View allAll Photos Tagged ionic
A Luna marble relief depicting the facade of an Ionic temple: here a detail of one of the carved Ionic capitals. The fragment belongs to an altar that is thought to have closely resembled the Ara Pacis in Rome. The fragmentary reliefs, including this one, depicted a procession and sacrifice. One hypothesis is that the panels belonged to an altar set up in honor of the emperor Claudius's return from his campaigns in Britain (decreed by the Senate in 43 CE): the Ara reditus Claudii. Other panels from this altar are on display in the Ara Pacis Museum and on the exterior wall of the Villa Medici in Rome (the so-called Della Valle-Medici panels). The panels may have been reused in the early fourth century; the original altar is thought to have stood on the slopes of the Capitoline Hill, perhaps on the side facing the Theater of Marcellus.
Ara Pacis Museum inv. 1386
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
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.
Ionic Ferry ships mast in the main basin.
Images kindly provided by Martyn Chesworth courtesy of Heather Crook.
Patriarchal Palace, former headquarters of the Chamber of Deputies.
1903 - 1907
Palace of the Chamber of Deputies
Palace of the Chamber of Deputies
The Palace was built in 1907 after the plans of architect Dimitrie Maimarolu, on the site of the princely divan, itself built where a group of old monastic buildings once were. It is build in a neo-classical style, with an 80-metre façade, in the centre of which is a peristyle featuring six Ionic columns. Inside are bronze and marble busts, as well as paintings, of important political figures from Romania’s history. The palace library contains over 11,000 volumes of parliamentary debates, copies of Monitorul Oficial and similar official publications, and over 7,000 books.
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.
Steel and glass make the break from over two and a half thousand years of the classical orders in architecture, at Paris Gare du Nord (France).
Every time I see this photo, I try to read the word in red writing on the glass structure. I think it says Entrée (entrance), though there are other station entrances too.
The Rothschild family were amongst the main founders, in 1845, of the northern network of French railway lines (Chemin de Fer du Nord, served by this station, and now part of the French national rail system, SNCF. This Ionic pilaster, and other neo-classical details visible in the reflections, are part of the original station completed in 1865. This is the eastern end of the station frontage on rue de Dunkerque. The architect was Jacques Ignace Hittorff. These classical orders are evidently still in architectural use more than two and a half thousand years after the ancient Greeks and Romans founded them, while the new glass and steel structure to the R makes a clean break from that. (I haven't found any information about this newer part of the station.)
The station is one of the busiest in the world, and serves northern France and countries to the NE and N of Paris, including Britain (Eurostar trains, using the Channel Tunnel), Belgium, Netherlands and Germany. It's probably been the most familiar train terminus in Paris to British travellers because the boat ferry trains serving the French cross-Channel ports along the narrowest part of English Channel (La Manche) mostly came into Gare du Nord, and now the Eurostar trains from London do too. We used this station for the Eurostar legs of our holiday trip from London to Sicily and back.
----- en.wikipedia.org/wiki/Gare_du_Nord
----- en.wikipedia.org/wiki/French_Northern_Railway
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LONDON - PARIS - CATANIA - ROME - LONDON ----- DAY 9
Photo from the ninth 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. It took us most of our ninth day to travel through France, change trains in Paris and to take our Eurostar train back to London.
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 © Creative Commons.
If you would like to use or refer to this image, please attribute.
ID: DSC_6876
Headphones- Golden Fur Headphones- MiWardrobe @ Limited Bazaar
Hair- Forever and Ever- Clawtooth
Skin- Hiccup Tan Skin, Vamp- old Tres Blah skin
Eyes- Jejune Meadow Eyes- Tres Blah
Makeup- Cosmetics (Juicy)- Fashionably Dead
Necklace- Unicorn Horn Set- PIDIDDLE
Top- Leather Asymmetrical Jacket- Ison from previous Collabor88
Shelving- Lemuria- *ionic*
Montpelier, Vermont USA • A bat's-eye view: Fluted Ionic columns, against the polished marble floors in the first floor of the state Capitol building.
• After 140 years, the Vermont State House still commands the landscape of Montpelier, the smallest capital city in America. The House and Senate chambers are the oldest legislative chambers in their original condition anywhere in the country. – from the State of Vermont's website.
