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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
This is the Parish Church of St Mary the Virgin on Horse Fair in Banbury.
In the churchyard on a sunny Bank Holiday Monday.
Grade I listed building.
BANBURY HORSE FAIR
(East side)
SP4540NW Church of St. Mary
6/73
09/04/52
GV I
Church. c.1790. By S.P. Cockerell. Tower and portico 1818-1822 by C.R.
Cockerell. Internal alterations c.1858-59 for the Revd. William Wilson and
c.l863-81 for the Revd. Henry Back. Second stage of alterations carried out by
the architect Arthur Blomfield. Ironstone ashlar. Copper and lead roofs. Nave,
chancel and west tower. Classical style. West portico of tower: semi-circular
Doric portico with columns and half-dome surmounted by a tower of 3 stages and
cupola. Portico has wide triglyph frieze. Ground floor of rusticated stone. 3
entrances; main entrance and 2 side entrances. All doorways have 8-panelled
doors and cornices on consoles. 2 side windows with semi-circular heads. Central
oculus. Nave: rusticated ground floor, ashlar above. 5 square headed windows to
ground floor. First floor has 5 semi-circular headed windows with rusticated,
keystoned surrounds. Moulded cornice. Chancel: pedimented central bay flanked by
vestries which have oculi and panelled doors. Northern oculus blocked. Interior:
original plan included 90' square nave with 12 Ionic columns supporting a
shallow domed roof; galleries surrounded nave on 4 sides: small rectangular
chancel; eastern gallery carried organ. Present arrangement is the result of
alterations and remodelling by Blomfield. Chancel: apse formed within existing
walls of chancel and surmounted by a half-dome, linked to the arch supporting
the nave dome by a barrel vault. Nave as originally planned but with gallery on
3 sides only; the eastern gallery pulled down and the organ placed on the north
side of the chancel. Side chapels to north and south; Lady chapel to north.
Resurrection chapel to south in memory of those killed in 1939-1945 war.
Vestries either side of chancel. Staircase with wreathed handrail, balcony and
meeting room above. Side entrances in west end also contain staircases to upper
floor. Chancel fittings by Blomfield include: low stone walls of chancel with
patterns of inlaid marble surrounding choir; choir stalls; altar rails; chancel
pavement (Godwin of Lugwardine); organ case (carved in 1874 by Rattee and Kett);
pulpit (carved in 1885 by Rattee and Kett); square white font inlaid with marble
(by Alfred Claridge); wrought-iron gates to the choir (1902 by Starkie Gardner).
Nave fittings: oak pews as per original plan, probably cut down or renewed late
C19. Stained glass by Heaton, Butler and Bayne 1864-1881 to Blomfields design.
Rich colour scheme designed by Blomfield and executed by Heaton, Butler and
Bayne including imitation mosaic (Pevsner) in the chancel, depicting Christ in
majesty, 1876. Redecoration in 1960 caused Blomfields unified colour scheme to
be lost. Memorials: in marble to Ann Dolly, daughter of Paynton Piggott, d.1824
aged 21, situated in east wall of nave to left of chancel arch; marble memorial
to Francis Piggott, d.1790 situated on east wall of nave to right of chancel
arch; wall memorials in porch to right of main entrance; stone wall tablet to
Iohn Knight and Ioane his wife (he died 22/11/1587, she died 26/12/1590); marble
wall tablet to Margareta Knight; marble wall tablet to William Knight
(d.20/9/1631).
(Photographs in N.M.R.; V.C.H.: Oxfordshire, Vol.X, pp.102-4; Buildings of
England: Oxfordshire, 1974, pp.435-9; Cooper, N. The Building and Furnishing of
St. Mary's Church, Banbury, 1972, off-printed from Cake and Cock Horse; Proof of
evidence submitted by Peter Howell, in the Consistory Court 26/9/84).
Listing NGR: SP4540840553
Ionic Ferry ships mast in the main basin.
Images kindly provided by Martyn Chesworth courtesy of Heather Crook.
