Calhouns also owned Nos. 127 and 131. No. 129 was in commercial use by 1920 when noted Hungarian-born portrait photographer Nickolas Muray had his studio here. Alterations to the house included the creation of a roof “studio dormer” by linking its two dormers (c. 1933-38) and the joining and lowering of the first-story windows as a commercial storefront (c. 1950s). The Times in 1951 reported on the planned modernization of the houses, noting that their “old architectural charm” was to be preserved. With most of its original architectural details, this house, notable
singularly and as a group with its neighbors, is among the relatively rare surviving and significantly intact Manhattan buildings of the Federal style, period, and 2-1/2-story, dormered peaked-roof type.
DESCRIPTION AND ANALYSIS
The Development of the Washington Square Neighborhood
The area of today’s Greenwich Village was, during the 18th century, the location of the small rural hamlet of Greenwich, as well as the country seats and summer homes of wealthy downtown aristocrats, merchants, and capitalists. A number of cholera and yellow fever epidemics in lower Manhattan between 1799 and 1822 led to an influx of settlers in the Greenwich area, with the population quadrupling between 1825 and 1840. Previously undeveloped tracts of land were speculatively subdivided for the construction of town houses and rowhouses. Whereas in the early 19th century many of the wealthiest New Yorkers lived in the vicinity of Broadway and the side streets adjacent to City Hall Park between Barclay and Chambers Streets, by the 1820s and 30s, as commercial development and congestion increasingly disrupted and displaced them, the elite moved northward into Greenwich Village east of Sixth Avenue. For a brief period beginning in the 1820s, Lafayette Place and Bond, Great Jones and Bleecker Streets were among the most fashionable addresses, the latter developed with three block-long rows of houses in 1827-31.
A potter’s field, located north of 4th Street below Fifth Avenue since 1797, was converted into Washington Military Parade Ground and expanded (to nearly nine acres) in 1826 and landscaped as Washington Square in 1828. This public square spurred the construction of fine houses surrounding it, beginning with a uniform row of twelve 3-1/2-story Federal style houses (1826-27) on Washington Square South (4th Street), between Thompson and MacDougal Streets, by Col. James B. Murray and others. On Washington Square North, west of Fifth Avenue, Federal and Greek Revival style town houses were built between 1828 and 1839, while east of Fifth Avenue, “The Row” of thirteen large Greek Revival style town houses was developed in 1832-33 by downtown merchants and bankers who leased the properties from the Trustees of Sailors Snug Harbor. The University of the City of New York (later New York University) constructed its first structure, the Gothic Revival style University Building (1833-36, Town, Davis & Dakin), on the east side of the Square. While many of the better houses were built on east-west streets south of the Square, more modest dwellings for the working class were constructed on many of the north-south streets. The block of MacDougal Street (named after patriot Alexander McDougall) just southwest of the Square was developed with houses more modest than those on the Square, but still attracting the merchant and professional class.
In 1832, the Common Council created the 15th Ward out of the eastern section of the large 9th Ward, its boundaries being Sixth Avenue, Houston and 14th Streets, and the East River. According to Luther Harris’ recent history Around Washington Square, during the 1830s-40s “this ward drew the wealthiest, most influential, and most talented people from New York City and elsewhere. By 1845, 85 percent of the richest citizens living in the city’s northern wards resided in the Fifteenth.”FifthAvenue, extended north of Washington Square to 23rd Street in 1829, emerged as the city’s most prestigious address.
Construction and 19th Century History of No. 129 MacDougal Street
No. 129 MacDougal Street was one of four adjacent rowhouses (Nos. 125-131) that were speculatively built on lots located between Amity (later West 3rd Street) and West 4th Street just southwest of Washington Square that were owned by Alonzo Alwyn Alvord. A downtown hat merchant in the firm of Alonzo A. Alvord & Co. at 14 Bowery, Alvord (18021862) was born in Connecticut, married Elizabeth Bulkley in 1834, and served on the Board of Assistant Aldermen in 1851. Alvord had acquired this property in 1827 from Thomas R. and Mary Mercein; according to tax assessment records, he had been paying taxes on the property at least a year earlier. Construction of the four houses began in 1828 and was completed prior to March 1829, when Nos. 129 and 131 were sold for $8000 to downtown merchants John W. Harris and William Chauncey. The earliest known tenant of No. 129, in 1832-39, was merchant Benjamin Ellis. In 1836, Nos. 129 and 131 were sold by John W. and Frasier Harris and William and Julia Ann Chauncey to Elias Hicks Herrick (1798-1857), a wealthy downtown flour commission merchant in the firm of E. & J. Herrick, and his wife, Jane Maria Taylor Herrick (died 1886). In 1839-42, Timothy Trowbridge, another downtown commission merchant, leased No. 129. The property was transferred in 1846 to Jacob B. Herrick, apparently Elias’ brother and a partner in the firm of E. & J. Herrick, and his wife, Julia A. (Elias retained No. 131 until 1853). The house was rented in 1850-54 to Sarah A. McMaster (died c. 1856), the widow of William J. McMaster, who had been a clerk at the Customs House. In December 1872, following the death of Jacob B. Herrick, No. 129 was announced for sale by the executor. It was purchased in 1873 by John
H. Gardiner, a merchant and later a stevedore, and his wife, Anna E. The Gardiners lived in this house until 1878; she had filed for divorce in late 1877 and he died soon after.
The property was acquired in 1881 through foreclosure by Jacob and Fanny Cohen. In 1891-99, No. 129 was owned by Louisa Kahn (Mrs. Jules) Sindic, in the clothing business, who married Francis Victor Kenebel in 1899. In 1897-98, ironworker Felix Peltrisot was living here with his wife, Eulalie, who may have been operating it as a lodging house. Commercial intrusions and the arrival of workingclass immigrants in parts of the neighborhood south of Washington Square had ended its fashionable heyday by the Civil War. Many older residences were converted into multiple dwellings or boardinghouses, as the former residents moved northward. Bleecker Street as early as the 1850s was known for its boardinghouses and artists’ community.
Federal Style Rowhouses in Manhattan
As the city of New York grew in the period after the Revolution, large plots of land in lower Manhattan were sold and subdivided for the construction of groups of brick-clad houses. Their architectural style has been called “Federal” after the new republic, but in form and detail they continued the Georgian style of Great Britain. Federal style houses were constructed from the Battery as far north as 23rd Street between the 1790s and 1830s. The size of the lot dictated the size of the house: typically each house lot was 20 or 25 feet wide by 90 to 100 feet deep, which accorded with the rectilinear plan of New York City, laid out in 1807 and adopted as the Commissioners’ Plan in 1811. The rowhouse itself would be as wide as the lot, and 35 to 40 feet deep. This allowed for a stoop and small front yard or areaway, and a fairly spacious rear yard, which usually contained a buried cistern to collect fresh water and the privy. During the early 19th century, several houses were often constructed together, sharing common party walls, chimneys, and roof timbering to form a continuous group. The houses were of load-bearing masonry construction or modified timber-frame construction with brick-clad front facades. With shared structural framing and party walls, each house in a row was dependent on its neighbor for structural stability. With the increasing availability of pattern books, such as Asher Benjamin’s American Builders Companion(published in six editions between 1806 and 1827), local builders had access to drawings and instructions for exterior and interior plans and details.
