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

 

Chinatown, Manhattan, New York City, New York, United States

 

Opened on November 2, 1903, the Chatham Square Branch of The New York Public Library is the third Camegie branch library built in New York City. It is one of twenty in Manhattan and one of sixty-seven in New York City, built when Andrew Carnegie donated $5.2 million in 1901 to establish a city-wide branch library system. The preeminent and nationally influential architectural firm of McKim, Mead & White designed the Chatham Square Branch. This bold library design was the firm's first of twelve Camegie libraries; the 1923 Fordham Branch was their last. The library's classically-inspired style, with its characteristic vertical plan, arched entrance offset to one side, carved stone ornament, including Ionic columns at the upper floors, and tall arched first floor and rectangular second and third floor windows providing abundant lighting to a simple interior, is characteristic of the urban Carnegie library type. The library has played a prominent role in the neighborhood for nearly one hundred years.

 

DESCRIPTION AND ANALYSIS

 

History of Chatham Square'

 

Chatham Square was named after William Pitt, the Earl of Chatham, who tried to prevent the war between England and America when he was in Parliament. In the eighteenth century the area was farmland, although it was just northeast of the City. The Bowery, running north from the square, was a former Indian path leading all the way to Harlem. The Collect Pond, a large fresh water pond that was used as the reservoir for eighteenth-century New York, lay just to the west. New Yorkers ice-skated on the pond and it was used for the first steamboat trials in 1796. The encroaching city caused the pond to become seriously polluted and it was filled in by 1813. By the early nineteenth century Chatham Square was a major junction, transportation hub and retail center, with a post office, theater, and numerous shops.

 

The library site on East Broadway, then known as Harman Street, was part of the Rutgers farm. In the late eighteenth century Colonel Henry Rutgers laid his farm out in lots and leased them out with building covenants calling for substantial brick buildings. This attracted merchants, professionals, and artisans such as shipwrights and sail makers.

 

By the mid-1800s Irish immigrants had moved into row houses converted to multiple dwellings. The merchants' houses along East Broadway became densely packed tenant-houses, precursors to tenements. Rear buildings were built in the yards of the houses, increasing the density. The notorious and dangerous Five Points slum was just a few blocks west of the library site, on the filled-in Collect Pond.

 

Italians settled in the area from the 1870s, when four-to-six-story tenements began to be built. These buildings filled the lots with courtyards to provide at least minimal light and air. Little Italy was established just to the west of the library site, around Mulberry Street. In 1894, when the city completed the demolition of the Five Points tenements a park was created on the Five Points site. At first named Mulberry Bend Park, by 1911 it was renamed after an Italian, Christopher Columbus. Jewish immigrants settled in the Lower East Side by the late nineteenth and early twentieth centuries and the Chatham Square area was primarily a Jewish neighborhood at the time the library was built. This period represented the height of immigration to the United States and the Lower East Side was exceptionally overcrowded, with very few parks, schools, libraries, and any other social welfare structures.

 

Today East Broadway is in the heart of Chinatown.

 

Large numbers of Chinese moved to the U.S. from the 1840s to work on the railroads and to prospect for gold, but few of the immigrants traveled to New York City in that period. In the 1870s they moved to New York after completion of the railroad and an outbreak of anti-Chinese violence in the West. Chinatown was established around Mott, Pell and Doyers Streets, at the northwest side of Chatham Square, and as early as the 1880s Chinese shops faced the Square. Chinese population growth slowed after 1882 when a series of laws were enacted that restricted immigration. Chinatown grew slowly in that period but developed complex organizations, dominated by the mutual aid societies. The area served Chinese Americans and Chinese immigrants throughout the Metropolitan area. By the 1890s Chinatown was a tourist attraction and it was featured in the 1892 King's Handbook to New York City.

 

Chinese immigration expanded slowly after World War II when some of the restrictive laws were lifted and Chinese were granted the right to become citizens. The Chinese population grew rapidly after 1965 with further easing of restrictions on immigration according to race. In 1965 the core of Chinatown covered seven blocks and was bounded on the east by the Bowery. By the late 1970s the Chinatown core expanded in the across Bowery to encompass East Broadway as well as a number of other streets to the east and north. The Chatham Square library today primarily serves a Chinese American and immigrant population.

 

History of Manhattan Libraries

 

In the eighteenth and early nineteenth centuries libraries in New York City were private, institutional, or subscription. The New York Society Library, a subscription library where users paid a membership fee, was established in 1754, and Columbia University opened a library by 1757. Both were destroyed during the Revolutionary War but were rebuilt, and by 1876 Columbia had one of the largest collections in the country. Reading rooms, operated as businesses or by non-profit organizations, made books available to the public, and bookseller Garrett Noel opened the earliest-known reading room in 1763.

 

Institutions including The New-York Historical Society, the Cooper Union, and Union Theological Seminary opened libraries in the first half of the nineteenth century. New York State legislation enabling City support of libraries was passed in the 1830s, but libraries were privately supported for most of the nineteenth century. The Astor Library, the City's first free public reference library, incorporated

 

in 1849. The Lenox Library, a private collection of rare and reference books, incorporated in 1870. By 1876 there were about ninety various libraries and collections in New York City.

 

The earliest branch library system was the private New York Free Circulating Library, established in 1878 to provide education and self-help for the poor. Support came from Andrew Carnegie, J.P. Morgan, Cornelius Vanderbilt and other wealthy New Yorkers, and from public funds beginning in 1887. There were eleven branches by 1901. The smaller Aguilar Free Library Society was started in 1886 to foster the "free circulation of carefully selected literature, in the homes of the people of this City, with distributing branches in localities where the Jewish population was dense."3 The organization, later associated with the Educational Alliance, was named after Grace Aguilar. an English novelist and Sephardic Jew. There were four branches by 1901, including one at 197 East Broadway, a few blocks north of the present Chatham Square Branch.

 

The New York Public Library and Andrew Carnegie

 

The New York Public Library was established in 1895 as a private corporation, which received limited public funds. Formed initially by the merger of the Astor and Lenox Libraries and the Tilden Trust, it was primarily concerned with building a major reference library on the site of the old Croton Reservoir at Fifth Avenue and 42nd Street. The consolidation of New York City in 1898 inspired the growth and unification of the library institutions in the City, including The New York Public Library.

 

New York was one of the largest cities in the world with a population of three million in 1898 and growing rapidly. It trailed behind other cities in public library support, ranking ninth in per capita spending.5 A public branch library system was established in 1901 when the New York Free Circulating Library merged with The New York Public Library. Most of the small independent lending libraries, such as the Aguilar, Webster, Kingsbridge, and Tottenville, joined The New York Public Library, increasing the size of the still inadequate branch network. The promise of a large grant from Andrew Carnegie in 1901 spurred these library mergers. The New York Public Library is still organized into the separate reference and branch systems that were created during this consolidation.

 

Andrew Carnegie and John Shaw Billings, Director of The New York Public Library, strongly supported the amalgamation of all of the library systems, including the Brooklyn and Queens libraries, which ultimately chose to remain independent. Today, New York City still has three separate library corporations,

 

The New York Public Library, Brooklyn Public Library, and The Queens Borough Public Library.