Bonnie Jeanne Dunbar (born March 3, 1949) is a former NASA astronaut. She retired from NASA in September 2005 then served as president and CEO of The Museum of Flight until April 2010. From January 2013 - December 2015, Dr. Dunbar lead the University of Houston's STEM Center (science, technology, engineering and math) and was a faculty member in the Cullen College of Engineering.[1] Currently, she is a professor of aerospace engineering at Texas A&M University and serves as Director of the Institute for Engineering Education and Innovation (IEEI), a joint entity in the Texas A&M Engineering Experiment Station (TEES) and the Dwight Look College of Engineering at Texas A&M University.
Contents
1 Early life
2 NASA career
3 Spaceflight experience
4 Education
5 Organizations
6 Awards and honors
7 References
Early life
Dunbar was born in Sunnyside, Washington. In 1967, she graduated from Sunnyside High School, Sunnyside, Washington. Following graduation in 1971 from the University of Washington, Dunbar worked for Boeing Computer Services for two years as a systems analyst. From 1973 to 1975, she conducted research for her master's thesis in the field of mechanisms and kinetics of ionic diffusion in sodium beta-alumina. She is a member of Kappa Delta sorority.
In 1975, she was invited to participate in research at the Atomic Energy Research Establishment, Harwell near Oxford, England, as a visiting scientist. Her work there involved the wetting behavior of liquids on solid substrates. Following her work in England, she accepted a senior research engineer position with Rockwell International Space Division in Downey, California. Her responsibilities there included developing equipment and processes for the manufacture of the Space Shuttle thermal protection system in Palmdale, California. She also represented Rockwell International as a member of the Dr. Kraft Ehricke evaluation committee on prospective space industrialization concepts. Dunbar completed her doctorate at the University of Houston in Houston, Texas. Her multi-disciplinary dissertation (materials science and physiology) involved evaluating the effects of simulated space flight on bone strength and fracture toughness. These results were correlated to alterations in hormonal and metabolic activity. Dr. Dunbar has served as an adjunct assistant professor in Mechanical Engineering at the University of Houston.
Dunbar is a private pilot with over 200 hours in single engine land aircraft, has logged more than 700 hours flying time in T-38 jets as a back-seater, and has over 100 hours as co-pilot in a Cessna Citation jet. She was married to fellow astronaut Ronald M. Sega.[2]
NASA career
Dunbar accepted a position as a payload officer/flight controller at the Lyndon B. Johnson Space Center in 1978. She served as a guidance and navigation officer/flight controller for the Skylab reentry mission in 1979 and was subsequently designated project officer/payload officer for the integration of several Space Shuttle payloads.[3][4]
Dunbar became a NASA astronaut in August 1981. Her technical assignments have included assisting in the verification of Shuttle flight software at the Shuttle Avionics Integration Laboratory (SAIL), serving as a member of the Flight Crew Equipment Control Board, participation as a member of the Astronaut Office Science Support Group, supporting operational development of the remote manipulator system (RMS). She has served as chief of the Mission Development Branch, as the Astronaut Office interface for "secondary" payloads, and as lead for the Science Support Group. In 1993, Dr. Dunbar served as Deputy Associate Administrator, Office of Life and Microgravity Sciences, NASA Headquarters, Washington, D.C. In February 1994, she traveled to Star City, Russia, where she spent 13-months training as a back-up crew member for a 3-month flight on the Russian Space Station, Mir. In March 1995, she was certified by the Russian Gagarin Cosmonaut Training Center as qualified to fly on long duration Mir Space Station flights. From October 1995 to November 1996, she was detailed to the NASA JSC Mission Operations Directorate as Assistant Director where she was responsible for chairing the International Space Station Training Readiness Reviews, and facilitating Russian/American operations and training strategies.
A veteran of five space flights, Dunbar has logged more than 1,208 hours (50 days) in space. She served as a mission specialist on STS-61-A in 1985, STS-32 in 1990, and STS-71 in 1995, and was the Payload Commander on STS-50 in 1992, and STS-89 in 1998.