Federal style rowhouses usually had a three-bay facade with two full stories over a high basement and an additional half story under a peaked roof with the ridge line running parallel to the front facade. (Very modest houses could be two bays wide, while grander houses had three full stories, and could be up to five bays wide). The front (and sometimes rear) facade was usually clad in red brick laid in the Flemish bond pattern, which alternated a stretcher and a header in every row. This system allowed the linking of the more expensive face brick with the cheaper, rougher brick behind. Walls were usually two “wythes,” or eight inches, thick. Because brick was fabricated by hand in molds (rather than by machine), it was relatively porous. To protect the brick surface and slow water penetration, facades were often painted.
The planar quality of Federal style facades was relieved by ornament in the form of lintels, entrances, stoops with iron railings, cornices, and dormers. Doorway and window lintels, seen in a variety of types (flat, incised or molded), were commonly brownstone. The most ornamental feature was the doorway, often framed with columns and sidelights and topped with a rectangular transom or fanlight, and having a single wooden paneled door. Some grander houses had large round-arched entrances with Gibbs surrounds. The entrance was approached by a stoop – a flight of brownstone steps placed to one side of the facade – on the parlor floor above a basement level. Wrought-iron railings with finials lined the stoop and enclosed areaways. Window openings at the parlor and second stories were usually the same height (the size sometimes diminished on the third story) and were aligned and the same width from story to story. The wood-framed sash were double hung and multi-light (typically six-over-six). Shutters were common on the exterior. A wooden cornice with a molded fascia extended across the front along the eave, which carried a built-in gutter. A leader head and downspout that drained onto the sidewalk extended down the facade on the opposite side from the doorway. Pedimented or segmental dormers on the front roof slope usually had decorative wood trim, and the top sash were often arched with decorative muntins. The roof was covered with continuous wood sheathing over the rafters and clad in slate.
The original design of the three 19-1/2-foot-wide and 2-1/2-story rowhouses at 127, 129 and 131 MacDougal Street were characteristic of the Federal style in their Flemish bond brickwork, low stoops with wrought-ironwork, entrances with Ionic columns, entablatures and transoms, molded lintels with end blocks, peaked roofs, molded cornices, and pedimented double dormers. Remaining historic features on No. 129 are its 2-1/2-story configuration and basic fenestration pattern, Flemish bond brickwork (painted), stoop and wrought-ironwork, entrance with Ionic columns, entablature and transom, molded lintels, molded cornice, peaked roof, and early 20th-century (reconfigured) dormer. The specific Federal style lintel type (molded with end blocks) seen on this building is rare today. The lintels on Nos. 127, 129 and 131 are cast iron; they are probably replacements for the original brownstone ones, and possibly date from c. 1867, when No. 125 MacDougal Street received a one-story (plus mansard roof) addition with this type of cast-iron lintel. Despite the alteration of the first-story windows as a storefront, No. 129 MacDougal Street, notable singularly and as part of a group, is among the relatively rare surviving and significantly intact Manhattan buildings of the Federal style, period, and 21/2-story, dormered peaked-roof type (dating from 1796 to 1834).
20th Century History of MacDougal Street
After a period of decline, Greenwich Village was becoming known, prior to World War I, for its historic and picturesque qualities, its affordable housing, and the diversity of its population and social and political ideas. Many artists and writers, as well as tourists, were attracted to the Village. In 1914, the block of MacDougal Street just south of Washington Square emerged as a cultural and social center of the bohemian set. After the Liberal Club, headquarters also of the feminist Heterodoxy Club, moved into No. 137 in 1913, it was joined the following year by Polly Holladay’s popular basement restaurant, also in No. 137, and Albert and Charles Boni’s Washington Square Bookshop, specializing in modern literature, next door in No. 135.
The Provincetown Playhouse, opened in 1916 in No. 139, relocated in No. 133 in 1918. (These buildings were combined in 1941-42 and given a new facade for the Provincetown Playhouse, apartments, and offices for New York University Law School). Other buildings on MacDougal Street, including No. 129, also attracted businesses that catered to both neighborhood residents and tourists to the Village. Historian George Chauncey has identified the importance of this block in the 1920s to New York’s burgeoning lesbian and gay community:
By the mid-twenties the MacDougal Street block south of Washington Square – the site of the Provincetown Playhouse and numerous bohemian tearooms, gift shops, and speakeasies – had become the most important, and certainly the best-known locus of gay and lesbian commercial institutions. ... Although... gay-run clubs... on MacDougal Street encountered opposition in the Village, this should not obscure the fact that the very existence of such clubs in a middle-class
cultural milieu was unprecedented.
At the same time, as observed by museum curator Jan S. Ramirez,
As early as 1914 a committee of Village property owners, merchants, social workers, and realtors had embarked on a campaign to combat the scruffy image the local bohemian populace had created for the community. ... Under the banner of the Greenwich Village Improvement Society and the Greenwich Village Rebuilding Corporation, this alliance of residents and businesses also rallied to arrest the district’s physical deterioration... their ultimate purpose was to reinstate higherincome-levelfamilies and young professionals in the Village to stimulate its economy. Shrewd realtors began to amass their holdings of dilapidated housing.
These various factors and the increased desirability of the Village lead to a real estate boom – “rents increased during the 1920s by 140 percent and in some cases by as much as 300 percent.” According to Luther Harris
From the 1920s through the 1940s, the population of the Washington Square district changed dramatically. Although a group of New York’s elite remained until the 1930s, and some even later, most of their single-family homes were subdivided into flats, and most of the new apartment houses were designed with much smaller one- and two-bedroom units. New residents were mainly upper-middle-class, professional people, including many young married couples. They enjoyed the convenient location and Village atmosphere with its informality, its cultural heritage, and, for some, its bohemian associations.
Older rowhouses, such as those on MacDougal Street, were remodeled to attract a more affluent clientele or as artists studios. Nearby, on most of the lots of the two blocks of MacDougal Street to the north (Washington Square West), new apartment buildings were constructed in 1925-29.
New York University, particularly after World War II, became a major institutional presence around Washington Square. Vanderbilt Hall (1950), the main building of the Law School, at the southwest corner of the Square at MacDougal Street, was the vanguard of the university’s expansion and new construction to the south. During the 1950s, the area south of Washington Square, to Houston Street, was also targeted for urban renewal. The surviving historic streets to the west, including MacDougal Street, became particularly popular for coffee houses, restaurants, and clubs.