Between 1778 and 1808, Vermont had no permanent seat of government, and its legislature met 47 times in 13 different towns around the state. In 1805, Montpelier was established as the permanent seat of the legislature, contingent on the town erecting suitable buildings and conveying them and the land to the State by September, 1808. Subscriptions and pledges were made, and the land was donated by Thomas Davis, son of Jacob Davis, the first permanent settler of Montpelier. The first wooden State House, "whittled out of use" by representatives' pocket knives, was replaced in the late 1830s with a Barre granite building designed by Ammi B. Young. It looked similar to the present Capitol, but was smaller, In January 1857, fire destroyed the Capitol so that reconstruction was necessary, with only the Greek Revival portico remaining. For the third time, Montpelier raised the funds. Architects Thomas W. Silloway and Joseph R. Richards designed the exterior and interiors, respectively. Standing on a small rise with a spacious and carefully landscaped approach, this Renaissance Revival building combines dignity of purpose with grace and beauty. Ceres, the goddess of agriculture, stands atop a gold-leafed dome. – per Central Vermont Historic Walking Tour's Montpelier's State Street Tour list.
From Wikipedia: The dome is topped by a statue titled Agriculture though more commonly referred to as Ceres, the Roman goddess of agriculture. The original statue was carved by Vermont artist Larkin Goldsmith Mead, who carved the large bust of Lincoln in the Hall of Inscriptions on the State House's ground floor. The current statue is a replacement, and something of a piece of folk art, based on Mead's original. It was carved in 1938 by then 87-year old Dwight Dwinell, Sergeant-at-Arms (in Vermont this official position is similar in nature to the White House Chief Usher).
☞ On December 30, 1970, the National Park Service designated this structure a National Historic Landmark (#70000739); one of only 17 in Vermont.
National Historic Landmarks are nationally significant historic places designated by the Secretary of the Interior because they possess exceptional value or quality in illustrating or interpreting the heritage of the United States. Today, fewer than 2,500 historic places bear this national distinction. [And only 17 in Vermont.] Working with citizens throughout the nation, the National Historic Landmarks Program draws upon the expertise of National Park Service staff who work to nominate new landmarks and provide assistance to existing landmarks.
National Historic Landmarks are exceptional places. They form a common bond between all Americans. While there are many historic places across the nation, only a small number have meaning to all Americans--these we call our National Historic Landmarks. – from the National Park Service.
☞ This Statehouse has also been listed on the National Register of Historic Places (#70000739), since 1970.
– – – – – – – –
☞ Shot during a visit to Montpelier, Vermont, to participate in the Third Annual Worldwide Photo Walk, one of 1,000 locations around the world where photographers meet-up & shoot away, all on the same day. • Why? More info.
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In July, 2010, I started a project to visit and document all seventeen Landmarks in Vermont. Here they are (in order of designation by the National Park Service):
[01] 09/22/60 – JUSTIN S. MORRILL HOMESTEAD, Strafford, Orange County
[02] 01/28/64 – TICONDEROGA (Side-paddle-wheel Lakeboat), Shelburne, Chittenden County
[03] 06/23/65 – CALVIN COOLIDGE HOMESTEAD DISTRICT, Plymouth Notch, Windsor County
[04] 12/21/65 – EMMA WILLARD HOUSE, Middlebury, Addison County
[05] 11/13/66 – ROBBINS AND LAWRENCE ARMORY AND MACHINE SHOP, Windsor, Windsor County
[06] 06/11/67 – GEORGE PERKINS MARSH BOYHOOD HOME, Woodstock, Windsor County
[07] 05/23/68 – ROBERT FROST FARM, Addison County
[08] 12/30/70 – VERMONT STATEHOUSE, Montpelier, Washington County
[09] 11/28/72 – MOUNT INDEPENDENCE, Addison County
[10] 12/20/89 – STELLAFANE OBSERVATORY, Springfield, Windsor County
[11] 11/04/93 – NAULAKHA (Rudyard Kipling House), Dummerston, Windham County
[12] 06/19/96 – OLD ROUND CHURCH, Richmond, Chittenden County
[13] 06/19/96 – ST. JOHNSBURY ATHENAEUM, St. Johnsbury, Caledonia County
[14] 12/09/97 – ROKEBY, Ferrisburgh, Addison County
[15] 05/16/00 – ROCKINGHAM MEETING HOUSE, Windham County
[16] 05/16/00 – SOCIALIST LABOR PARTY HALL, Barre, Washington County
[17] 01/03/01 – SHELBURNE FARMS, Shelburne, Chittenden County
Kedleston Hall
Grade: I
List Entry Number: 1311507
Listing NGR: SK3127140296
Details