Spaceflight experience
STS-61-A Challenger (October 30-November 6, 1985), was the West German D-1 Spacelab mission. It was the first to carry eight crew members, the largest to fly in space, and was also the first in which payload activities were controlled from outside the United States. More than 75 scientific experiments were completed in the areas of physiological sciences, materials science, biology, and navigation. During the flight, Dunbar was responsible for operating Spacelab and its subsystems and performing a variety of experiments. Her mission training included six months of experiment training in Germany, France, Switzerland, and The Netherlands. STS-61-A launched from the Kennedy Space Center, Florida, and returned to land at Edwards Air Force Base, California. Mission duration was 7 days, 44 minutes 51 seconds, traveling 2.5 million miles in 111 orbits of the Earth.
STS-32 Columbia (January 9–20, 1990), launched from the Kennedy Space Center, Florida, and returned to a night landing at Edwards Air Base in California. During the flight, the crew successfully deployed the Syncom IV-F5 satellite, and retrieved the 21,400-pound Long Duration Exposure Facility (LDEF) using the RMS. They also operated a variety of middeck experiments including the Microgravity Disturbance Experiment (MDE) using the Fluids Experiment Apparatus (FEA), Protein Crystal Growth (PCG), American Flight Echocardiograph (AFE), Latitude/Longitude Locator (L3), Mesoscale Lightning Experiment (MLE), Characterization of Neurospora Circadian Rhythms (CNCR), and the IMAX Camera. Dunbar was principal investigator for the MDE/FEA Experiment. Additionally, numerous medical test objectives, including in-flight lower body negative pressure (LBNP), in-flight aerobic exercise and muscle performance were conducted to evaluate human adaptation to extended duration missions. Mission duration was 10 days, 21 hours, 01 minute, 38 seconds, traveling 4.5 million miles in 173 orbits of the Earth.
STS-50 Columbia (June 25 to July 9, 1992). Dunbar was the Payload Commander on STS-50, the United States Microgravity Lab-1 mission which was dedicated to microgravity fluid physics and materials science. Over 30 experiments sponsored by over 100 investigators were housed in the Spacelab in the Shuttle's Payload Bay. A payload crew of four operated around-the-clock for 13 days performing experiments in scientific disciplines such as protein crystal growth, electronic and infrared detector crystal growth, surface tension physics, zeolite crystal growth, and human physiology. Mission duration was 13 days, 19 hours, 30 minutes and 4 seconds, traveling 5.7 million miles in 221 orbits of the Earth.
STS-71 Atlantis (June 27 to July 7, 1995), was the first Space Shuttle mission to dock with the Russian Space Station Mir, and involved an exchange of crews. The Atlantis was modified to carry a docking system compatible with the Russian Mir Space Station. Dunbar served as MS-3 on this flight which also carried a Spacelab module in the payload bay in which the crew performed medical evaluations on the returning Mir crew. These evaluations included ascertaining the effects of weightlessness on the cardio/vascular system, the bone/muscle system, the immune system, and the cardio/pulmonary system. Mission duration was 9 days, 19 hours, 23 minutes and 8 seconds, traveling 4.1 million miles in 153 orbits of the earth.
STS-89 Endeavour (January 22–31, 1998), was the eighth Shuttle-Mir docking mission during which the crew transferred more than 9,000 pounds of scientific equipment, logistical hardware and water from Space Shuttle Endeavour to Mir. In the fifth and last exchange of a U.S. astronaut, STS-89 delivered Andy Thomas to Mir and returned with David Wolf. Mission duration was 8 days, 19 hours and 47 seconds, traveling 3.6 million miles in 138 orbits of the Earth. Dunbar was the Payload Commander, responsible for all payload activities including the conduct of 23 technology and science experiments.