 

In 1901, when the library institutions were large and cohesive enough to suit him, Andrew Carnegie donated $5.2 million to New York City to build a system of branch libraries in all five boroughs. The grant was divided among the three library systems, with The New York Public Library receiving $3.36 million, and Brooklyn and Queens allocated $1.6 million and $240,000 respectively. The grant bought sixty-seven libraries in all five boroughs, two more than originally envisioned.6 In a 1901 letter to John Shaw Billings, Carnegie said that:

 

Sixty-five libraries at one stroke probably breaks the record, but this is the day of big operations and New York is soon to be the biggest of Cities.

 

Andrew Carnegie rose from poverty to become one of the wealthiest men in the United States after he sold his steel business to J.P. Morgan in 1901. He began donating to libraries in 1881, but with the grant to New York City he started the vast, worldwide operation which made him unique in the world of philanthropy.

 

Andrew Carnegie based his donations on a philosophy of giving he developed in the 1870s and 1880s. He believed that the wealthy should live modestly and, while still living, give away their funds for the good of humanity. He considered seven areas worthy of his philanthropy: universities, libraries, medical centers, parks, meeting and concert halls, public baths, and churches. Like other wealthy New Yorkers involved in the social reform movement, he understood the problems facing New York City at the beginning of the twentieth century: the overcrowding from massive immigration, poverty, lack of education, and absence of such facilities as baths, playgrounds and libraries. Andrew Carnegie gave away about 90 per cent of his wealth by the time he died in 1911. More than 2,500 Carnegie libraries were built worldwide and over 1,680 in the United States. The library program ended in 1917 but the Carnegie Corporation and twenty other foundations and funds have carried on his aspirations.

 

The inventor of cost accounting, Carnegie gave away his money with great efficiency. His grant provided for the construction of the buildings, but New York City had to contribute the cost of the land as well as the books, the upkeep and the operation of the libraries in perpetuity. The acquisition of sites alone cost The New York Public Library over $1.6 million, just under half the cost of the buildings.

 

In 1901, The New York Public Library Board Executive Committee appointed a temporary architects' advisory committee consisting of Charles F. McKim of the firm McKim, Mead & White, John M. Carrere of Carrere & Hastings, and Walter Cook of Babb, Cook & Willard, to advise them on how to proceed with construction. The committee advised that the branches be uniform and recognizable in materials, style, plan, and scale and that different site requirements would provide variety. They recommended forming a committee of two to five architectural firms who would design the buildings in cooperation with each other. Andrew Camegie objected to the lack of competition in this system but was ultimately convinced that it would be faster and cheaper and would produce a more unified collection. The advisors, McKim, Carrere, and Cook, were fortuitously selected for the permanent committee, and their firms designed most of The New York Public Library Camegie branches.

 

The architects consulted with the librarians on planning and design, an innovation recently adopted in library design.

 

McKim. Mead & White

 

McKim, Mead & White is among the best known and influential of American architecture firms. Charles Follen McKim and William Rutherford Mead began working together in 1872 with William Bigelow, forming the partnership McKim, Mead & Bigelow by 1877. Bigelow left the firm in 1879 and Stanford White replaced him, creating the partnership of McKim, Mead & White. The three men shared early training experience: all had studied in Europe, with McKim attending the Ecole des Beaux Arts, McKim and Mead had formal academic training and had apprenticed with New York architect Russell Sturgis; McKim and White had worked for H.H. Richardson. The three-man partnership ended when Stanford White was murdered by Harry K. Thaw in 1906. Charles McKim, in poor health since a bicycle accident in 1895 and devastated by the loss of his friend as well as the bad publicity, retired in 1907. William Mead stayed on until 1919, but spent most of his time traveling.

 

The talented and experienced junior partners continued the firm's work, with name changes to reflect new partners, until the 1990s. The prolific firm executed nearly 1,000 commissions between 1879 and 1919, the year William Mead retired.

 

The firm was best known for its classically inspired designs, although the early work was in the more romantic Shingle style. The World's Columbian Exposition of 1893 in Chicago was a turning point for the firm; Charles McKim held a key role in its planning and design.

 

The exposition captured the public's imagination with its depiction of a brilliant white classical city lit by electric lights. McKim, Mead & White was a leading advocate of the new classical style, which swept the country in the early twentieth century. By the time the Camegie libraries were built in New York City and in the cities and towns across the country, there was no question that they would be classical in style.

 

Several of New York City's important designated landmarks are early examples of the firm's free classical style: the Villard Houses , an early Italian Renaissance-inspired design; Judson Memorial Church, Tower and Hall ; King Model Houses ; the Brooklyn Museum , and the Former Bowery Savings Bank . The firm was socially prominent and designed houses for the wealthy as well as their clubs, including the Century Association , the Harvard Club , and the University Club , all designated New York City landmarks."

 

The firm designed four important library buildings at the turn of the twentieth century. McKim designed the Boston Public Library in 1887-1895, one of the first of the new wave of classical public buildings at the end of the nineteenth century. The firm designed two monumental university libraries in New York City, the Low Memorial Library at Columbia University and the Gould Memorial Library at the former New York University Uptown Campus. Charles McKim's elegant J. Pierpont Morgan Library is considered one of his finest designs. The Low, Gould and Morgan libraries are designated New York City landmarks.

 

Charles McKim was responsible for the design of the firm's twelve Camegie branch libraries, assisted by William Mitchell Kendall who entered the firm in 1882 and became a partner in 1906. His Camegie libraries are the most formal of the collection, faced in stone with lavish use of classical ornament. While keeping to the architects' committee's design guidelines, they have the most variation in the design of their facades. Five McKim Mead & White Camegie libraries are designated New York City landmarks: Chatham Square, Hamilton Grange, 115th Street, Schomburg, and Tompkins Square.

 

Design of the New York Public Library, Chatham Square Branch

 

The New York City Camegie branch libraries share many design characteristics and are clearly recognizable as Camegie libraries. They were designed to stand out as separate and distinct

 

structures, an innovation in 1901 when most of the branch libraries were located in other buildings. They are classical in style, a simplified version of the Beaux-Arts model, similar to most public buildings designed in this period. They are clad in limestone, or in brick with limestone trim. There are two distinct types, the urban and the suburban. The urban branch, vertically oriented and sited on mid-block, was located in densely populated Manhattan and sections of the Bronx. The freestanding suburban branches were built on comer sites in the less densely built-up areas of the Bronx, Brooklyn, Staten Island and Queens. Chatham Square embodies the major characteristics of the urban branches. It is located in mid-block, in a densely built and populated pan of the City. The masonry building with a limestone facade is three stories high and three bays wide, with large arched and rectangular windows. This mix of arched and rectangular windows, a Renaissance Revival style trait, is characteristic of McKim, Mead & White branch libraries and is used at the Woodstock, Harlem, 115th, 125th Street and Tompkins Square Branches.

 

The scale of the windows and oversize Ionic columns contributes to the monumental appearance of the facade. The composition of arched ground floor openings with columns separating rectangular windows on the upper floors resembles the Yorkville Branch , the first Carnegie library built, and the Riverside Branch . Although McKim, Mead & White followed their own design path, these three libraries illustrate the influence the Carnegie architects had on each other's designs. McKim, Mead & White used upper floor columns for the Schomburg Branch , but added rectangular ground floor openings and a monumental arched window on the upper two stories.