SK 34 SW PARISH OF KEDLESTON KEDLESTON PARK 3/41 Kedleston Hall 25.9.51 GV I Large country house, set in large landscape park. 1758-65 by Matthew Brettingham, James Paine and Robert Adam. Interiors complete by the 1780s. Red brick faced in ashlar and render. Hipped Welsh slate roofs. Various brick stacks largely hidden within the roof wells. Main rectangular block with quadrant colonnades and rectangular pavilions following Palladio's Villa Mocenigo. Rusticated basement, piano nobile and attic storeys. Principal north front: Centre block of eleven bays. Hexastyle, giant Corinthian portico over a basement of five round arches. Three statues on the pediment. Double staircase. In the portico, central doorway flanked by niches with statues. Medallions above depicting vintage, pasturage, ploughing, and bear hunting, 1769 by William Collins. Dentilled cornice and blocking course. Three bays on either side of the portico with square sash windows to the basement, glazing bar sashes in pedimented aedicules above and rectangular attic windows with moulded surrounds. Quandrants on either side without an attic storey. The basement continues the round-arched arcade, with windows set in. Glazing bar sashes above, with balustrading below the sills as on the main block. The bays divided by Tuscan pilasters. Tripartite windows to the return walls. Linked to identical pavilions, lower than the main block but still with basement, piano nobile and attic storeys. The upper storeys are cement rendered. Five bays, with four attached Ionic columns supporting a pediment. Similar fenestration to main block but with plain surrounds. South front of 3-3-3 bays. The centre piece derived from the Arch of Constantine. Four detached Corinthian columns standing close to the antae and pilasters against the wall. Each column carrying its own piece of entablature with statues above, in front of an attic with the date 1765 inscribed. Shallow lead dome above. Double staircase with sharply curved flights. Central door- way with pedimented Corinthian aedicule, set within a blind round arch, and flanked by niches with statues and medallions above, as on the north front. Frieze of swags and medallions above. The outer bays are given similar but less grand treatment, to those on the main north front. The east and west elevations of 2-3-2 bays are treated more simply, with the central feature of a Venetian window. That on the west side was at an early date blocked. The south elevations of the pavilions are likewise treated in a plainer manner, the three centre bays advanced beneath a pediment.
Interior: The main entrance is into the magnificent Marble Hall, about 67ft by 37ft, and 40ft high (taking in the attic storey). Two rows of giant Corinthian columns of pink Nottinghamshire alabaster. They were fluted in 1775, against the advice of Robert Adam. Frieze and coved ceiling with delicate stucco decoration by Joseph Rose to a design by George Richardson. Hoptonwood stone floor with inlay, designed by Adam. Around the walls are niches with casts of antique sculpture. Above are grisaille panels of Homeric subjects. Chimneypieces with elaborate over- mantles by Rose, incorporating painted roundels. Beyond, in the relationship of 'atrium' and 'Vestibulum', is the saloon, a full-height domed rotunda. Apsed niches in the corners filling the square outer walls. Coffered dome and central skylight. Pedimented doorcases with pilasters of blue scagliola. Frieze of anthemion and palmette. Painted panels of ruins, by Gavin Hamilton, and grisaille panels of scenes of British Worthies by J B Rebecca. In the niches are four cast iron vases on pedestals. Two of them are stoves. The Music Room has Ionic doorcases and delicate plaster ceiling designed by Adam. Marble chimneypiece inlaid with Blue John. The State Drawing Room, lit by a Venetian window to east. Corinthian order for the alabaster window and door surrounds. Chimneypiece with scene of virtue rewarded by honour and riches, by Spang. The Library with severe Roman Doric doorcase. Bookcases designed by Adam. Plaster ceiling divided into octagonal patterns. Triglyph frieze. Beyond the Saloon is the principal Dressing Room (also called the State Boudoir), preceeded by an anteroom, and the two divided by a tripartite screen with pierced segmental arch above the entablature. More delicate plaster ceiling. Chimneypiece brought from elsewhere c1908. Similar decoration in the State Bedroom with fine chimney- piece. Beyond is the Wardrobe (also called the Dressing Room) which communicates with the Dining Room. Apse at the west end, flanked by stucco medallions by William Collins. Ceiling with painted panels by Zucchi (continents), Hamilton (seasons) and Moorland (centre). Chimneypiece with termini caryatids by Spang. The Main Staircase is off the Marble Hall. Cantilvered stone staircase around a rectangular well. Carved tread ends, wrought iron balusters, delicate wreathed and ramped handrial. Stucco panels of 1924. The staircase leads up to the semi-state bedrooms with plain coved ceilings, dentil cornicing and plain marble chimneypieces. Some of the doors may be re-used from the earlier Hall. Three other staircases, of stone, cantilvered with stick balusters. Beneath the Marble Hall a low hall with two rows of stone columns, and two rows of iron columns inserted in 1806. The north west pavilion houses the kitchens and service rooms. The north east pavilion houses the family apartments.