Education
1971: B.S. Ceramic Engineering, University of Washington
1975: M.S. Ceramic Engineering, University of Washington
1983: Ph.D. Mechanical/Biomedical Engineering, University of Houston
Organizations
American Society of Mechanical Engineers (ASME)
The American Ceramic Society (ACerS)
National Institute of Ceramic Engineers (NICE)
Keramos Honorary
Society of Biomedical Engineering
American Association for the Advancement of Science
Tau Beta Pi
Materials Research Society (MRS)
Board of Directors, Arnold Air Society and Angel Flight
Board of Trustees Silver Wings (service organization) (SW)
International Academy of Astronautics (IAF)
Experimental Aircraft Association (EAA)
Society of Women Engineers (SWE)
Association of Space Explorers (ASE)
Awards and honors
Honorary Doctorate from Heritage University in 2016
Kappa Delta sorority
Honorary Doctorate from Heriot-Watt University in 2000 [5]
The American Ceramic Society (ACerS) James I. Mueller Award, Cocoa Beach, Florida (2000)
Inducted into the Women in Technology International Hall of Fame (2000), one of five women in the world so honored annually
Selected as one of the top 20 women in technology in Houston, Texas (2000)
NASA Space Flight Medals (1985, 1990, 1992, 1995 and 1998)
NASA Superior Accomplishment Award (1997)
Member, National Science Foundation (NSF) Engineering Advisory Board, 1993–present
NASA Exceptional Achievement Medal (1996)
NASA Outstanding Leadership Award (1993)
Fellow of American Ceramic Society (1993)
Design News Engineering Achievement Award (1993)
IEEE Judith A. Resnik Award (1993)[6]
Society of Women Engineers Resnik Challenger Medal (1993)
Museum of Flight Pathfinder Award (1992)
AAES National Engineering Award (1992)
NASA Exceptional Service Award (1991)
University of Houston Distinguished Engineering Alumna (1991)
M.R.S. President's Award (1990)
The American Ceramic Society (ACerS) Schwaltzwalder P.A.C.E. Award (1990)
University of Washington Engineering Alumni Achievement (1989)
NASA Exceptional Service Medal (1988)
The American Ceramic Society (ACerS) Life Membership (1986)
General Jimmy Doolittle Fellow of the Aerospace Education Foundation (1986)
Evergreen Safety Council Public Service in Space Award (1986)
The American Ceramic Society (ACerS) Greaves-Walker Award (1985)
Rockwell International Engineer of the Year (1978)
Graduated Cum Laude from the University of Washington in 1975
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.
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
Faunus then led the way, but not to the Parthenon, which he wanted to keep as the highlight of the visit, but instead to the Erechtheion.
The Erechtheion is a temple on the north side of the Acropolis which is dedicated to both Athena and Poseidon. The temple was built between 421 and 406 BC. Its architect was Mnesicles, and it derived its name from a shrine dedicated to the legendary Greek hero Erichthonius. The sculptor and mason of the structure was Phidias, who was employed by Pericles to build both the Erechtheum and the Parthenon. The need to preserve multiple adjacent sacred precincts explains the complex design. The main structure consists of four compartments, the largest being the east 'cella', with an Ionic portico on its east end. The entire temple is on a slope, so the west and north sides are about 3 m (9 ft) lower than the south and east sides. It is built entirely of marble from Mount Pentelikon, with friezes of black limestone from Eleusis which bear sculptures executed in relief in white marble.
for the full story go to:
storyofgracchus2017.blogspot.com/2018/04/chapter-ciii-deo...
Knowing that the shot from last week on Hill Street was the back of the former Futurist Cinema. I decided to get some shots of this former cinema from the front on John Bright Street.
It was Wildcats most recently (possibly a nightclub of lap dancing club). Not nice to think it went from a cinema to a place with dancing women.
It also currently houses Rouge Gentlemen's Club.
I've seen a poster in Nosalgia and Comics (a comic book shop on Smallbrook Queensway) for the film Cobra and it says Futurist on it (that was back in 1986).
Previously this building was occupied by Spearmint Rhino Extreme.
I think the Leasehold is available, but still for use as a club. Why not turn it back into a cinema?
The Futurist Cinema is by Arthur Stockwell of Newcastle upon Tyne, started 1914, slightly simplified during construction by Essex & Goodman, and completed 1920. A classical, rather civic, design in pink-red brick and cream terracotta, a contrast with Birmingham work in the same materials. Open Ionic arcade above the entrance. Impressive blank rear elevation on Hill Street.
From Pevsner Architectural Guides: Birmingham by Andy Foster
The below is from Images of England: Birmingham Cinemas -
The cinema was built by one of Birmingham's own impresarios Sol Levy. Construction started before the First World War and the cinema opened in 1919, like other city-centre cinemas it had a cafe bar, which served as a meeting place for people not neccessarily going to see a film. The building is now used as a nightclub.