 

Chatham Square is faced in limestone with rustication at the ground floor. McKim, Mead & White frequently used rusticated limestone for drama and their 115th Street Branch is extra vagantiy faced in the material. The 125th Street and Hamilton Grange Branches also have opulent rusticated limestone facades. The Tompkins Square Branch , on the other hand, has a restrained, primarily smooth limestone facade that more closely resembles the designs by Carrere & Hastings and Babb, Cook, and Willard. Limestone facing, rusticated or smooth, is a characteristic of Manhattan Camegies.

 

The plans of the Carnegie libraries were drawn up in collaboration with the architects' committee and the librarians. The librarians met with the committee at the beginning of the process and commented on the final

 

plans. The libraries featured side entrances and stairs, a concession to the librarians. While the architects preferred classical center entrances, the side entrances and elevated first floors provided for spacious, light-filled reading rooms. A prominent circulation desk afforded control of the entire reading room by a single librarian. There were accessible stacks, an innovation in the early twentieth century; nineteenth century library book stacks were off limits to everyone except the librarians.

 

The Chatham Square Branch follows this scheme, with a rectangular layout, rooms filled with natural light, and circulation and reading rooms on the first three floors. When the library opened, there were plaster casts of classical sculpture in the children's first floor reading room, a gift in memory of Miss Emily Binsse, who drowned at sea.12 The adults' circulating room was on the second floor, the adults' reading room was on the third floor, and an assembly room was located in the basement. The books were placed on freestanding shelves accessible to the public. As was typical, a custodian's apartment was on the fourth floor and a custodian lived in the building until 1969.

 

Construction & Subsequent History

 

The New York Public Library selected the sites for the Carnegie libraries with approval from the City. Because every community wanted a Carnegie library, site selection was the only part of the smooth-running building process where there was any contention. The Carnegie branches were intended to stand out in their communities, to be centrally located and, if possible, to be near schools and other civic structures. John S. Billings stated this position in 1901:

 

Every one of these buildings ought to be of one distinctive and uniform type, so that the most ignorant child going through the streets of the City will at once know as Carnegie Library when he or she sees it.li In Manhattan, The New York Public Library Executive Committee hired New York attorney Alanson T. Briggs to propose the sites and act as agent for the library. After identifying densely populated neighborhoods, he looked for centrally located sites in these neighborhoods. George L. Rives, Secretary of The New York Public Library, described the philosophy behind site selection in 1901:

 

The Trustees are of the opinion that in establishing branch libraries it is of great importance to establish them, as far as possible, in conspicuous positions on well frequented streets. In some measure the

 

same principles should be applied that would govern in the selection of a site for a retail store. The fact that a branch library is constantly before the eyes of the neighboring residents so that all are familiar with its location will undoubtedly tend to increase its usefulness.14

 

Chatham Square was the first of four Camegie branches built on the Lower East Side below Houston Street, a densely populated immigrant neighborhood. The predecessor of the Chatham Square Branch was a storefront at 22 East Broadway, across the street from the present library. In the four years of its existence, it circulated as many as one thousand volumes a day.15 The City bought the library site in 1902 from Mr. and Mrs. Herman Gersten for $63,000. The brick building on the site was torn down. The new building and equipment cost $83,184, for a total of $146,184.16 The brick walls are faced with Bedford, Indiana limestone. The structure is steel and cast-iron.17 The builder was Michael Reid & Company, which built all but two of the McKim, Mead & White Camegie branches and worked with the architects on other projects as well.

 

The Chatham Square Branch library opened on November 2, 1903. It was the second Camegie branch opened in Manhattan and the third in the city. The opening ceremony was held in the library's assembly room and was attended by residents of the neighborhood. Speakers included Manhattan Borough President Jacob Cantor, Arthur Bostwick, Chairman of the Circulating Department, and Samuel Greenbaum, library trustee. Mr. Bostwick spoke about the reading preferences of the community, stating that there was less fiction and twice as many scientific books than in any other branch library. Mr. Greenbaum spoke about the first public library of 200 years ago. John S. Billings, President of the New York Public Library, attended with library friends Samuel P. Avery, John L. Cadwalader, William W. Appleton, and E. W. Gaillard. Miss H.M. Steinberger, librarian, and ten assistants ran the library when it opened.18

 

The Chatham Square Branch has served an immigrant community since its opening. In 1903 the community was primarily Jewish and the library stocked the history, English literature, and philology books then popular with the community. The neighborhood is now part of Chinatown and the library offers a Chinese heritage collection and materials on Chinatown. In 1947, The New York Public Library proposed to demolish the Chatham Square Branch and to build a smaller branch in the A1 Smith Houses because the administration believed that the Chatham

 

Square Branch was too close to the larger Seward Park Branch, causing a duplication of services. The New York City Housing Authority rejected the proposal that same year and the library was saved. The building has continuously operated as a library since opening in 1903 and has been an important community institution, as originally intended.19

 

The library has had few alterations. The rail, post and steps in front of the library were removed before 1940.20By 1958 the library's interior was rehabilitated and the roof skylight was removed. There were more interior alterations in 1971, when a large meeting room was created on the third floor. The wood casement windows were replaced at an unknown date with aluminum fixed and double-hung windows and the wooden door was replicated.21

 

Description

 

The Chatham Square Library is a three-story, three-bay, fifty-foot wide masonry structure with a rectangular plan. The Renaissance Revival style building is faced in limestone with a rusticated ground floor. Located in the middle of the block on East Broadway, the building stands out from the brick tenements surrounding it. East Broadway between Catherine and Market Streets is a busy commercial and residential street lined with four to six story brick tenements dating primarily from the 1870s to about 1915.

 

The limestone basement has two rectangular window openings. Both the basement and the first floors are rusticated, but the basement is more deeply rusticated with rounded edges, while the first floor has shallower rustications with crisply defined edges. The first floor rustication follows the line of the three arched openings, two windows and a doorway. The basement is separated from the first floor by a simple limestone band, which also forms the sills for the windows. The two large arched window openings are filled with non-historic sash. The doorway, located on the south side of the fa?ade, contains a pedimented stone door enframement and a transom above, filling in the arch. The molded stone door enframement is visually connected to the opening by stone scrolls on either side of the doorway. The pediment has a frieze with circles at either end. Two historic bronze lanterns flank the doorway.

 

There is a pedimented bronze plaque placed at the left of the first floor facade, with the words "The New York Public Library, Camegie Gift, Chatham Square Branch."

 

Stone banding with a Greek fret design separates the first floor from the second and third floors. The five rectangular windows are recessed in a frame of stone pilasters supporting a denticulated cornice. There is a simple stone spandrel between each of the second and third floor windows. Six oversize Ionic columns divide the windows. Original wrought iron grilles cover the lower half of the third floor windows. The molded stone cornice has a frieze with the letters "NEW YORK PUBLIC LIBRARY" incised in the center and wreaths carved in low relief at either end, over the pilasters. There is a stepped stone parapet above the cornice with an open book inside a shield at the center. A carved stone acanthus tops the parapet center, which is softened by carved stone scrolls on either side.