Sources: Christopher Hussey: English Country Houses: Mid-Georgian 1760-1800
Country Life 1956, Second edition 1984. pp72-78
Unpublished information from Mr Leslie Harris, Kedleston Archives
Country Life 24 August 1901; 20 & 27 December 1913; 26 January 1978, pp 194-197, 2 February 1978 pp 262-266; 9 February 1978 pp 322-325
Listing NGR: SK3127140296
Sources
Books and journals
Hussey, C, English Country Houses Mid Georgian 1760-1800, (1956)
'Country Life' in 9 February, (1978), 322-325
'Country Life' in 26 January, (1978), 194-197
'Country Life' in 20 December, (1913)
'Country Life' in 24 August, (1901)
'Country Life' in 27 December, (1913)
'Country Life' in 2 February, (1978), 262-266
historicengland.org.uk/listing/the-list/list-entry/1311507
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Kedleston Hall is an English country house in Kedleston, Derbyshire, approximately four miles north-west of Derby, and is the seat of the Curzon family whose name originates in Notre-Dame-de-Courson in Normandy. Today it is a National Trust property.
The Curzon family have owned the estate at Kedleston since at least 1297 and have lived in a succession of manor houses near to or on the site of the present Kedleston Hall. The present house was commissioned by Sir Nathaniel Curzon (later 1st Baron Scarsdale) in 1759. The house was designed by the Palladian architects James Paine and Matthew Brettingham and was loosely based on an original plan by Andrea Palladio for the never-built Villa Mocenigo. At the time a relatively unknown architect, Robert Adam was designing some garden temples to enhance the landscape of the park; Curzon was so impressed with Adam's designs, that Adam was quickly put in charge of the construction of the new mansion.
World War II
In 1939, Kedleston Hall was offered by Richard Curzon, 2nd Viscount Scarsdale for use by the War Department.[1] Kedleston Hall provided various facilities during the period 1939–45 including its use as a mustering point and army training camp. It also formed one of the Y-stations used to gather Signals Intelligence via radio transmissions which, if encrypted, were subsequently passed to Bletchley Park for decryption.
National Trust
In the 1970s the estate was too expensive for the Curzon family to maintain. When Richard Nathaniel Curzon, 2nd Viscount Scarsdale died, his cousin Francis Curzon, 3rd Viscount Scarsdale offered the estate to the nation in lieu of death duties. A deal was agreed with the National Trust that it should take over Kedleston while still allowing the family to live rent-free in the 23-room Family Wing, which contained an adjoining garden and two rent-free flats for servants or other family members.
External design
The design of the three-floored house is of three blocks linked by two segmentally curved corridors. The ground floor is rusticated, while the upper floors are of smooth-dressed stone. The central, largest block contains the state rooms and was intended for use only when there were important guests in the house. The East block was a self-contained country house in its own right, containing all the rooms for the family's private use, and the identical West block contained the kitchens and all other domestic rooms and staff accommodation. Plans for two more pavilions (as the two smaller blocks are known) of identical size, and similar appearance were not executed. These further wings were intended to contain, in the south east a music room, and south west a conservatory and chapel. Externally these latter pavilions would have differed from their northern counterparts by large glazed Serlian windows on the piano nobile of their southern facades. Here the blocks were to appear as of two floors only; a mezzanine was to have been disguised in the north of the music room block. The linking galleries here were also to contain larger windows, than on the north, and niches containing classical statuary.
If the great north front, approximately 107 metres in length, is Palladian in character, dominated by the massive, six-columned Corinthian portico, then the south front (illustrated right) is pure Robert Adam. It is divided into three distinct sets of bays; the central section is a four-columned, blind triumphal arch (based on the Arch of Constantine in Rome) containing one large, pedimented glass door reached from the rusticated ground floor by an external, curved double staircase. Above the door, at second-floor height, are stone garlands and medallions in relief. The four Corinthian columns are topped by classical statues. This whole centre section of the facade is crowned by a low dome visible only from a distance. Flanking the central section are two identical wings on three floors, each three windows wide, the windows of the first-floor piano nobile being the tallest. Adam's design for this facade contains huge "movement" and has a delicate almost fragile quality.
Gardens and grounds
The gardens and grounds, as they appear today, are largely the concept of Robert Adam. Adam was asked by Nathaniel Curzon in 1758 to "take in hand the deer park and pleasure grounds". The landscape gardener William Emes had begun work at Kedleston in 1756, and he continued in Curzon's employ until 1760; however, it was Adam who was the guiding influence. It was during this period that the former gardens designed by Charles Bridgeman were swept away in favour of a more natural-looking landscape. Bridgeman's canals and geometric ponds were metamorphosed into serpentine lakes.