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
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.
Knowing that the shot from last week on Hill Street was the back of the former Futurist Cinema. I decided to get some shots of this former cinema from the front on John Bright Street.
It was Wildcats most recently (possibly a nightclub of lap dancing club). Not nice to think it went from a cinema to a place with dancing women.
It also currently houses Rouge Gentlemen's Club.
I've seen a poster in Nosalgia and Comics (a comic book shop on Smallbrook Queensway) for the film Cobra and it says Futurist on it (that was back in 1986).
Previously this building was occupied by Spearmint Rhino Extreme.
This is the entrance to Rouge Gentlemen's Club on John Bright Street.
The Futurist Cinema is by Arthur Stockwell of Newcastle upon Tyne, started 1914, slightly simplified during construction by Essex & Goodman, and completed 1920. A classical, rather civic, design in pink-red brick and cream terracotta, a contrast with Birmingham work in the same materials. Open Ionic arcade above the entrance. Impressive blank rear elevation on Hill Street.
From Pevsner Architectural Guides: Birmingham by Andy Foster
The below is from Images of England: Birmingham Cinemas -
The cinema was built by one of Birmingham's own impresarios Sol Levy. Construction started before the First World War and the cinema opened in 1919, like other city-centre cinemas it had a cafe bar, which served as a meeting place for people not neccessarily going to see a film. The building is now used as a nightclub.
Ionic Column, North Porch of the Erechtheion, Acropolis, Athens, marble, 421-407 B.C.E. (British Museum, London)
[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.
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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
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
Haus Tietz, former Japanese Embassy Object ID: 40845
Schottenring 10
Inner City. This in 1870/71 by Carl Tietz in strict historical forms of the New Viennese Renaissance built palace-like house with ionic pillar balcony portal presents in all floors significant ceiling furnishings (stucco work by Johann Hutterites, Josef Pokorny and Franz Schoenthaler, oil paintings by August Eisenmenger and Karl Geiger.)
de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...
Prehistory
From 13th Century on a wall surrounded the city. After the first Turkish siege of 1529 and the Thirty Years' War (1618-1648), this fortification was further expanded and strengthened. In addition, outside the fortifications a glacis, a strip of meadow, was created that can not be obstructed and the defense impeding growth is not allowed. The strip with construction ban was originally 95 meters wide and has been extended till 1683 to 450 meters width. The with projecting gun terraces - so-called bastions - equipped city walls proved during the second Turkish siege in 1683 very much, but then lost in importance and were from the late 18th Century outdated military technology.
Therefore, Emperor Joseph II from 1770 let add pedestrian walkways and driveways on the glacis, lanterns set up in 1776 and since 1781 about 3,000 alley trees plant. The glacis was now an open-air workshop for artisans, stalls were set up. 1809, the castle bastion was blown up by Napoleon's troops, in 1820 the outer castle gate in this area erected, which served the representation.
After the revolution of 1848, the city walls and outlying forts were also standing the urban development of the rapidly growing metropolis in the way: Because 1850, the suburbs were incorporated as districts II to VIII (from 1861 II -IX), so that the fortifications constituted a noticeable obstacle to traffic. The park-like Glacis, with its refreshment pavilions, however, was widely appreciated as a recreational area.
Demolition of the city wall and laying ot the ring road
On 20 December 1857 took Emperor Franz Joseph I. the decision to "abandon the ramparts and fortifications of the inner city, like the ditches around the same" and he ordered the construction of a boulevard at this point. In his "Most High Handwritten Letter" to Interior Minister Alexander von Bach, which begins with the oft-quoted words, "It is my will" and on 25 December was published in full on page 1 of the official "Wiener Zeitung", the Emperor decreed the exact size and use of the area newly acquired and announced a design competition. In March 1858 began at the Rotenturmtor by the Danube Canal the demolition work that was completed only in 1874. By the summer of 1858 85 projects for the basic plan of the ring road had been received.