 

All of the sash has been replaced with aluminum sash similar to the originals. There are non-historic aluminum screens on the first, second, and third floor sash. There are non-historic mesh grilles on the basement windows, and non-historic aluminum grilles on the first floor windows. The wood-paneled front door in the western-most bay of the ground floor is non-historic. A non-historic flagpole is attached to the sill of the fourth-from-east second floor window and there are two non-historic spotlights in that same window.

 

- From the 2001 NYCLPC Landmark Designation Report

 

don't you remember?

 

Ionic Temple and Obelisk Pool, 1726

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.

Route 22A, Orwell, Vermont USA • Greek Revival style, pavilion with ells. Features: monumental portico, flushboard, full entablature, distinctive interior, distinctive lintelboards, fluted wall pilaster.

 

The property is now operating as the Historic Brookside Farms Country Inn. Shimmering white Ionic columns grace the front of this stately Greek Revival mansion, gleaming proudly from the center of its 300 acre estate. Brookside was designed and constructed in 1843 by famed architect James Lamb. Still a working farm with animals, maple syrup production, fruits, vegetables, herbs, and delicious fresh eggs daily. Meticulously restored and maintained, this unique showplace offers a subtle combination of yesterday's elegance with today's conveniences. The park-like grounds provide beautiful settings for family gatherings, weddings, or simply privacy, with spectacular views of the lush Vermont countryside and the Adirondacks. Miles of cross-country skiing/hiking trails traverse our open meadows and forests. Canoe and fish in our own lake. In the main house, guests have access to a 10,000 volume library, satellite television, game tables; and the Boesendorfer grand piano in the parlor begs you to play. Cheery fireplaces crackle as you enjoy full breakfast and five course, candle lit, gourmet dinners. The Korda family are your hosts, caring on the fifth generation of professional inn-keeping; providing guests with legendary country hospitality. – From the Inn's website.

 

☞ Recorded in the Historical American Buildings Survey.

 

☞ This structure is listed on the Vermont State Register of Historic Places. Source: Data excerpts from "The Historic Architecture of Addison County: including a listing of the Vermont State Register of Historic Places"; Vermont Division of Historic Preservation; Curtis B. Johnson, Editor; © 1992.

 

☞ On December 2, 1974, the National Park Service added this building to the National Register of Historic Places (#74000202).

 

• GeoHack 43°47′05″N 73°18′29″W.

Melrose

1 Melrose - Montebello Parkway

Natchez, Mississippi

Adams County

Circa 1848

NR No 74002253

 

This 1800s Greek revival-style mansion built by the John T. McMurran family beginning in 1841.

 

The interior of the first floor is arranged around a central hall and consists of a dining room, drawing room, parlor, library, back hall, storage and service rooms. The central and back hall provide a fine example of painted floor cloth that is original to the house, and another feature is the punkah found in the dining room. Interior doorways are framed by Ionic columns and sunburst-type woodwork above.

 

Guided tours of the home give visitors a glimpse into the lifestyle of the pre-Civil War American South and help them understand slave life in an estate setting. Sitting today on 80 acres maintained by the National Park Service, the home stands as a well-preserved piece of America's history.

Kiev IIa

Jupiter-8

Fuji Neopan 400

D-76 1+1

More here....

 

A bit of an Ionic Tonic to help me practise my elipses

Ionic Column, North Porch of the Erechtheion, Acropolis, Athens, marble, 421-407 B.C.E. (British Museum, London)

 

Learn More on Smarthistory

I've been trying to find the name of this pattern for several years!

The lovely pattern by SYRACUSE with cherry blossoms and portico shown on this cup & saucer is was used by the John Marshall Hotel in Richmond, Virginia. www.restaurantwarecollectors.com/forums/showwiki.php?titl...

I happened upon the pattern totally by accident, but what a fortunate one!

Ionic Halo Gibraltar 6th April 2013

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

Greenwich Village, Manhattan, New York City, New York, United States

 

aThe rowhouse at 131 MacDougal Street in Greenwich Village was constructed c. 1828-29 in the Federal style, characterized by its 2-1/2-story height, Flemish bond brickwork, low stoop with wrought-ironwork, entrance with Ionic columns, entablature and transom, molded lintels with end blocks, peaked roof, molded cornice, and pedimented double dormers. This was one of four houses (Nos. 125-131) speculatively built on lots owned by Alonzo Alwyn Alvord, a downtown hat merchant, as the area around Washington Square (converted from a potter’s field in 1826-28) was being developed as an elite residential enclave. Until 1908, No. 131 was continually owned by families of the merchant and professional class. Around the time of the Civil War, 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. 131 was owned from 1919 to 1932 by the family of theatrical agent-playwright Will A. Page, and was partly in commercial use by 1924 for a number of tearooms and speakeasies. From 1940 to 1961, it was owned by Harold G. and Dorothy Donnell Calhoun, the former an assistant to the U.S. Attorney General; the Calhouns had purchased Nos. 127 and 129 in 1920. Alterations to the house included the creation of a roof “studio dormer” by linking its two dormers (c. 1950s) and the lowering and joining of the first-story windows as a commercial storefront (c. 1950s and post-1979). The Times in 1951 reported on the planned modernization of the houses, noting that their “old architectural charm” was to be preserved. Despite the loss of some architectural details, this house, notable singularly and as a group with its neighbors.

 

DESCRIPTION AND ANALYSIS

  

The Development of the Washington Square Neighborhood

 

The area of today’s Greenwich Village was, during the 18th century, the location of the small rural hamlet of Greenwich, as well as the country seats and summer homes of wealthy downtown aristocrats, merchants, and capitalists. A number of cholera and yellow fever epidemics in lower Manhattan between 1799 and 1822 led to an influx of settlers in the Greenwich area, with the population quadrupling between 1825 and 1840. Previously undeveloped tracts of land were speculatively subdivided for the construction of town houses and rowhouses. Whereas in the early 19th century many of the wealthiest New Yorkers lived in the vicinity of Broadway and the side streets adjacent to City Hall Park between Barclay and Chambers Streets, by the 1820s and 30s, as commercial development and congestion increasingly disrupted and displaced them, the elite moved northward into Greenwich Village east of Sixth Avenue. For a brief period beginning in the 1820s, Lafayette Place and Bond, Great Jones and Bleecker Streets were among the most fashionable addresses, the latter developed with three block-long rows of houses in 1827-31.

 

A potter’s field, located north of 4th Street below Fifth Avenue since 1797, was converted into Washington Military Parade Ground and expanded (to nearly nine acres) in 1826 and landscaped as Washington Square in 1828. This public square spurred the construction of fine houses surrounding it, beginning with a uniform row of twelve 3-1/2-story Federal style houses (1826-27) on Washington Square South (4th Street), between Thompson and MacDougal Streets, by Col. James B. Murray and others. On Washington Square North, west of Fifth Avenue, Federal and Greek Revival style town houses were built between 1828 and 1839, while east of Fifth Avenue, “The Row” of thirteen large Greek Revival style town houses was developed in 1832-33 by downtown merchants and bankers who leased the properties from the Trustees of Sailors Snug Harbor. The University of the City of New York (later New York University) constructed its first structure, the Gothic Revival style University Building (1833-36, Town, Davis & Dakin), on the east side of the Square. While many of the better houses were built on east-west streets south of the Square, more modest dwellings for the working class were constructed on many of the north-south streets. The block of MacDougal Street (named after patriot Alexander McDougall) just southwest of the Square was developed with houses more modest than those on the Square, but still attracting the merchant and professional class.