Adam designed numerous temples and follies, many of which were never built. Those that were include the North lodge (which takes the form of a triumphal arch), the entrance lodges in the village, a bridge, cascade and the Fishing Room. The Fishing Room is one of the most noticeable of the park's buildings. In the neoclassical style it is sited on the edge of the upper lake and contains a plunge pool and boat house below. Some of Adam's unexecuted design for follies in the park rivalled in grandeur the house itself. A "View Tower" designed in 1760 – 84 feet high and 50 feet wide on five floors, surmounted by a saucer dome flanked by the smaller domes of flanking towers — would have been a small neoclassical palace itself. Adam planned to transform even mundane utilitarian buildings into architectural wonders. A design for a pheasant house (a platform to provide a vantage point for the game shooting) became a domed temple, the roofs of its classical porticos providing the necessary platforms; this plan too was never completed. Among the statuary in the grounds is a Medici lion sculpture carved by Joseph Wilton on a pedestal designed by Samuel Wyatt, from around 1760-1770.
In the 1770s, George Richardson designed the hexagonal summerhouse, and in 1800 the orangery. The Long Walk was laid out in 1760 and planted with flowering shrubs and ornamental trees. In 1763, it was reported that Lord Scarsdale had given his gardener a seed from rare and scarce Italian shrub, the "Rodo Dendrone".
The gardens and grounds today, over two hundred years later, remain mostly unaltered. Parts of the estate are designated as a Site of Special Scientific Interest, primarily because of the "rich and diverse deadwood invertebrate fauna" inhabiting its ancient trees.
L'Affrontata è una reliquia di sacra rappresentazione. Consiste in una processione condotta con le statue della Madonna, del Cristo e di San Giovanni. Al termine della procesione c'è l'incontro delle statue del Cristo e della Madonna. Alla statua della Madonna si fa cadere il velo nero con cui era ricoperta ed i paesani si scambiano gli auguri di Pasqua.
Wikipedia: Roccella Ionica
Jun Qu displays a flask of the Ionic Liquid Anti-wear Additives for Fuel-efficient Engine Lubricants, one of ORNL's eight 2104 R&D 100 Award winners.
Old buildings on Stephenson Street - opposite New Street Station. Old hotels and a bank.
Waterstone's on Stephenson Street - formerly a Midland Bank.
It was built in 1868 - 69 and was originally the head offices of the Midland Bank.
It was designed in the classical style by Edward Holmes and an extension was added in 1875. It is a Grade II listed building.
1867-9, by Edward Holmes; extended towards Stephenson Place and Stephenson Street 1875. Stone. Two storeys; 3 bays. Ground floor with banded rustication, a central arched entrance within a porch with coupled granite Ionic column to the entablature which carries a balcony and 2 arched windows. First floor with coupled giant Corinthian order and with 3 window in frames with pilasters and entablature. Entablature with dentilled and bracketted cornice. Balustraded parapet. Excellent detailing throughout. Long return on Stephenson Place in a similar style, but the first floor order is not coupled. Good iron railings. Inside, a banking hall of 3 x 7 arched bays separated by giant composite Corinthianesque pilasters supporting a heavily coffered roof with central coved glazed part.
Midland Bank - Waterstone's - Heritage Gateway
It used to be the Midland Bank International Division.
Old Bank door. Don't think it is used any more.
[There are 27 detailed images in this set] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
This is the Penn-Wyatt House (sometimes called the Hoffman House) on Millionaire’s Row in Danville, Virginia, originally built by James Gabriel Penn in 1876; it underwent various modifications, 1887-1903. Penn was a tobacco commission merchant. He died in 1907, but his widow ultimately couldn’t afford to maintain the house. in 1934 it was sold at public auction to Landon R. Wyatt and then sold again in 1977 to Dr. Allan A Hoffman. In 2012 it was owned by “the bank” and was for sale—the purchase price I was told was $250,000. Much work on the exterior and interior had been done, presumably more than the 2012 selling price. I don’t know its current status. It’s an eclectic Victorian structure with the monumentality of the Second Empire and the detailing of the Italianate style. It is brick, covered with scored stucco; it has a mansard roof tower and multi-gable roofs. There are at least 25 rooms with many stained glass windows, displaying a wide range of styles used for domestic architecture (as opposed to ecclesiastical and commercial). The following images show some of the domestic stained-glass in this home—thee domestic use of stained-glass is always dealt with separately from the structure in these photos.