No. 129 MacDougal Street in the 20th Century
No. 129 MacDougal Street was owned briefly by Jeanne Loreau (1899-1902) and Fernand Leon (190203). It was purchased in 1903 by Leon and Marie Derache, residents of City Island who also acquired No. 127 in 1906. From 1911 to 1920, both houses were owned by Mary Chapelle. The French-born Ms. Chappelle was convicted in 1912 along with Katie Hicks, the owner of No. 131, as “two notorious keepers of disorderly houses;” they were pardoned by the governor in 1913. From 1920 to 1961, Nos. 127 and 129 were owned by Harold Gilmore and Dorothy Donnell Calhoun (they also purchased No. 131 in 1940). Harold G. Calhoun (died 1953) was a professor of political science at the University of California in Los Angeles and served as assistant to the U.S. Attorney General (1936-45). His wife (c. 1889-1963) was a motion picture magazine editor (1927-35) and an assistant to Labor Secretary Frances Perkins (1935-40), and wrote short stories, children’s books, and plays. Their son, Donald G. Calhoun, lived here for a time around 1939.
Reflecting changes in Greenwich Village, No. 129 MacDougal Street was used for commercial purposes by 1920. In 1920-24, portrait photographer Nickolas Muray (1892-1965) had his studio in this building. Born in Szefad, Hungary, Muray attended a graphics arts school in Budapest, where he studied photography, photo-engraving, and lithography, and later learned color photo-engraving in Berlin. He immigrated to New York City in 1913, finding a job with Conde Nast Co. in 1915, working with color separation and halftone negatives. No. 129 was Muray’s first portrait studio. He became known as “the Village photographer and a Village character whose Wednesday-night studio parties were invariably a cross-section of celebrities from both uptown and downtown” in the spheres of theater, literature, music and art. With the sale of photographs to such publications as the New York Tribune, Harper’s Bazaar, and Vanity Fair, he developed an international reputation. In the 1930s, Muray formed one of the first color labs in the United States. For three decades, he was also a competitive fencer, participating in the Olympics in 1932.
In 1924, the Wind Blew Inn was a commercial tenant in No. 129, and in 1925-26, “Eve Addams’” Tearoom. George Chauncey identified the latter as a popular after-theater club run by Polish Jewish lesbian emigre Eva Kotchever, with a sign that read “Men are admitted but not welcome.” After a police raid, Kotchever was convicted of “obscenity” (for Lesbian Love, a collection of short stories) and disorderly conduct, and was deported. A Village columnist in 1931 reminisced that her club was “one of the most delightful hang-outs the Village ever had.” In the late 1920s-early 1930s, the second story was an artist studio for Jay Fitzpatrick, and the building also housed the Greenwich VillageMummers, Inc./ Mummers Society, Inc. An alteration to the house that occurred c. 1933-38 was the creation of a roof “studio dormer” by linking its two dormers.
The Times in 1951 reported on the Calhouns’ 63year lease of Nos. 127 to 131 MacDougal Street to operator Thomas M. Graham, who planned to modernize the houses by architects Knubel & Persich, but noted that Graham planned “to preserve the old architectural charm” (mistakenly reputing the construction of the buildings to Aaron Burr). A 1951 Times advertisement touted No. 129's “STUDIO APT. Beautiful full dormer window (8x12). 2 fireplaces, sloping roof. One of the most attractive 2-1/2-room studios in the Village. Opp. new law school & park.” The basement and first story commercial tenant (195157) was Hanlan Assocs., furniture, home accessories, and gifts. The first-story windows were joined and lowered as a commercial storefront (c. 1950s). In 1961, Dorothy Donnell Calhoun transferred Nos. 127 to 131 MacDougal Street to Mormac Equities, Inc. No. 129 was later owned by real estate developer Herbert A. Wells III (1975-79); Ecce Homo, Inc. (1979-81); Loft Revitalization Corp. (1982); Herbert A. Wells III (1982-2003); and 129 MacDougal Street Assocs., Inc. (2003 to present). Later commercial tenants have been Pinata Party/ Fiesta Pinata (c. 1959-76, George Grossblatt and Stanley Selengut, proprietors), a wholesale and retail firm “that manufactures, imports and sells [Peruvian] clothing, handcrafts, folk art and pre-Columbian art;” and La Lanterna di Vittorio Caffe (1978 to the present), a pizzeria-wine bar.
Description
No. 129 MacDougal Street is a 19-1/2-foot-wide and 2-1/2-story Federal style rowhouse clad on the front facade in Flemish bond brickwork (now painted). The basement level has two windows (with metal casements). The concrete-paved areaway has steps, an historic wrought-iron gate beneath the stoop, and non-historic basement entrance door, and is bordered by a 20th-century wrought-iron fence and gate. A low brownstone stoop with original wrought-iron railings with box-cage newels with pineapple finials leads to the entrance, having original Ionic columns framing sidelights (now covered) and supporting an entablature and rectangular transom, and a paneled wood door. The first-story windows were joined and lowered as a single-pane commercial storefrontwith amolded frame and transom (c. 1950s). A sign has been placed to the left of the entrance, and hanging lanterns have been placed over the doorway and storefront. An awning spans the width of the facade above the first story. The entrance and first- and second-story windows have molded cast-iron lintels with end blocks. Sash was originallysix-over-six double-hung wood;second-story windows currently have one-over-one double-hung wood sash. Downspouts are placed at both edges of the building. The house has its original molded wooden cornice. The peaked roof originally had pedimented
double dormers; a roof “studio dormer” with casement windows was created by linking the dormers (c. 193338); the dormer is sided with wood shingles (the windows have since been altered). A chimney (now parged) rises above the party wall with No. 127.
- From the 2004 NYCLPC Landmark Designation Report
Ionic Ferry ships mast in the main basin.
Images kindly provided by Martyn Chesworth courtesy of Heather Crook.
East Broadway, Chinatown and Two Bridges, Manhattan, New York City
Opened on November 2, 1903, the Chatham Square Branch of The New York Public Library is the third Camegie branch library built in New York City. It is one of twenty in Manhattan and one of sixty-seven in New York City, built when Andrew Carnegie donated $5.2 million in 1901 to establish a city-wide branch library system. The preeminent and nationally influential architectural firm of McKim, Mead & White designed the Chatham Square Branch. This bold library design was the firm's first of twelve Camegie libraries; the 1923 Fordham Branch was their last. The library's classically-inspired style, with its characteristic vertical plan, arched entrance offset to one side, carved stone ornament, including Ionic columns at the upper floors, and tall arched first floor and rectangular second and third floor windows providing abundant lighting to a simple interior, is characteristic of the urban Carnegie library type. The library has played a prominent role in the neighborhood for nearly one hundred years.