The new road was planned as a representation Boulevard; therefore for the load carts has been provided a parallel "load road". This traffic control exists until today. The originally different names bearing load road is now known as a two line, the from the tram operation borrowed name referred to the herein till 1980 running tram lines E2, G2 and H2 and is since then the between Karlsplatz and Alserstraße under the street passing subway line U2.
After conflicts of competence between the government and the city council in 1858 the city expansion fund was created, who belonged to the Aerar, managed by the Government Treasury. In 1859 it received the order to take over the project, sold the by the demolition of the city walls and the elimination of the defense become vacant land to private investors, which financed with it the representational buildings of the state. Only the New Town Hall, as it was called until 1960, was planned by the city administration. Because the city went empty-handed away with this large-scale real estate operation, it represented with even greater determination the partial preservation of the existing recreation areas. Up to the present, there are comparatively large green areas with City Park, Castle Garden, Public Garden, City Hall Park and Sigmund Freud Park along the ring road.
The expansion of the Stubenring stood for a long time the Franz Josef Barracks in the way, that with the north of the old city situated Rossauer Barracks should control the city center. Construction began in 1854 and was completed in 1857, the same year the emperor chose the conveyance of the fortifications. The Aspern Bridge as a connection from the Stubenring to the Leopoldstadt, the 2nd District, was indeed already opened in 1864, but not until 1900/1901, the barracks were demolished. On its former area standing the until 1913 built quarter around the former Imperial Post Office Savings Bank (built from 1904 to 1906, later extended), 1909/1910, the Urania was put as completion of ring road next to the Aspernbrücke, only in 1913 vis-à-vis the Post Office Savings Bank the new imperial War Office opened and the Stubenring with this completed.
The ring road was on 1 May 1865 by Emperor Franz Joseph I inaugurated in the presence of Empress Elisabeth, many Archdukes, ministers and representatives of the City of Vienna, Mayor Andreas Zelinka at the top. The ceremony took place in front of the castle gate outside the castle ring, in the subsequent voyage of the guests of honor for the royal table in the Prater, more than 100 carriages have been involved. At the time of the opening of the road (today's name) Stubenring, Burgring, Dr.-Karl -Renner-Ring, Universitätsring (former Dr.Karl-Lueger-Ring) and Scots ring (Schottenring) were still largely undeveloped. From the wool line (Wollzeile) to Babenbergerstraße, however, builders of aristocracy and bourgeoisie had already many "stately" homes built.
Buildings
Along the ring road numerous public and private buildings were erected. Aristocrats and other wealthy individuals who hastened to build representative Palais (Ringstraßenpalais).
One of the first buildings was the Heinrichhof (historical spelling without s) of the brick manufacturer Heinrich von Drasche-Wartinberg, who, lately damaged by war, stood till 1954 opposite the Opera House.
Noteworthy are most of all the K.K. Court Opera (now the State Opera ) in the Neo-Renaissance style by August Sicard von Sicardsburg and Eduard van der Null, the Parliament in neo-Attic style (a reference to the altathenische (pertaining to ancient Athens) democracy) and the Palais Epstein of Theophil von Hansen, the then New Town Hall in the Flemish Gothic style by Friedrich von Schmidt , the Burgtheater by Karl von Hasenauer and Gottfried Semper and the new university building by Heinrich von Ferstel . The Votive Church is the only religious building in neo-Gothic style (by Heinrich von Ferstel), which was founded in 1853 on the occasion of the deliverance of the Emperor Franz Joseph of assassination and for decades was under construction.
Cross to the ring road should be built before the historic Hofburg, the imperial residence, the monumental imperial forum to demonstrate the power of the Austro-Hungarian monarchy, the project remained a torso. Was built up to the First World War within the ring road, the Neue Hofburg, in which now the Austrian National Library, the Ethnographic Museum, the collection of ancient musical instruments, the Ephesus Museum and the Collection of Arms and Armory are housed. Other parts of the realized Imperial Forum are outside the ring road, the Kunsthistorisches Museum (Art History Museum) and the Natural History Museum.