www.flickr.com/photos/universalpops/8113669953
www.flickr.com/photos/universalpops/8113670257
www.flickr.com/photos/universalpops/8113669675
www.flickr.com/photos/universalpops/8113678152
www.flickr.com/photos/universalpops/8113669487
Three main divisions articulate the front façade, all separated by a system of quoining. Aesthetically it offers up a raised contrasts with the smooth stucco surfaces. To the left is a 2-story bay window with a parapeted roof with wrought-iron cresting and a tripartite rounded-arch window in the heavily bracketed attic gable. 1/1 hung sash windows are used throughout this bay projection. Also characteristic of windows throughout the home (except for the back portion) are the rounded-arch hood molds. The entrance tower is centrally positioned and separated from the sections to both right and left by prominent use of quoins. The entry is a double door with leaded glass in a geometric abstract design, a leaded glass transom and long single pane sidelights, each with an understated recessed panel at the base. The second level of the tower displays a pair of leaded stained-glass windows with a single round arch hood mold. The third story has a set of 1/1 hung sash windows with the ever-present hood molds. Above that is a single small circular window with hood mold. The tower roof is bell-cast mansard and is capped with cresting. The third division of the front façade is accentuated by the quoining. The door from the porch to the interior in this section is a large Colonial Revival entry with a large fanlight with sunburst design and a rounded-arch hood mold over all. The sidelights are less elaborate than the primary entrance but are unusually wide leaded glass. The second-story in this façade-division has a pair of 1/1 hung sash windows with a single round-arch hood mold. The 3rd level, with the major exception of no bay roof is similar to the gable are on the left. The roof of the house is slate and consists of shingles of different colors and shapes. The wraparound porch is supported by wooden Ionic columns on a stone plinth railing, the stone balusters being carved. The pedimented entrance has low-relief carving in the tympanum. The pediment itself is bracketed but not with the dominant design used throughout much of the building; a row of dentils below the pedimented roof brackets is a nice ornamental detail. The porch itself has a couple of tile patterns—one just at the front entry and the other at a porch entrance to the right side. In front of this porch section is a two-tiered circular detached porch with red shingles on the conical roof and with a wrought-iron finial. The house is impressive; the angularity of gables is counterbalanced by the circular detached porch and the rounded roof line of the porch roof; the upper level is fascinating with the dark-striped brackets and the large quantity of cresting on the roof. And all parts seem to cohesively form an aesthetic whole. Now that I’ve worked up a description, there are architectural elements I unfortunately overlooked when I photographed the structure in September 2011. The Penn-Wyatt House is within the boundary of the Danville Historic District, but it was listed individually on the Nation Register of Historic Places September 7, 1979 ID number 79003317
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Ionic Column, North Porch of the Erechtheion, Acropolis, Athens, marble, 421-407 B.C.E. (British Museum, London)
Ionic Capital and Column base
circa 1910
From the Pennsylvania Railroad Station, formerly at 31st and 33rd Streets between 7th and 8th Avenues, Manhattan, designed by Charles Follen McKim
Limestone
6.250.2, Gift of Lipsett Demoliton Co. and Youngstown Garbage
This truncated shaft was one of the enormous columns that stood at the north and south ends of the Waiting Room in the original Penn Station, a vast railroad terminal complex whose style was inspired by ancient Roman baths. Completed in 1910, the station was demolished in 193. A female figure that once flanked a clock above one of the entrances is installed nearby on the upper terrace of this sculpture garden.
*
Dedicated in 1966, the Steinberg Family Sculpture Garden hosts a preeminent collection of terracotta, stone, and metal architectural elements salvaged from now-demolished structures throughout the metropolitan area and reinstalled outside the Brooklyn Museum's Norman M. Feinberg Entrance. Most of these remarkable objects date to the period between 1880 and 1910, recording a great era in the cultural, architectural, and industrial history of New York City.
The Brooklyn Museum, sitting at the border of Prospect Heights and Crown Heights near Prospect Park, is the second largest art museum in New York City. Opened in 1897 under the leadership of Brooklyn Institute of Arts and Sciences president John B. Woodward, the 560,000-square foot, Beaux-Arts building houses a permanent collection including more than one-and-a-half million objects, from ancient Egyptian masterpieces to contemporary art.
The Brooklyn Museum was designated a landmark by the New York Landmarks Preservation Commission in 1966.
National Historic Register #77000944
Hera I ("The Basilica"), c.560-530 B.C.E., 24.35 x 54 m, Greek, Doric temple from the archaic period likely dedicated to Hera, employs a 9:18 column ratio, Paestum (Latin) previously Poseidonia (Greek)
"Hera II," c. 460 B.C.E., 24.26 x 59.98 m, Greek, Doric temple from the classical period likely dedicated to Hera (not Poseidon), employs an 6:14 column ratio, Paestum (Latin) previously Poseidonia (Greek)
Triumphal archway, moved to present location 1991-2. Composed of fragments salvaged from Robert & James Adam's Glasgow Assembly Rooms of 1792-6 which was demolished circa 1890. Fragments were first re-assembled under direction of John Carrick, city architect, 1894, and placed in Jail Square. It was then moved in 1922 to Glasgow Green, where it served as a terminus to the view down Charlotte Street. Having begun to tilt over, it required dismantling, and the opportunity was taken to move it to the present site, opposite William Stark's Courthouse. One face has Ionic columns, the other, pilasters.