DESCRIPTION AND ANALYSIS
History of Chatham Square'
Chatham Square was named after William Pitt, the Earl of Chatham, who tried to prevent the war between England and America when he was in Parliament. In the eighteenth century the area was farmland, although it was just northeast of the City. The Bowery, running north from the square, was a former Indian path leading all the way to Harlem. The Collect Pond, a large fresh water pond that was used as the reservoir for eighteenth-century New York, lay just to the west. New Yorkers ice-skated on the pond and it was used for the first steamboat trials in 1796. The encroaching city caused the pond to become seriously polluted and it was filled in by 1813. By the early nineteenth century Chatham Square was a major junction, transportation hub and retail center, with a post office, theater, and numerous shops.
The library site on East Broadway, then known as Harman Street, was part of the Rutgers farm. In the late eighteenth century Colonel Henry Rutgers laid his farm out in lots and leased them out with building covenants calling for substantial brick buildings. This attracted merchants, professionals, and artisans such as shipwrights and sail makers.
By the mid-1800s Irish immigrants had moved into row houses converted to multiple dwellings. The merchants' houses along East Broadway became densely packed tenant-houses, precursors to tenements. Rear buildings were built in the yards of the houses, increasing the density. The notorious and dangerous Five Points slum was just a few blocks west of the library site, on the filled-in Collect Pond.
Italians settled in the area from the 1870s, when four-to-six-story tenements began to be built. These buildings filled the lots with courtyards to provide at least minimal light and air. Little Italy was established just to the west of the library site, around Mulberry Street. In 1894, when the city completed the demolition of the Five Points tenements a park was created on the Five Points site. At first named Mulberry Bend Park, by 1911 it was renamed after an Italian, Christopher Columbus. Jewish immigrants settled in the Lower East Side by the late nineteenth and early twentieth centuries and the Chatham Square area was primarily a Jewish neighborhood at the time the library was built. This period represented the height of immigration to the United States and the Lower East Side was exceptionally overcrowded, with very few parks, schools, libraries, and any other social welfare structures.
Today East Broadway is in the heart of Chinatown.
Large numbers of Chinese moved to the U.S. from the 1840s to work on the railroads and to prospect for gold, but few of the immigrants traveled to New York City in that period. In the 1870s they moved to New York after completion of the railroad and an outbreak of anti-Chinese violence in the West. Chinatown was established around Mott, Pell and Doyers Streets, at the northwest side of Chatham Square, and as early as the 1880s Chinese shops faced the Square. Chinese population growth slowed after 1882 when a series of laws were enacted that restricted immigration. Chinatown grew slowly in that period but developed complex organizations, dominated by the mutual aid societies. The area served Chinese Americans and Chinese immigrants throughout the Metropolitan area. By the 1890s Chinatown was a tourist attraction and it was featured in the 1892 King's Handbook to New York City.
Chinese immigration expanded slowly after World War II when some of the restrictive laws were lifted and Chinese were granted the right to become citizens. The Chinese population grew rapidly after 1965 with further easing of restrictions on immigration according to race. In 1965 the core of Chinatown covered seven blocks and was bounded on the east by the Bowery. By the late 1970s the Chinatown core expanded in the across Bowery to encompass East Broadway as well as a number of other streets to the east and north. The Chatham Square library today primarily serves a Chinese American and immigrant population.
History of Manhattan Libraries
In the eighteenth and early nineteenth centuries libraries in New York City were private, institutional, or subscription. The New York Society Library, a subscription library where users paid a membership fee, was established in 1754, and Columbia University opened a library by 1757. Both were destroyed during the Revolutionary War but were rebuilt, and by 1876 Columbia had one of the largest collections in the country. Reading rooms, operated as businesses or by non-profit organizations, made books available to the public, and bookseller Garrett Noel opened the earliest-known reading room in 1763.
Institutions including The New-York Historical Society, the Cooper Union, and Union Theological Seminary opened libraries in the first half of the nineteenth century. New York State legislation enabling City support of libraries was passed in the 1830s, but libraries were privately supported for most of the nineteenth century. The Astor Library, the City's first free public reference library, incorporated
in 1849. The Lenox Library, a private collection of rare and reference books, incorporated in 1870. By 1876 there were about ninety various libraries and collections in New York City.
The earliest branch library system was the private New York Free Circulating Library, established in 1878 to provide education and self-help for the poor. Support came from Andrew Carnegie, J.P. Morgan, Cornelius Vanderbilt and other wealthy New Yorkers, and from public funds beginning in 1887. There were eleven branches by 1901. The smaller Aguilar Free Library Society was started in 1886 to foster the "free circulation of carefully selected literature, in the homes of the people of this City, with distributing branches in localities where the Jewish population was dense."3 The organization, later associated with the Educational Alliance, was named after Grace Aguilar. an English novelist and Sephardic Jew. There were four branches by 1901, including one at 197 East Broadway, a few blocks north of the present Chatham Square Branch.
The New York Public Library and Andrew Carnegie
The New York Public Library was established in 1895 as a private corporation, which received limited public funds. Formed initially by the merger of the Astor and Lenox Libraries and the Tilden Trust, it was primarily concerned with building a major reference library on the site of the old Croton Reservoir at Fifth Avenue and 42nd Street. The consolidation of New York City in 1898 inspired the growth and unification of the library institutions in the City, including The New York Public Library.
New York was one of the largest cities in the world with a population of three million in 1898 and growing rapidly. It trailed behind other cities in public library support, ranking ninth in per capita spending.5 A public branch library system was established in 1901 when the New York Free Circulating Library merged with The New York Public Library. Most of the small independent lending libraries, such as the Aguilar, Webster, Kingsbridge, and Tottenville, joined The New York Public Library, increasing the size of the still inadequate branch network. The promise of a large grant from Andrew Carnegie in 1901 spurred these library mergers. The New York Public Library is still organized into the separate reference and branch systems that were created during this consolidation.
Andrew Carnegie and John Shaw Billings, Director of The New York Public Library, strongly supported the amalgamation of all of the library systems, including the Brooklyn and Queens libraries, which ultimately chose to remain independent. Today, New York City still has three separate library corporations,
The New York Public Library, Brooklyn Public Library, and The Queens Borough Public Library.
In 1901, when the library institutions were large and cohesive enough to suit him, Andrew Carnegie donated $5.2 million to New York City to build a system of branch libraries in all five boroughs. The grant was divided among the three library systems, with The New York Public Library receiving $3.36 million, and Brooklyn and Queens allocated $1.6 million and $240,000 respectively. The grant bought sixty-seven libraries in all five boroughs, two more than originally envisioned.6 In a 1901 letter to John Shaw Billings, Carnegie said that:
Sixty-five libraries at one stroke probably breaks the record, but this is the day of big operations and New York is soon to be the biggest of Cities.