 

In 1832, the Common Council created the 15th Ward out of the eastern section of the large 9th Ward, its boundaries being Sixth Avenue, Houston and 14th Streets, and the East River. According to Luther Harris’ recent history Around Washington Square, during the 1830s-40s “this ward drew the wealthiest, most influential, and most talented people from New York City and elsewhere. By 1845, 85 percent of the richest citizens living in the city’s northern wards resided in the Fifteenth.” Fifth Avenue, 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. 131 MacDougal Street

 

No. 131 MacDougal Street was one of four adjacent rowhouses (Nos. 125-131) that were speculatively built on lots located between Amity (later West 3rd Street) and West 4th Street just southwest of Washington Square that were owned by Alonzo Alwyn Alvord. A downtown hat merchant in the firm of Alonzo A. Alvord & Co. at 14 Bowery, Alvord (1802-1862) 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 on 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. 131, in 1835-38, was Thomas J. Field, a downtown china merchant in the firm of Field & Co. In 1836, Nos. 129 and 131 were sold by John

 

W. and Frasier Harris and William and Julia Ann Chauncey to Elias Hicks Herrick (1798-1857), a wealthy downtown flour commission merchant in the firm of E. & J. Herrick, and his wife, Jane Maria Taylor Herrick (died 1886). Elias Herrick transferred No. 129 in 1846 to Jacob B. Herrick, apparently his brother and a partner in his firm, but retained No. 131 until 1853. Resident tenants of No. 131 were downtown merchant Starkes W. Lewis and his wife, nee Matilda Campbell Varian, in 1838-42; and the newly wed John Abeel Weeks (1820-1901), a downtown lawyer, and his wife, nee Alice Hathaway Delano (1827-1917), in 1849-54. In 1853, physician Cyrus Knapp purchased this house, and he and his wife, Harriett P. Knapp, lived here in 1854-55. From 1855 until 1880, No. 131 was owned by downtown silversmith Henry Hebbard (1819- ) and his wife, nee Julia A. Douglas; the Hebbards lived here in 1855-60. The firm of Henry Hebbard & Co. was dissolved in 1859; successor silver firms were Hebbard & Moore and Hebbard, Strong & Co.

 

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. The 1870 census listed African-American laborer John Jackson as a tenant of No. 131 MacDougal Street. In 1880, this property was acquired through foreclosure by Joseph Hall, a real estate operator. At some point thereafter, it was conveyed to Elizabeth A. Louderback Quackenbush (c. 1838-1908), the wealthy wife of hardware merchant Abrahram A. Quackenbush.

 

Federal Style Rowhouses in Manhattan

 

As the city of New York grew in the period after the Revolution, large plots of land in lower Manhattan were sold and subdivided for the construction of groups of brick-clad houses. Their architectural style has been called “Federal” after the new republic, but in form and detail they continued the Georgian style of Great Britain. Federal style houses were constructed from the Battery as far north as 23rd Street between the 1790s and 1830s. The size of the lot dictated the size of the house: typically each house lot was 20 or 25 feet wide by 90 to 100 feet deep, which accorded with the rectilinear plan of New York City, laid out in 1807 and adopted as the Commissioners’ Plan in 1811. The rowhouse itself would be as wide as the lot, and 35 to 40 feet deep. This allowed for a stoop and small front yard or areaway, and a fairly spacious rear yard, which usually contained a buried cistern to collect fresh water and the privy. During the early 19th century, several houses were often constructed together, sharing common party walls, chimneys, and roof timbering to form a continuous group. The houses were of load-bearing masonry construction or modified timber-frame construction with brick-clad front facades. With shared structural framing and party walls, each house in a row was dependent on its neighbor for structural stability. With the increasing availability of pattern books, such as Asher Benjamin’s American Builders Companion (published in six editions between 1806 and 1827), local builders had access to drawings and instructions for exterior and interior plans and details.

 

Federal style rowhouses usually had a three-bay facade with two full stories over a high basement and an additional half story under a peaked roof with the ridge line running parallel to the front facade. (Very modest houses could be two bays wide, while grander houses had three full stories, and could be up to five bays wide). The front (and sometimes rear) facade was usually clad in red brick laid in the Flemish bond pattern, which alternated a stretcher and a header in every row. This system allowed the linking of the more expensive face brick with the cheaper, rougher brick behind. Walls were usually two “wythes,” or eight inches, thick. Because brick was fabricated by hand in molds (rather than by machine), it was relatively porous. To protect the brick surface and slow water penetration, facades were often painted.

 

The planar quality of Federal style facades was relieved by ornament in the form of lintels, entrances, stoops with iron railings, cornices, and dormers. Doorway and window lintels, seen in a variety of types (flat, incised or molded), were commonly brownstone. The most ornamental feature was the doorway, often framed with columns and sidelights and topped with a rectangular transom or fanlight, and having a single wooden paneled door. Some grander houses had large round-arched entrances with Gibbs surrounds. The entrance was approached by a stoop – a flight of brownstone steps placed to one side of the facade – on the parlor floor above a basement level. Wrought-iron railings with finials lined the stoop and enclosed areaways. Window openings at the parlor and second stories were usually the same height (the size sometimes diminished on the third story) and were aligned and the same width from story to story. The wood-framed sash were double hung and multi-light (typically sixover-six). Shutters were common on the exterior. A wooden cornice with a molded fascia extended across the front along the eave, which carried a built-in gutter. A leader head and downspout that drained onto the sidewalk extended down the facade on the opposite side from the doorway. Pedimented or segmental dormers on the front roof slope usually had decorative wood trim, and the top sash were often arched with decorative muntins. The roof was covered with continuous wood sheathing over the rafters and clad in slate.

 

The original design of the three 19-1/2-foot-wide and 2-1/2-story rowhouses at 127, 129 and 131 MacDougal Street were characteristic of the Federal style in their Flemish bond brickwork, low stoops with wrought-ironwork, entrances with Ionic columns, entablatures and transoms, molded lintels with end blocks, peaked roofs, molded cornices, and pedimented double dormers. Remaining historic features on No. 131 are its 2-1/2-story configuration and basic fenestration pattern, Flemish bond brickwork (painted), stoop, entrance with Ionic columns (slightly altered), entablature and transom, molded lintels, peaked roof, and early 20th-century (reconfigured) dormer. The specific Federal style lintel type (molded with end blocks) seen on this building is rare today. The lintels on Nos. 127, 129 and 131 are cast iron; they are probably replacements for the original brownstone ones, and possibly date from c. 1867, when No. 125 MacDougal Street received a one-story (plus mansard roof) addition with this type of cast-iron lintel. Despite some alterations, including that of the first-story windows as a storefront, No. 131 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 2-1/2-story, dormered peaked-roof type (dating from 1796 to 1834).