According to the original opposite the New Hofburg should have been built a symmetric wing to the older parts of the Hofburg, which ought to connect with the Natural History Museum. Thus, the Heldenplatz and the Maria-Theresien-Platz would have been part of the from the ring road through archways between the museums and the new parts of the Hofburg crossed Imperial Monumental Forum. This plan came to a halt for lack of money, furthermore was at the beginning of the First World War not even the interior of the "New Castle" completed. The changed political situation after 1918 made the project obsolete.
The completion of the representative construction activity on the ring was not until 1913 with the finalisation of the Imperial War Department achieved, as the Ringstrassen style had become a bit unfashionable, as the about at the same time by Otto Wagner in Art Nouveau style built facing Post Office Savings Bank shows.
The biggest disaster of the ring road was the fire at the Ring Theatre in 1881, which claimed hundreds of lives. In lieu of the theater was built the Sühnhaus (expiation house), which in turn was destroyed in the Second World War and was offering space for the new construction of the Vienna Police Headquarters (Schottenring 7-9) to replace the existing as well destroyed police headquarters (Scots ring 11).
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
This building in St Saviourgate, dates from 1840 and is grade 2* listed.
It was known as Centenary Chapel when constructed, since Centenary merged with Wesley Chapel in Priory St the church based in the building has been known as Central Methodist Church.
The listing rather underplays the imposing exterior: "pilasters behind tetrastyle giant Ionic portico"
Tetrastyle - four columns, especially an entrance
"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 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."
The temple was begun by Augustus in 42 BC after the senate deified Julius Caesar posthumously. Augustus dedicated the prostyle temple (it is still unknown whether its order was Ionic, Corinthian or composite) to Caesar, his adoptive father, on 18 August 29 BC, after the Battle of Actium. It stands on the east side of the main square of the Roman Forum, between the Regia, Temple of Castor and Pollux, and the Basilica Aemilia, on the site of Caesar's cremation and where Caesar's testament was read aloud at the funeral by Mark Antony.
Caesar was the first resident of Rome to be deified and so honored with a temple. A fourth flamen maior was dedicated to him after 44 BC, and Mark Antony was the first to serve as Flamen Divi Julii, priest of the cult of Caesar.
Commemorative plaque beside Caesar's altar.
The high platform on which the temple was built served as a rostra (Rostra ad divi Iuli) and, like the rostra at the opposite end of the Forum, was decorated with the beaks of ships taken at the battle of Actium.
The Temple of Caesar was the only temple to be entirely dedicated to the cult of a comet (referred to as a 'comet star') The comet, appearing some time after Caesar's murder (44 BC), was considered to be the soul of the deified Julius Caesar and the symbol of the "new birth" of Augustus as a unique Roman ruler and Emperor. In Greek and Roman culture, comet is an adjective describing the distinctive characteristic of a special star. "Comet star" means "long-haired star", and it was so represented on coins and monuments. Here is an excerpt of an account by Pliny, with parts of a public speech delivered by Augustus about the comet, his father Caesar, and his own destiny:
The only place in the whole world where a comet is the object of worship is a temple at Rome. [...] His late Majesty Augustus had deemed this comet very propitious to himself; as it had appeared not [...] long after the decease of his father Caesar. [...] People believed that this star signified the soul of Caesar received among the spirits of the immortal gods.
The "Divine Star" was represented on coins, and probably worshiped in the temple itself either as a "comet star" or as a "simple star". The simple star had been used as a general symbol of divinity since 44 BC, as can be seen on the 44 BC coin series; after the appearance of the comet, the simple star was transformed into a comet by adding a tail to one of the rays of the simple star, as is shown on the 37–34 BC, 19–18 BC and 17 BC coin series.
According to Appian the place near the Regia and probably part of the main square of the Roman Forum was a second choice, because the first intention of the Roman people was to bury Caesar on the Capitoline Hill among the other Gods of Rome. However, the Roman priests prevented them from doing so (allegedly because the cremation was considered unsafe due to the many wooden structures there) and the corpse of Caesar was carried back to the Forum near the Regia, which had been the personal headquarters of Caesar as Pontifex Maximus. After a violent quarrel about the funeral pyre and the final destiny of Caesar's ashes, the Roman people, the men of Caesar's party, and the men of Caesar's family decided to build the pyre at that location. It seems that in that very place there was a tribunal praetoris sub divo with gradus known as the tribunal Aurelium, a structure built by C. Aurelius Cotta around 80 BC near the so-called Puteal Libonis, a bidental used for sacred oaths before trials. After the funeral of Caesar and the building of the temple, this tribunal was then moved in front of the Temple of Caesar, probably to the location of the so-called Rostra Diocletiani.