Known as the McLennan Arch after Baillie James McLennan who presented it to the city, and is inscribed to that effect.
"Wimbourne Court" is an Arts and Crafts style complex of flats in the Melbourne suburb of Elwood. The name possibly derives from the fact that there is a central courtyard behind the flats' stuccoed walls.
Built in Arts and Crafts style, the flats have stuccoed brick walls which was a typical element of the movement. The flats feature large sash windows that must flood their rooms with light. There is a central stairwell with balconies flanked by ionic columns. Perhaps most interestingly, the central portico is decorated with ornamental chains, as though suspended by them. I have only seen this used on one other set of flats in the Melbourne suburb of Kew. Perhaps the architects were the same.
Originally two storey, the "Wimbourne Court" flats have had a modern third storey discreetly added to the building as part of a major restoration of the original building. Although modern, it is simple in design too, and because it is set back from the facade, it does not interfere with the original, uncluttered original facade.
After the Great War (1914 - 1918), higher costs of living and the "servant problem" made living in the grand mansions and villas built in the Victorian and Edwardian eras a far less practical and attractive option for both those looking for new housing, and those who lived in big houses. It was around this time, in answer to these problems, that flats and apartments began to replace some larger houses, and became fashionable to live in.
Flats like those found in the "Wimbourne Court" complex would have suited those of comfortable means who could afford to live in Elwood, and dispense with the difficulties of keeping a large retinue of staff. With its simple style, it mirrored the prevailing uncluttered lines of architecture that came out of England after the war.
Axkid rekid (near) - Britax Two Way Elite (middle) & the M&P(Cybex type, not sure of name) infant carrier & iso base belted in.
Ionic portico of St Paul's Anglican Pro-Cathedral, Valletta. Architects: William Scamp adapting a design by Richard Lankasheer, consecrated 1844. Misrah L-Indipendenza, Il-Belt Valletta, Malta.
"Ionic Hall, 805 Brighton Place, between 4th & 5th, Ocean City, N.J. One block from beach. All outside rooms. Apartment. Comfortable. Phone 2374-J. Your hosts, Mr. H. Gaverich, Mrs. Irean Gaverich, R.N."
Twelfth Century Ionic columns of the portico of the church of San Giorgio in Velabro, Rome (Italy)
Rome never ceases to surprise, not only in the astonishing and often hidden diversity of its historic monuments and ancient remains, but in its connections and history. If we are to believe the history of the founding of this church, somewhere behind this portico is the cranium of the Greek warrior saint, St.George (San Giorgio) - that is, the St.George who slayed the dragon and was adopted as England's patron saint during the Crusades, and he of England's national flag of a red cross on a white ground, and he who is invoked by Henry V in his famous speech in Shakespeare's play of the same name (Act III Scene 1) which includes the line, 'Cry God for Harry, England and Saint George'. (St.George is also patron saint of many other places too.)
'In Velabro' refers to the swampy ground where this church was first constructed in the 7th Century, when it was dedicated to St. Sebastian. It was re-dedicated in the 8th Century to the Greek saint, St.George. This part of Rome was a Greek quarter at the time. The church has been reconstructed and added to many times, including extensive repairs following a street bomb in 1993.
----- en.wikipedia.org/wiki/San_Giorgio_in_Velabro
----- www.revealedrome.com/2010/11/st-george-in-velabro-medieva...
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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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Darkroom Daze
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Headphones- Golden Fur Headphones- MiWardrobe @ Limited Bazaar
Hair- Forever and Ever- Clawtooth
Skin- Hiccup Tan Skin, Vamp- old Tres Blah skin
Eyes- Jejune Meadow Eyes- Tres Blah
Makeup- Cosmetics (Juicy)- Fashionably Dead
Necklace- Unicorn Horn Set- PIDIDDLE
Top- Leather Asymmetrical Jacket- Ison from previous Collabor88
Either end of Devonshire House, Mayfair Place, off Piccadilly, with the coat of arms of the Cavendish family (Dukes of Devonshire). This is an office building built on the site of the demolished original.