Andrew Carnegie rose from poverty to become one of the wealthiest men in the United States after he sold his steel business to J.P. Morgan in 1901. He began donating to libraries in 1881, but with the grant to New York City he started the vast, worldwide operation which made him unique in the world of philanthropy.
Andrew Carnegie based his donations on a philosophy of giving he developed in the 1870s and 1880s. He believed that the wealthy should live modestly and, while still living, give away their funds for the good of humanity. He considered seven areas worthy of his philanthropy: universities, libraries, medical centers, parks, meeting and concert halls, public baths, and churches. Like other wealthy New Yorkers involved in the social reform movement, he understood the problems facing New York City at the beginning of the twentieth century: the overcrowding from massive immigration, poverty, lack of education, and absence of such facilities as baths, playgrounds and libraries. Andrew Carnegie gave away about 90 per cent of his wealth by the time he died in 1911. More than 2,500 Carnegie libraries were built worldwide and over 1,680 in the United States. The library program ended in 1917 but the Carnegie Corporation and twenty other foundations and funds have carried on his aspirations.
The inventor of cost accounting, Carnegie gave away his money with great efficiency. His grant provided for the construction of the buildings, but New York City had to contribute the cost of the land as well as the books, the upkeep and the operation of the libraries in perpetuity. The acquisition of sites alone cost The New York Public Library over $1.6 million, just under half the cost of the buildings.
In 1901, The New York Public Library Board Executive Committee appointed a temporary architects' advisory committee consisting of Charles F. McKim of the firm McKim, Mead & White, John M. Carrere of Carrere & Hastings, and Walter Cook of Babb, Cook & Willard, to advise them on how to proceed with construction. The committee advised that the branches be uniform and recognizable in materials, style, plan, and scale and that different site requirements would provide variety. They recommended forming a committee of two to five architectural firms who would design the buildings in cooperation with each other. Andrew Camegie objected to the lack of competition in this system but was ultimately convinced that it would be faster and cheaper and would produce a more unified collection. The advisors, McKim, Carrere, and Cook, were fortuitously selected for the permanent committee, and their firms designed most of The New York Public Library Camegie branches.
The architects consulted with the librarians on planning and design, an innovation recently adopted in library design.
McKim. Mead & White
McKim, Mead & White is among the best known and influential of American architecture firms. Charles Follen McKim (1847-1909) and William Rutherford Mead (1846-1928) began working together in 1872 with William Bigelow, forming the partnership McKim, Mead & Bigelow by 1877. Bigelow left the firm in 1879 and Stanford White (1853-1906) replaced him, creating the partnership of McKim, Mead & White. The three men shared early training experience: all had studied in Europe, with McKim attending the Ecole des Beaux Arts, McKim and Mead had formal academic training and had apprenticed with New York architect Russell Sturgis; McKim and White had worked for H.H. Richardson. The three-man partnership ended when Stanford White was murdered by Harry K. Thaw in 1906. Charles McKim, in poor health since a bicycle accident in 1895 and devastated by the loss of his friend as well as the bad publicity, retired in 1907. William Mead stayed on until 1919, but spent most of his time traveling.
The talented and experienced junior partners continued the firm's work, with name changes to reflect new partners, until the 1990s. The prolific firm executed nearly 1,000 commissions between 1879 and 1919, the year William Mead retired.
The firm was best known for its classically inspired designs, although the early work was in the more romantic Shingle style. The World's Columbian Exposition of 1893 in Chicago was a turning point for the firm; Charles McKim held a key role in its planning and design.
The exposition captured the public's imagination with its depiction of a brilliant white classical city lit by electric lights. McKim, Mead & White was a leading advocate of the new classical style, which swept the country in the early twentieth century. By the time the Camegie libraries were built in New York City and in the cities and towns across the country, there was no question that they would be classical in style.
Several of New York City's important designated landmarks are early examples of the firm's free classical style: the Villard Houses (1882-85), an early Italian Renaissance-inspired design; Judson Memorial Church, Tower and Hall (1888-93; 1895-96); King Model Houses (1891-92); the Brooklyn Museum (1893-1915), and the Former Bowery Savings Bank (1893-95). The firm was socially prominent and designed houses for the wealthy as well as their clubs, including the Century Association (1889-91), the Harvard Club (1893-94), and the University Club (1896-1900), all designated New York City landmarks."
The firm designed four important library buildings at the turn of the twentieth century. McKim designed the Boston Public Library in 1887-1895, one of the first of the new wave of classical public buildings at the end of the nineteenth century. The firm designed two monumental university libraries in New York City, the Low Memorial Library at Columbia University (McKim, 1897) and the Gould Memorial Library (White, 1900) at the former New York University Uptown Campus. Charles McKim's elegant J. Pierpont Morgan Library (1902-1907) is considered one of his finest designs. The Low, Gould and Morgan libraries are designated New York City landmarks.
Charles McKim was responsible for the design of the firm's twelve Camegie branch libraries, assisted by William Mitchell Kendall (1865-1951) who entered the firm in 1882 and became a partner in 1906. His Camegie libraries are the most formal of the collection, faced in stone with lavish use of classical ornament. While keeping to the architects' committee's design guidelines, they have the most variation in the design of their facades. Five McKim Mead & White Camegie libraries are designated New York City landmarks: Chatham Square, Hamilton Grange, 115th Street, Schomburg, and Tompkins Square.
Design of the New York Public Library, Chatham Square Branch
The New York City Camegie branch libraries share many design characteristics and are clearly recognizable as Camegie libraries. They were designed to stand out as separate and distinct
structures, an innovation in 1901 when most of the branch libraries were located in other buildings. They are classical in style, a simplified version of the Beaux-Arts model, similar to most public buildings designed in this period. They are clad in limestone, or in brick with limestone trim. There are two distinct types, the urban and the suburban. The urban branch, vertically oriented and sited on mid-block, was located in densely populated Manhattan and sections of the Bronx. The freestanding suburban branches were built on comer sites in the less densely built-up areas of the Bronx, Brooklyn, Staten Island and Queens. Chatham Square embodies the major characteristics of the urban branches. It is located in mid-block, in a densely built and populated pan of the City. The masonry building with a limestone facade is three stories high and three bays wide, with large arched and rectangular windows. This mix of arched and rectangular windows, a Renaissance Revival style trait, is characteristic of McKim, Mead & White branch libraries and is used at the Woodstock, Harlem, 115th, 125th Street and Tompkins Square Branches.
The scale of the windows and oversize Ionic columns contributes to the monumental appearance of the facade. The composition of arched ground floor openings with columns separating rectangular windows on the upper floors resembles the Yorkville Branch (1902, James Brown Lord), the first Carnegie library built, and the Riverside Branch (1905, Carrere & Hastings, demolished). Although McKim, Mead & White followed their own design path, these three libraries illustrate the influence the Carnegie architects had on each other's designs. McKim, Mead & White used upper floor columns for the Schomburg Branch (1905), but added rectangular ground floor openings and a monumental arched window on the upper two stories.