 

20th Century History of MacDougal Street

 

After a period of decline, Greenwich Village was becoming known, prior to World War I, for its historic and picturesque qualities, its affordable housing, and the diversity of its population and social and political ideas. Many artists and writers, as well as tourists, were attracted to the Village. In 1914, the block of MacDougal Street just south of Washington Square emerged as a cultural and social center of the bohemian set. After the Liberal Club, headquarters also of the feminist Heterodoxy Club, moved into No. 137 in 1913, it was joined the following year by Polly Holladay’s popular basement restaurant, also in No. 137, and Albert and Charles Boni’s Washington Square Bookshop, specializing in modern literature, next door in No. 135. The Provincetown Playhouse, opened in 1916 in No. 139, relocated in No. 133 in 1918. (These buildings were combined in 1941-42 and given a new facade for the Provincetown Playhouse, apartments, and offices for New York University Law School). Other buildings on MacDougal Street, including No. 131, 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 oftheProvincetown 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 higher-income-level families and young professionals in the Village to stimulate its economy. Shrewd realtors began to amass their holdings of dilapidated housing.

 

These various factors and the increased desirability of the Village lead to a real estate boom – “rents increased during the 1920s by 140 percent and in some cases by as much as 300 percent.” According to Luther Harris

 

From the 1920s through the 1940s, the population of the Washington Square district changed dramatically. Although a group of New York’s elite remained until the 1930s, and some even later, most of their single-family homes were subdivided into flats, and most of the new apartment houses were designed with much smaller one- and two-bedroom units. New residents were mainly upper-middle-class, professional people, including many young married couples. They enjoyed the convenient location and Village atmosphere with its informality, its cultural heritage, and, for some, its bohemian associations.

 

Older rowhouses, such as those on MacDougal Street,

 

were remodeled to attract a more affluent clientele or

 

as artists studios. Nearby, on most of the lots of the

 

two blocks of MacDougal Street to the north

 

(Washington Square West), new apartment buildings

 

were constructed in 1925-29. New York University, particularly after World

 

War II, became a major institutional presence around Washington Square. Vanderbilt Hall (1950), the main building of the Law School, at the southwest corner of the Square at MacDougal Street, was the vanguard of the university’s expansion and new construction to the south. During the 1950s, the area south of Washington Square, to Houston Street, was also targeted for urban renewal. The surviving historic streets to the west, including MacDougal Street, became particularly popular for coffee houses, restaurants, and clubs.

 

No. 131 MacDougal Street in the 20th Century

 

After the death of Elizabeth A. Louderback Quackenbush in 1908, No. 131 MacDougal Street was briefly owned in 1909-11 by John Franklin. From 1911 to 1919, the house was owned by Katie Hicks and her heirs. The Irish-born Ms. Hicks was convicted in 1912 along with the French-born Mary Chapelle, the owner of Nos. 127 and 129, as “two notorious keepers of disorderly houses;” they were pardoned by the governor in 1913. Katie Hicks died around 1916, and the property was inherited by her children, Robert Hicks and Gertrude Watkins. No. 131 was acquired in 1919 by Adelaide Helen Page and Sarah Crocker Page. Adelaide was the wife of Will A. Page (c. 18791928), called by the New York Times a “well-known theatrical agent and playwright.” The house was transferred in 1922 to Georgia W. Page. The Milgor Realty Corp. was the owner from 1932 to 1940. Reflecting changes in Greenwich Village, No. 131 MacDougal Street was partly used for commercial purposes by 1924. Commercial tenants in the 1920s30s included the Kopper Kettle tearoom (Arch E. Horns, proprietor), Teddy Morone’s speakeasy, [Arthur] Murray’s Tearoom, and Henry’s Laundry.

 

From 1940 to 1961, No. 131 was owned by Harold Gilmore and Dorothy Donnell Calhoun (they had previously purchased Nos. 127 and 129 in 1920). Harold G. Calhoun (died 1953) was a professor of political science at the University of California in Los Angeles and served as assistant to the U.S. Attorney General (1936-45). His wife (c. 1889-1963) was a motion picture magazine editor (1927-35) and an assistant to Labor Secretary Frances Perkins (193540), and wrote short stories, children’s books, and plays. In 1946, the house was internally altered from a three-family to a two-family dwelling. The Times in 1951 reported on the Calhouns’ 63-year lease of Nos. 127 to 131 MacDougal Street to operator Thomas M. Graham, who planned to modernize the houses by architects Knubel & Persich, but noted that Graham planned “to preserve the old architectural charm” (mistakenly reputing the construction of the buildings to Aaron Burr). Commercial tenants of the 1940s-60s included Frank C. Pascale, plumbing and heating contractor, Playhouse Café Espresso, Africa Curios, and Leather Land Gifts. Alterations to the house c. 1950s were the creation of a roof “studio dormer” by linking its two dormers, and lowering the first-story windows as storefront windows. In 1961, Dorothy Donnell Calhoun transferred Nos. 127 to 131 MacDougal Street to Mormac Equities, Inc. No. 131 has been owned since 1974 by Juanita and Rodrigo R. Fernandez. The lowered first-story windows were joined as a multi-pane commercial storefront window (post-1979). Later first-story commercial tenants have included Gemini Boutique, jewelry and dresses; Another Village Restaurant, Chinese country cooking; The Eleventh Hour, “truth emporium;” and a dentist’s office.

 

Description

 

No. 131 MacDougal Street is a 19-1/2-foot-wide and 2-1/2-story Federal style rowhouse clad on the front facade in Flemish bond brickwork (now painted). The basement level has two windows (with non-historic single panes and wrought-iron grilles); a sign has been placed between the windows. The concrete-paved areaway has steps, a non-historic wrought-iron gate beneath the stoop, and a non-historic basement entrance door, and is bordered by a 20th-century wrought-iron fence and gate. A low brownstone stoop with 20th-century wrought-iron railings and gates leads to the entrance (having two of the four original Ionic columns (turned sideways c. 1951-66), that originally framed sidelights, which were replaced by solid panels) with an entablature, rectangular transom, and a non-historic paneled wood door. A lantern has been placed over the doorway. The first-story windows were lowered as storefront windows (c. 1950s) and then joined as a multi-pane commercial storefront window with anodized aluminum framing (post-1979). The entrance and first- and second-story windows have molded cast-iron lintels with end blocks. Four star-shaped iron tie-rod plates are located above the first-story window lintels (post-1978). Sash was originally six-over-six double-hung wood; second-story windows currently have one-over-one double-hung wood sash. A downspout is placed at the southern edge of the building. The original molded wooden cornice was removed (c. 1939). The peaked roof originally had pedimented double dormers; a roof “studio dormer” was created by linking the dormers (c. 1951-63); the dormer is sided with wood shingles (the windows have one-over-one double-hung wood sash). A chimney rises above the party wall with No. 129.

 

- From the 2004 NYCLPC Landmark Designation Report

Ionic column, Delphi, Greece

Corso di formazione Docenti

Istituti: I.T.I. "Ettore Maiorana" e L.S."Pietro Mazzone" Roccella Ionica RC️

D.S. prof.ssa Rosita Fiorenza👩‍💼

Formatore: prof. Nicodemo Mazzone👨‍💼

 

[There are 3 images in the set, all working even though the images in the first comment state that the photos are not available] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.