Greenwich Village, Manhattan, New York City, New York, United States
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 speculatively built on lots owned by Alonzo Alwyn Alvord, a downtown hat merchant, as the area around Washington Square 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 and the joining and lowering of the first-story windows as a commercial storefront . 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 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 on Washington Square South , 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 constructed its first structure, the Gothic Revival style University Building , 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 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 that were speculatively built on lots located between Amity 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 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 , a wealthy downtown flour commission merchant in the firm of E. & J. Herrick, and his wife, Jane Maria Taylor Herrick . 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. . The house was rented in 1850-54 to Sarah A. McMaster , 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 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, 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. . The front 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 , 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 , 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 and were aligned and the same width from story to story. The wood-framed sash were double hung and multi-light . 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 , stoop and wrought-ironwork, entrance with Ionic columns, entablature and transom, molded lintels, molded cornice, peaked roof, and early 20th-century dormer. The specific Federal style lintel type 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 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 .
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. . 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 , 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 , 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 and Fernand Leon . 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 . Harold G. Calhoun was a professor of political science at the University of California in Los Angeles and served as assistant to the U.S. Attorney General . His wife was a motion picture magazine editor and an assistant to Labor Secretary Frances Perkins , 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 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” 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” . A 1951 Times advertisement touted No. 129's “STUDIO APT. Beautiful full dormer window . 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 was Hanlan Assocs., furniture, home accessories, and gifts. The first-story windows were joined and lowered as a commercial storefront . 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 ; Ecce Homo, Inc. ; Loft Revitalization Corp. ; Herbert A. Wells III ; and 129 MacDougal Street Assocs., Inc. . Later commercial tenants have been Pinata Party/ Fiesta Pinata , 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 , 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 . The basement level has two windows . 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 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 . 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 ; the dormer is sided with wood shingles . A chimney rises above the party wall with No. 127.
- From the 2004 NYCLPC Landmark Designation Report
The Christopher Columbus Mural, located at 110-138 Christopher Columbus Drive, just west of the Grove Street PATH Station, is the second largest mural in the United States. Created by Pro Arts, a private, nonprofit organization, it spans ten buildings and 350-feet, soars to a height of 60-feet at its tallest point, and covers 15,000 square-feet with 250-gallons of oil base Bulletin Colors paint donated by T.J. Ronan Paint Corporation.
The images in the mural were chosen by the people of Jersey City from 5 design proposals by 5 artists--Greg Baugart, Caroline Burton, Franc Palaia, Rupert Ravens, and Barbara Stork. Ravens then composed the final design from the most popular images. The work was done by 12 professional artists--Baumgart, Robert Casey, Spelman Downer, Daniel Gluibizzi, Kevin Mulkern, Stan Mullins, Franc Palaia, Rupert Ravens, J.R. Ravens, John Robbolini, Jr. and Viki Stewart--and 8 student interns.
From west to east, the mural depicts: The New Jersey view of the Statue of Liberty, which stands larger than life at 35-feet tall; the Pulaski Skyway; Ellis Island; The Barrow Mansion, also called the Ionic House; Violets, New Jersey's state flower; a 53-foot tall Dixon Ticonderoga pencil, which was manufactured at the original Dixon Mills 2 blocks away; a classic New Jersey Central F3 diesel train in tangerine and blue colors, which served Jersey City in the 1940s and 50s; a 27-foot high American flag; the restored ferry slip at the CRRNJ terminal in Liberty State Park; a ferry named Jersey City, which was owned by the Pennsylavania Railroad and operated between Exchange Place and Lower Manhattan from 1865 unitl 1917; the Colgate Clock, the world's largest single faced clock; and a 24-foot rendering of the 35-foot torch of the Statue of Liberty.
Hair- YNO421 plus base- *booN
Mask- Sleeping Fox Sleeping Mask- Tee*fy from previous The Arcade Gatcha
Skin- Maya2 Honey (RARE)- [the Skinnery] from Previous The Arcade Gatcha
Eyebrows- Maya 15 Brows (RARE)- [the Skinnery] from previous The Arcade Gatcha
Eyes- Lunar eyes Red Brown- [UMEBOSHI]
Freckles- Full Body Freckles- [the Skinnery]
Necklace- Mariel simple necklace White Tintable (RARE)- LaGyo from previous The Arcade Gatcha
Shirt- Loose Tee Earthy- {SMS} aka So Many Styles
Skirt- Liane Leather Pencil Skirt Khaki- .: ryvolter :.
Boots- Engineer Boots Dark Brown- {Sleepy Eddy} from previous The Arcade Gatcha
Fox- ~silentsparrow~ Foxy (Ember) Fire Elemen-tails!
Suitcases- ~silentsparrow~ Foxy (Ember) Fire Elemen-tails!