Chatham Square is faced in limestone with rustication at the ground floor. McKim, Mead & White frequently used rusticated limestone for drama and their 115th Street Branch (1908) is extra vagantiy faced in the material. The 125th Street (1904) and Hamilton Grange (1907) Branches also have opulent rusticated limestone facades. The Tompkins Square Branch (1904), on the other hand, has a restrained, primarily smooth limestone facade that more closely resembles the designs by Carrere & Hastings and Babb, Cook, and Willard. Limestone facing, rusticated or smooth, is a characteristic of Manhattan Camegies.
The plans of the Carnegie libraries were drawn up in collaboration with the architects' committee and the librarians. The librarians met with the committee at the beginning of the process and commented on the final
plans. The libraries featured side entrances and stairs, a concession to the librarians. While the architects preferred classical center entrances, the side entrances and elevated first floors provided for spacious, light-filled reading rooms. A prominent circulation desk afforded control of the entire reading room by a single librarian. There were accessible stacks, an innovation in the early twentieth century; nineteenth century library book stacks were off limits to everyone except the librarians.
The Chatham Square Branch follows this scheme, with a rectangular layout, rooms filled with natural light, and circulation and reading rooms on the first three floors. When the library opened, there were plaster casts of classical sculpture in the children's first floor reading room, a gift in memory of Miss Emily Binsse, who drowned at sea.12 The adults' circulating room was on the second floor, the adults' reading room was on the third floor, and an assembly room was located in the basement. The books were placed on freestanding shelves accessible to the public. As was typical, a custodian's apartment was on the fourth floor and a custodian lived in the building until 1969.
Construction & Subsequent History
The New York Public Library selected the sites for the Carnegie libraries with approval from the City. Because every community wanted a Carnegie library, site selection was the only part of the smooth-running building process where there was any contention. The Carnegie branches were intended to stand out in their communities, to be centrally located and, if possible, to be near schools and other civic structures. John S. Billings stated this position in 1901:
Every one of these buildings ought to be of one distinctive and uniform type, so that the most ignorant child going through the streets of the City will at once know as Carnegie Library when he or she sees it.li In Manhattan, The New York Public Library Executive Committee hired New York attorney Alanson T. Briggs to propose the sites and act as agent for the library. After identifying densely populated neighborhoods, he looked for centrally located sites in these neighborhoods. George L. Rives, Secretary of The New York Public Library, described the philosophy behind site selection in 1901:
The Trustees are of the opinion that in establishing branch libraries it is of great importance to establish them, as far as possible, in conspicuous positions on well frequented streets. In some measure the
same principles should be applied that would govern in the selection of a site for a retail store. The fact that a branch library is constantly before the eyes of the neighboring residents so that all are familiar with its location will undoubtedly tend to increase its usefulness.14
Chatham Square was the first of four Camegie branches built on the Lower East Side below Houston Street, a densely populated immigrant neighborhood. The predecessor of the Chatham Square Branch was a storefront at 22 East Broadway, across the street from the present library. In the four years of its existence, it circulated as many as one thousand volumes a day.15 The City bought the library site in 1902 from Mr. and Mrs. Herman Gersten for $63,000. The brick building on the site was torn down. The new building and equipment cost $83,184, for a total of $146,184.16 The brick walls are faced with Bedford, Indiana limestone. The structure is steel and cast-iron.17 The builder was Michael Reid & Company, which built all but two of the McKim, Mead & White Camegie branches and worked with the architects on other projects as well.
The Chatham Square Branch library opened on November 2, 1903. It was the second Camegie branch opened in Manhattan and the third in the city. The opening ceremony was held in the library's assembly room and was attended by residents of the neighborhood. Speakers included Manhattan Borough President Jacob Cantor, Arthur Bostwick, Chairman of the Circulating Department, and Samuel Greenbaum, library trustee. Mr. Bostwick spoke about the reading preferences of the community, stating that there was less fiction and twice as many scientific books than in any other branch library. Mr. Greenbaum spoke about the first public library of 200 years ago. John S. Billings, President of the New York Public Library, attended with library friends Samuel P. Avery, John L. Cadwalader, William W. Appleton, and E. W. Gaillard. Miss H.M. Steinberger, librarian, and ten assistants ran the library when it opened.18
The Chatham Square Branch has served an immigrant community since its opening. In 1903 the community was primarily Jewish and the library stocked the history, English literature, and philology books then popular with the community. The neighborhood is now part of Chinatown and the library offers a Chinese heritage collection and materials on Chinatown. In 1947, The New York Public Library proposed to demolish the Chatham Square Branch and to build a smaller branch in the A1 Smith Houses because the administration believed that the Chatham
Square Branch was too close to the larger Seward Park Branch, causing a duplication of services. The New York City Housing Authority rejected the proposal that same year and the library was saved. The building has continuously operated as a library since opening in 1903 and has been an important community institution, as originally intended.19
The library has had few alterations. The rail, post and steps in front of the library were removed before 1940.20By 1958 the library's interior was rehabilitated and the roof skylight was removed. There were more interior alterations in 1971, when a large meeting room was created on the third floor. The wood casement windows were replaced at an unknown date with aluminum fixed and double-hung windows and the wooden door was replicated.21
Description
The Chatham Square Library is a three-story, three-bay, fifty-foot wide masonry structure with a rectangular plan. The Renaissance Revival style building is faced in limestone with a rusticated ground floor. Located in the middle of the block on East Broadway, the building stands out from the brick tenements surrounding it. East Broadway between Catherine and Market Streets is a busy commercial and residential street lined with four to six story brick tenements dating primarily from the 1870s to about 1915.
The limestone basement has two rectangular window openings. Both the basement and the first floors are rusticated, but the basement is more deeply rusticated with rounded edges, while the first floor has shallower rustications with crisply defined edges. The first floor rustication follows the line of the three arched openings, two windows and a doorway. The basement is separated from the first floor by a simple limestone band, which also forms the sills for the windows. The two large arched window openings are filled with non-historic sash. The doorway, located on the south side of the fa?ade, contains a pedimented stone door enframement and a transom above, filling in the arch. The molded stone door enframement is visually connected to the opening by stone scrolls on either side of the doorway. The pediment has a frieze with circles at either end. Two historic bronze lanterns flank the doorway.
There is a pedimented bronze plaque placed at the left of the first floor facade, with the words "The New York Public Library, Camegie Gift, Chatham Square Branch."