Caesar's corpse was carried to the Roman Forum on an ivory couch and set up on the Rostra in a gilded shrine modelled on the Temple of Venus Genetrix, the goddess from whom the family of the Iulii claimed to have originated. Mark Antony delivered his famous speech followed by a public reading of Caesar's will, while a mechanical device, positioned above the bier itself, rotated a wax image of Caesar so that people were able to clearly see the 23 wounds in all parts of the body and on the face. The crowd, moved by the words of Mark Antony, Caesar's will, and the sight of the wax image, attempted but failed to carry the corpse to the Capitol to rest among the gods. In the end the corpse was placed on a funeral pile created near the Regia by making use of any wooden objects available in the Forum, such as wooden benches, and a great cremation fire lasted all the night long. It seems that an ordinary funeral had been prepared for Caesar at the Campus Martius.
An altar and a column were briefly erected at the cremation site for the cult of the murdered pontifex maximus, a sacred man, against whom it was strictly prohibited to use cutting weapons and objects. The column was of Numidian yellow stone and had the inscription Parenti Patriae, i.e., to the founder of the nation. But this first monument was almost immediately taken down and removed by the anti-Caesarian party. In 42 BC Octavian, Lepidus and Mark Antony decreed the building of a temple to Caesar.
Some time after the death of Caesar a comet appeared in the sky of Rome and remained clearly visible every day for seven days, starting one hour before sunset. This comet appeared for the first time during the ritual games in front of the Temple of Venus Genetrix, the supposed ancestor of the Julii family in the Forum of Julius Caesar, and many in Rome thought it was the soul of deified Caesar called to join the other gods. After the appearance of this sign, Augustus delivered a public speech giving an explanation of the appearance of the comet. The speech is partially known since a partial transcription by Pliny the Elder has been handed down. After the public speech Augustus caused a few series of coins devoted to the comet star and to the deified Caesar, "Divus Iulius", to be struck and widely distributed, so it is possible to have an idea of the representation of the comet star of the deified Julius Caesar.
During his public speech about the appearance of the comet, Augustus specified that he himself, the new ruler of the world, was born politically at the very time his father Julius Caesar appeared as a comet in the sky of Rome. His father was announcing the political birth of his adoptive son; he was the one born under the comet and whom the appearance of the comet was announcing. Other messianic prophecies about Augustus are related by Suetonius, including the story of the massacre of the innocents conceived in order to kill the young Octavius soon after his own birth. Augustus wanted to be considered the real subject of any kind of Messianic prophecies and accounts. Later during his reign, he ordered that all other books of prophecies and Messianic accounts be gathered and destroyed. The temple therefore ended up as representing both Julius Caesar as a deified being and Augustus himself as the newborn under the comet. The comet star itself was an object of public worship.
The consecration of the temple lasted many days, during which there were reconstructions of the siege of Troy, gladiatorial games, hunting scenes, and banquets. On this occasion a hippopotamus and a rhinoceros were displayed in Rome for the first time. It seems that the doors of the Temple were left opened so that it was possible to see the statue of the deified pontifex maximus Julius Caesar from the main square of the Roman Forum. If this is true, the new interpretation about the location of the Rostra Diocletiani and Rostra ad Divi Iuli cannot be correct.
Augustus used to dedicate the spoils of war in this temple. The altar and the shrine conferred the right of asylum. Every four years a festival was held in front of the Rostra ad Divi Iuli in honour of Augustus. The Rostra were used to deliver funeral speeches by succeeding emperors. Drusus and Tiberius delivered a double speech in the Forum; Drusus read his speech from the Rostra Augusti and Tiberius read his from the Rostra ad Divi Iuli, one in front of the other. The emperor Hadrian delivered what was perhaps a funeral speech from the Rostra ad Divi Iuli in 125 AD, as can be seen on the coin series struck for the occasion.