 

I know nothing of the history or date of this house. My guess is that this structure is close to the turn of the 20th century. It’s a 2-story brick Greek Revival with a muted pink pedimented front gable. The portico is 2 stories high with stone flooring and the gable roof supported by four fluted Ionic columns tapering towards the top. A swag motif decorates the cornice, above which are dentils. In the gable are two symmetrically positioned bows and a circular vent; the entire gable is fringed with dentils. There are two entrances in the front façade, both with rectangular transoms and with what appears to be iron grille. In the center of the porch on the second level is a small square window with a decorative design in the panes as well as a stone lintel and sill; below this is a single-paned oval window with a stone frame. Apparently the house has been separated into apartments. One associates this house-style more with the South than with Geneva, Ohio.

 

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.

"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.

Propylaea

 

Athens, Greece

"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."

Temple of Artemis now-tourist photo.

 

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.

 

(CC BY-NC-ND 2.0)

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.

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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Photo

Darkroom Daze

© Creative Commons.

If you would like to use or refer to this image, please attribute.

ID: DSC_6833_v2ps

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

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Built in 1833, this Federal-style building was constructed to house the Marietta Bank. The building is clad in red flemish bond brick with a gabled roof, a front gable with a fanlight attic window, eight-over-eight windows, paired ionic columns at the central bays of the second floor of the front facade, a partially modified first floor facade, and a cornice with modillions. The building is a contributing structure in the Marietta Historic District, listed on the National Register of Historic Places in 1974, and expanded to its present size in 2001.

ionic column

8407

Got these shots of 65 Church Street from the footbridge that goes over Great Charles Street Queensway (and links Ludgate Hill and Church Street by foot)

 

I don't know much about this building but it might have been built in 1908, or it may date to the Victorian era.

 

On one search I found this ...

 

65 Church Street provides grade A serviced office accommodation in central Birmingham, within a popular district and close to convenient local amenities. The building itself combines traditional Victorian exteriors with a fully refurbished interior that provides...

 

Another site says this:

 

Centrally located, period property currently being refurbished to include new lighting, carpeting & ceilings. There will also be a substantial re-design & refurbishment of the main reception. Available on flexible terms.

 

No. 65, the former Diocesan Lodge of the Girls' Friendly Society, i.e. a women's hostel, 1908 by Osborn, Pemberton & White. Warm orange-red brick with giant Ionic pilasters, appropriately feminine and domestic. Many small sashes, and oval windows under the swept-up, parapet. Large stone panel with the date split in the corners.

 

From Pevsner Architectural Guides: Birmingham by Andy Foster.

More units on John Bright Street in Birmingham are let. So another new pub and restaurant!

 

Meer Shisha Lounge & Restaurant - at the former Futurist Cinema. So not a new strip club then!

  

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

50 Year Masonic Pin presentation by M.W.Bro. Raymond S. J. Daniels, Grand Master of the Grand Lodge of Canada in the Province of Ontario.

 

Ray Daniels Obit:

 

Lifetimes: Beloved music teacher’s legacy went far beyond classroom.

 

Ray Daniels of Waterloo. Born: Sept. 2, 1937, in Orillia; Died: Jan. 24, 2016, of age-related illness.

 

Waterloo Region Record

 

By Valerie Hill

 

Ray Daniels was a conundrum, a man who sculpted himself a career that shot him into the limelight, but who also refused public accolades and often downplayed his abilities. Outgoing or introverted? Ray was both, and that is what made him so interesting and a bit mysterious.

 

Ray taught vocal music at Eastwood Collegiate for 23 years, started numerous choirs and co-founded the Waterloo Regional Gilbert & Sullivan Society, launching it at the school. Because

of Ray, students not only found their voices but several went on to professional careers including Alex Mustakas, artistic director of Drayton Entertainment.

 

Alex recalled, "I learned more about music and the works of Gilbert and Sullivan from him than anyone else I have ever met. He set the musical bar for me, no pun intended. An amazing human being."

 

Opera singer Thomas Goerz wrote a lengthy tribute to his old teacher, speaking of Ray's ability to inspire students. Ray was always at school an hour early and he led at least three choirs while encouraging even the most reluctant singer to open his mouth and just try.

 

"Raymond Daniels was known to many an Eastwood music student as Uncle Ray, Mister D, but usually just good ol' Ray," recalled Thomas. "Though I came from a musical family, it was Ray Daniels who was the true difference maker. He gave me the confidence to take the plunge into the unknown: a career in the performing arts."

 

Ray's father was an orchestral musician so the love of music might have been genetic. As a child, Ray studied piano then graduated to the organ at 13. At 17, he was hired as church organist in Barrie and later studied for a decade with a Toronto organist and at Syracuse University in New York. Ray also held diplomas from Trinity College of Music in London, England, and an undergraduate degree from Wilfrid Laurier University in music and history.

 

Ray was hired by a church in Simcoe where he was also music supervisor for the school board.

 

It was in Simcoe that he met Brenda, a music teacher. Brenda declined to be interviewed for this feature. The couple, married for 52 years, didn't have children.

 

In 1967 Ray accepted the vacated organist's position at Trinity United Church in Kitchener. He was aware of the church's reputation and told a Record reporter at the time "one of the reasons for my wanting to come to Trinity was its tradition of music. Because of the background and the service already done here the church staff was anxious that they be continued. I am also."

 

Ray and Brenda were musical powerhouses in the region. Brenda sang in the Grand Philharmonic Choir, then known as the K-W Philharmonic Choir, and Ray served as accompanist.

 

Retired conductor Howard Dyck said Ray was an exceptional accompanist, an intuitive musician who anticipated the choir's needs, sometimes before Howard did.

 

"An accompanist has to be a pretty good pianist," said Howard. "He needs to be looking at the choir, watching what the choir is doing."

 

Ray had to play with emphasis if a particular section was faltering, trying to get them back on track and he usually knew exactly which bar to start at after the conductor stopped the singing to fix a problem.

 

"Ray was able to do this magnificently," said Howard. "He was a very fine musician."

 

Howard also spoke of how much his friend loved Great Britain, particularly the musical history, and he had taken The Renaissance Singers, a choral group he founded in 1972, to perform at festivals in England.

 

"He was an Anglophile, he loved all things English," said Howard. "He was a walking encyclopedia of music, very knowledgeable."

 

Ray often suggested beautiful but neglected pieces of music, works that even Howard didn't know.

 

On a personal level, Howard said his friend was "a quirky guy who didn't suffer fools gladly. He would say really irreverent things about people he thought were uninformed. He was very funny."

 

As Ray began winding down his musical career, he poured his energies into Freemasonry. Ray had joined his father's Orillia lodge in 1959 and he was an active Mason during his teaching

career. By the early 1990s, he started moving up until he reached the highest rank in the province, that of Grand Master. Ray shared his fraternity's basic tenet of gentlemanly behaviour

and compassion for others.

 

Fellow Mason David Cameron said that Ray worked hard to open lines of communication between the general public and the Masons, an organization that has long suffered from

distorted public opinion about what goes on behind closed doors.

 

"He wanted to be open with them, get the facts out there as opposed to all those conspiracy theories," said David. "He rose to the top quickly because of his enthusiasm and his teaching

ability."

 

Ray came up with the idea of the Masons and Brock University partnering to establish the prestigious Dr. Charles A. Sankey Lecture Series on Masonic studies and they also established a

Masonic lodge in Afghanistan on a Canadian Forces base, to give young soldiers a sense of fraternity.

 

"He made it happen," said David.