Stone banding with a Greek fret design separates the first floor from the second and third floors. The five rectangular windows are recessed in a frame of stone pilasters supporting a denticulated cornice. There is a simple stone spandrel between each of the second and third floor windows. Six oversize Ionic columns divide the windows. Original wrought iron grilles cover the lower half of the third floor windows. The molded stone cornice has a frieze with the letters "NEW YORK PUBLIC LIBRARY" incised in the center and wreaths carved in low relief at either end, over the pilasters. There is a stepped stone parapet above the cornice with an open book inside a shield at the center. A carved stone acanthus tops the parapet center, which is softened by carved stone scrolls on either side.
All of the sash has been replaced with aluminum sash similar to the originals. There are non-historic aluminum screens on the first, second, and third floor sash. There are non-historic mesh grilles on the basement windows, and non-historic aluminum grilles on the first floor windows. The wood-paneled front door in the western-most bay of the ground floor is non-historic. A non-historic flagpole is attached to the sill of the fourth-from-east second floor window and there are two non-historic spotlights in that same window.
- From the 2001 NYCLPC Landmark Designation Report
Ionic capital from the Bank America Building on South LaSalle Street in Chicago, Illinois.
See an example of a Doric Capital.
See an example of a Corinthian Capital .
Tenuous Link: Ionic Capital.
I have passed Marylebone many time, either in a taxi or underneath on the Tube, and have always meant to go in. And with a morning spent in the area last month, I walked over Euston Road to find all three doors open, and a good number of people coming and going.
From the outside it could be a City Wren church, inside it has lots of space and a fine painted chancel.
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St Marylebone Parish Church is a place of active and engaged Christian witness, set at the very heart of central London. With a history stretching back nearly 900 years, those of us who worship here continue seek to offer God worship that has long been renowned for musical and liturgical excellence and to serve the diverse community in which we are set.
For more than 30 years, St Marylebone, just a few metres from Harley Street, has pioneered the work of Christian healing and, as well as being home to the internationally respected St Marylebone Healing and Counselling Centre, which offers low-cost analytical psychotherapy and spiritual direction, the Crypt at St Marylebone also houses an innovative NHS doctor’s surgery - the Marylebone Health Centre. Our work is enhanced by maintaining close and active links with some of medicine’s Royal Colleges and through our provision of chaplaincy to The London Clinic and King Edward VII’s Hospital.
St Marylebone has a flourishing Young Church, which complements our two schools: The St Marylebone Church of England School, an Outstanding Academy, National Teaching School and Maths Hub, and The St Marylebone Church of England Bridge School, a Free Special School working with secondary school age students who have speech, language and communication difficulties. Alongside our two schools St Marylebone works closely with the Royal Academy of Music and the University of Westminster, providing chaplaincy services to both, and also with Regent’s University.
As a parish church in the Diocese of London, we share a vision of a Church for this great world city that is Christ-centred and outward looking. By God’s grace we seek to be more confident in speaking and living the Gospel of Jesus Christ, more compassionate in serving others with the love of God the Father and more creative in reaching new people and places in the power of the Spirit.
Construction of the present church was first considered in 1770. A site was given in Paddington Street and plans were prepared by Sir William Chambers, Architect to the King, but the scheme was abandoned and the land purchased for a burial ground. In 1810-11 the present site was secured, and it was intended that this building should be another Chapel of Ease supporting the work of the nearby Parish Church.
Plans were prepared by Thomas Hardwick, who was a pupil of Sir William Chambers, and the foundation stone was laid on 5 July 1813. Later, it was decided to enlarge the building and make it the Parish Church; the present tower was erected, the front widened, and the gigantic Corinthian-columned Portico built. A vaulted crypt extended under the whole area of the church, with extensive catacombs under the west side.
These catacombs were bricked up in 1853, and in the mid-1980s, with due authority, the coffins were removed from the crypt for reinternment at Brookwood Cemetery in Surrey and the crypt was transformed into the present-day Healing and Counselling Centre, Sacrament Chapel, Jerusalem Chapel and NHS Marylebone Health Centre.
The present parish church, opened in February 1817, is the fourth known parish church building to serve this parish.
The first, established sometime in the early 12th century, was dedicated to St John the Evangelist and was the parish church of the manors of Tyburn and Lisson (Lillestone); it stood on what is now Oxford Street, on a site near Stratford Place. Indeed, it is thought that the open courtyard of Stratford Place is the graveyard of the first parish church.
By 1400, St John's had fallen into disrepair and was demolished; a new parish church was built opposite Tyburn Manor House (now the site of the Duchess of Devonshire Wing of The London Clinic). The site of this parish church and its successor church (is now the Old Church Memorial Garden at the north end of Marylebone High Street); Francis Bacon was married in this Church on the 11th May 1606.
In 1740, a new parish church was built on the same site and here you will find buried one of the founders of Methodism, Charles Wesley, along with other members of his family. He is commemorated by an obelisk memorial. Here it was that Lord Byron was christened, and here Lord Nelson attended services and, on the 3rd May 1803, brought his daughter by Lady Hamilton (who had herself been married here) to be baptised. This parish church was associated with many famous figures and the interior was used by William Hogarth for the ‘Marriage of the Rake’ in his ‘Rake’s Progress’ cycle of paintings. Some of the many memorials that crowded its walls, including a memorial to the cupbearer to Ann of Denmark and Queen Henrietta Maria, may be seen in the present parish church’s stairways, to which they were transferred when the old parish church was demolished (following damage in World War II) in 1949. Other people connected with this building include: James Figg, James Gibbs, Edmond Hoyle, John Rysbrack, John Allen, James Ferugson, Alan Ramsay, Stephen Storace, the dukes of Portland and Caroline Watson.
The present parish church was originally built (at a cost of some £80,000.00) without its fine Roman Renaissance style frescoed apse; this was added in 1884 by Thomas Harris. The original position of the altar was in what is now the Choir, just below the cross built into the ceiling. This altar (before which Robert Browning married Elizabeth Barrett in 1846) can be seen in the Holy Family Chapel. Above it hangs the painting of the Holy Family donated to the new parish church by Benjamin West, PRA (1738 -1820).
The parish church of 1817 is reputed to have sat 3,000 people and, above the present gallery, a second gallery (the remains of which can be seen either side of the organ) wrapped around three sides of the building.
The present organ, one of the finest recital instruments in the country, was built by Rieger Orgelbau of Austria and was commissioned in July 1987; it was a joint venture between the parish church and the neighbouring Royal Academy of Music. The organ pipes, which can be seen at the ends of the first floor galleries, belong to earlier instruments.
Charles Dickens and his family lived for many years next door to the parish church in Devonshire Terrace. He brought his son here to be baptised and the ceremony is described in his novel Dombey and Son.
Bomb damage sustained during World War II destroyed the stained glass windows and also the Georgian roof. Fragments of the destroyed windows were collected and set in the windows you see today.
The fine crystal chandeliers were relocated here in 1968 from the old Council Chamber in St Marylebone Town Hall when the Borough of St Marylebone merged with other metropolitan boroughs of Middlesex to form the City of Westminster.
A fine collection of memorials adorn the walls of the parish church; many of them belonging to colonial administrators and governors and members of the East India Company
St Marylebone Parish Church has always had a fine musical tradition and today the professional choir of ten voices is supported by the Director of Music, the Assistant Director of Music and an Organ Scholar. Sir John Stainer wrote his Oratorio Crucifixion for the choir in 1886 and it has been performed every year since.
The Browning Room, which commemorates the marriage of the poets Robert Browning and Elizabeth Barrett here on 12th September 1846, has a stained glass window gifted by The Browning Society of Winnipeg. Two fine brass bas reliefs of the poets can also be found in this room.
The fine apse, the mahogany benches and choir stalls together with the gilded English baroque decorative scheme all date from the mid-1880s and were designed by Thomas Hardwick. Work begun in 1884 and a memorial stone laid by Mrs Gladstone can be seen on the outside wall of the apse. The decoration of the apse was carried out by Edward Armitage, RA; his decorative scheme once included murals between the great windows on the gallery level but these were painted over in the late 1940s.
A Christian place of worship has served his part of central London for 900 years. Every London parish church north of Oxford Street, to the east of the Edgware Road and to the west of Cleveland Street, has been ‘planted’ by the Rector and Wardens of this parish. In 2016, the Heritage Lottery Fund awarded the parish church a grant of nearly £4 million to help complete an ambitious programme of works that will repair the ravages of time, extend the crypt and help tell the story of St Marylebone from rural hamlet to urban metropolis. St Marylebone, by God’s Grace, continues its work of Changing Lives and Shaping Community.
The Revd Canon Stephen Evans, Rector
www.stmarylebone.org/index.php?option=com_content&vie...
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St Marylebone Parish Church is an Anglican church on the Marylebone Road in London. It was built to the designs of Thomas Hardwick in 1813–17. The present site is the third used by the parish for its church. The first was further south, near Oxford Street. The church there was demolished in 1400 and a new one erected further north. This was completely rebuilt in 1740–42, and converted into a chapel-of-ease when Hardwick's church was constructed. The Marylebone area takes its name from the church. Located behind the church is St Marylebone School, a Church of England school for girls.
The first church for the parish was built in the vicinity of the present Marble Arch c.1200, and dedicated to St John the Evangelist.
A new, small church built on the same site opened in April 1742. It was an oblong brick building with a small bell tower at the west end. The interior had galleries on three sides. Some monuments from the previous church were preserved in the new building.In 1818 it became a chapel-of-ease to the new parish church which superseded it .[4] It was demolished in 1949, and its site, at the northern end of Marylebone High Street is now a public garden.[5]
Charles Wesley lived and worked in the area and sent for the church's rector John Harley and told him "Sir, whatever the world may say of me, I have lived, and I die, a member of the Church of England. I pray you to bury me in your churchyard."[citation needed] On his death, his body was carried to the church by eight clergymen of the Church of England and a memorial stone to him stands in the gardens in High Street, close to his burial spot. One of his sons, Samuel, was later organist of the present church.
It was also in this building that Lord Byron was baptised in 1788, Nelson's daughter Horatia was baptised (Nelson was a worshipper here), and Richard Brinsley Sheridan was married to Elizabeth Ann Linley. This is also the church in which the diplomat Sir William Hamilton married Emma Hart (Amy Lyon), later the lover of Admiral Horatio Nelson.[citation needed] The architect James Gibbs was buried there in 1751.[6] The crypt was the burial place of members of the Bentinck family, including William Cavendish-Bentinck, 3rd Duke of Portland (died 1809)
Construction of a new church was first considered in 1770, with plans prepared by Sir William Chambers and leadership given by the 3rd and 4th Dukes of Portland (owners of much of the area, by now a wealthy residential area to the west of London that had outgrown the previous church), but the scheme was abandoned and the land donated for it in Paddington Street purchased for a burial ground.
In 1810–11[citation needed] a site was secured to build a chapel-of-ease on the south side of the new road near Nottingham Place.[8] facing Regent's Park.[9] Plans were drawn up by Chambers's pupil Thomas Hardwick [10] and the foundation stone was laid on 5 July 1813. When construction was almost complete, it was decided that this new building should serve as the parish church, and so alterations were made to the design. On the north front, towards the new road, a Corinthian portico with eight columns (six columns wide, and two deep at the sides), based on that of the Pantheon in Rome, replaced the intended four-column Ionic portico surmounted by a group of figures. A steeple was built, instead of a planned cupola.[11] No changes were made to the design of the interior, but plans to build houses on part of the site were abandoned.[12]
Entrance to the church from the north is through three doorways beneath the portico, each leading into a vestibule.[13] There are arched windows above the outer doorways. A blank panel above the central one was intended to house a bas-relief depicting Christ's entry into Jerusalem. Hardwick's church was basically rectangular in plan, with two small extensions behind the entrance front, and two wings placed diagonally flanking the far end (the liturgical east),[14] which originally housed private galleries equipped with chairs, tables and fireplaces.[15][16] Two tiers of galleries, supported on iron columns ran around three sides of the church.[17] The organ case was immediately above the altar screen; in the centre of the organ case was an arched opening with a "transparent painting" by Benjamin West, of the angel appearing to the shepherds. Other church furniture included a large pulpit and reading desk and high box pews.
The steeple, placed over the central vestibule, rises around 75 feet (23 m) above the roof (and thus about 120 feet (37 m) above the ground).[18] It is in three storeys;the first, square in plan, contains a clock, the second circular in plan, has twelve Corinthian columns supporting an entablature, while the third is in the form of a miniature temple raised on three steps and surrounded by eight caryatids, with arched openings between them. The whole structure is topped by a dome and weathervane.[19]
The vaulted crypt, extending under the whole church, with extensive catacombs under the west side was used for burials until being bricked up in 1853. Since 1987, following the reinterment of the 850 coffins it previously contained at Brookwood Cemetery in Surrey, it has housed a healing and counselling centre.
The church was completed in 1817, at an overall cost of £80,000.
A local resident was Charles Dickens (1812–1870), in Devonshire Terrace, whose son was baptised in this church (a ceremony fictionalised in "Dombey and Son"). Robert Browning and Elizabeth Barrett were married in this phase of the church in 1846 (their marriage certificate is preserved in the church archives). The church was also used in location filming for the 1957 film recounting their story, The Barretts of Wimpole Street.[20]
Composer Sir John Stainer wrote an oratorio specifically for the choir at St Marylebone; The Crucifixion was first performed in the church on 24 February 1887, which was the day after Ash Wednesday. It has been performed annually at the church ever since, usually on Good Friday.