 

What made Ray a good Grand Master? David thinks it was his friend's caring manner and how he would gravitate to new members ensuring they felt welcome.

 

"He always had a smile when he'd greet you," said David. "He was always approachable."

 

vhill@therecord.com

 

A second obit:

 

M.W. Bro. Raymond S.J. Daniels

Landmarks/Doric Lodge No.654

Passed January 24,2016

 

That incredibly rigorous intellectual mind and that gifted eloquence that were his trademarks will be no more; the friendship that was offered so graciously is now but a memory and we gather to bid a fond farewell to a friend and brother.

 

Raymond Sydney James Daniels, the 74th grand master of the Grand Lodge of Canada in the Province of Ontario first saw the light of Masonry in his father’s Lodge, Orillia Lodge No. 192 in Orillia in 1959. He was to hold membership in a number of lodges throughout this jurisdiction, was the Worshipful Master of New Hope Lodge – now Mystic Tie Lodge No. 279 – and New Light Daylight Lodge No. 744 when it was founded in 2001. He was elected Grand Junior Warden for the term 2000-2001 and served on the Board of General Purposes from 2001 until 2007 when he was elected Deputy Grand Master. He was installed as Grand Master on July 15, 2009.

 

As his theme for office Ray used the words of an ancient Hebrew scribe which best describe his approach to Masonic life – “get knowledge, get wisdom, but with all thy getting, get understanding”, for he believed that understanding the real and profound meaning of freemasonry should be the quest of every serious mason. Throughout his Masonic career Ray did just that – not only did he seek that profound understanding himself, but he tried to get people to understand that Freemasonry and Education are really synonymous terms. Right to the very end his Masonic Minutes were a source of enlightenment to those who studied them and I am grateful for those brethren of the Ancient Landmarks incorporating Doric Lodge of Hamilton who have taken the time to bring all of these Masonic Minutes together in one publication so that all Masons, present and future, may benefit from them.

 

In his efforts to ensure that all Masons had access to the benefits offered by our fraternity he spearheaded the initiative that led to the formation of Canada Lodge (UD) in Kandahar, Afghanistan. He also lent his full support to the campaign devised to provide free Tim Horton’s cards to personnel serving in the Afghan sphere of operations a simple “taste of home” that was appreciated by countless numbers of our warriors abroad.

 

His other initiative of note, the formation of the Sankey Lectures in coordination with Brock University and his attempt to develop a centre for the study of the impact that Freemasonry has had upon this country is still evolving. M.W. Bro. Daniels was a visionary in this regard and I sincerely hope we do not let this vision fade in years to come.

 

M.W. Bro. Daniels was never happier than when he was surrounded by young men with a willingness to listen and an eagerness to learn. His Socratic approach to teaching enabled others to become imbued with some of his own desire for knowledge and become enthused by the fire of his rhetoric.

 

Ray was also a trained and accomplished musician who truly appreciated the classics and in his lifetime he brought the joy of classical and sacred music to countless students and concert goers. Ray was not of course all seriousness - he had a highly developed, dry sense of humour that he often used to bring those with inflated egos back to earth and I am certain that at one time or another many in this theatre today have benefitted from his gentle but well aimed, barbs.

 

Given his frequent visits to the Ottawa Valley a group of brethren conferred “Honorary Valley Lad” status upon Ray and at some point during every visit to the area he reminded one and all that he really belonged as he was simply, a valley lad. At heart he truly was, for Ray enjoyed the people and the country which had borne them.

 

Raymond Sydney James Daniels, a man of simple tastes, a man who was renowned far and wide as a scholar, a teacher, a friend, a good man and a good Mason; a man who lived a good life and a man whose fortunes are not indeed, a matter of indifference to God. As is recorded in the gospel of Matthew 25:21 – “well done thou good and faithful servant”. He may be gone from us physically but his legacy will continue to be felt for years to come.

 

Honorary Life Member of Landmarks/Doric No. 654 It is with deepest regret and and profound sense of a great loss that we notify you of the death of our Past Grand Master. M.W. Bro. Raymond S.J. Daniels Sept 2, 1937 to Jan. 24, 2016 Grand Master July 2009 to July 2011.

 

A Masonic Memorial Service was held on Sunday January 31, 2:00pm at Dunfield Theatre Cambridge, 46 Grand Avenue South, Cambridge.

 

Giardini Naxos, località della costa Ionica messinese, è adagiata a livello del mare all'interno di una baia suggestiva che da Capo Taormina va a Capo Schisò, storica penisoletta di origine vulcanica, territorio di Naxos, il primo insediamento greco in Sicilia. Il nome Giardini Naxos nasce recentemente nel 1978 dall'unione di Giardini e Naxos, proprio a ricordo dell'antica colonia.

 

Oggi è una delle principali destinazioni turistiche italiane grazie alla sua splendida collocazione geografica. È immersa nella natura non distante dalla suggestiva riserva naturale del fiume Alcantara ed è dominata dal maestoso vulcano Etna. Si trova inoltre a soli 5 km dalla bellissima e nota Taormina.

 

Un tempo dedita alla pesca, all'agricoltura e all'artigianato, oggi questa località ha un'economia basata soprattutto sul turismo. L'organizzazione turistica è molto efficiente potendo contare su stabilimenti balneari, ristoranti, bar e migliaia di posti letto sparsi tra i numerosi alberghi Giardini naxos. Senza dubbio è una meta preferita da migliaia di turisti provenienti da tutto il mondo per trascorrere in sicilia vacanze rilassanti e indimenticabili, immersi tra le bellezze della natura e le suggestioni dell antichità qui ancora forti.

 

Giardini Naxos vanta una delle spiagge più belle della costa Ionica e da qui si raggiungono facilmente anche le varie spiagge di Taormina e Letojanni. I resti archeologici di Naxos sono all'interno di un Parco Archeologico che si può percorrere a piedi facendo delle interessanti passeggiate. Annesso si trova anche un Museo.

 

La località è raggiungibile facilmente in aereo, trovandosi a meno di un'ora dall'aeroporto internazionale di Fontanarossa (Catania), oltre che con la linea ferroviaria e in auto percorrendo l'autostrada A 18 da Catania e Messina.

 

taormina giardini naxos letojanni isola bella club med clubmed sea beach flowers iris sicilia sicily italia italy landscape wallpaper castielli travel creative commons zero cc0 cc gnuckx facebook bebo news notizie panoramio flickr googleearth high qualiy photo gallery picture pic pics maps googlemaps geotagged geotag gps localized locale wiki wikipedia

Part of the side elevation of City Hall on Adelaide Street, Brisbane. This is all made of Helidon sandstone, which is almost non-porous, so good at withstanding the weather and city pollution. I'm always impressed with the precision with which these large blocks were carved. I have no idea how it was done so they all match so perfectly.

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

Black Fair 2013 is open! – Mon Chéri featuring it..

Credits

queenofqueers.wordpress.com/2013/08/09/black-fair-2013-is...

M-Tron Ionic Walker, dubbed “scorpion”, is a transport vehicle which was designed to carry substantial cargo over long distances and to move in a difficult terrain, inaccessible to other machines (track and wheeled vehicles).

The five Ionic columns that stand at the edge of the Museum Building area are apparently salvaged from a mansion that stood in nearby Newburgh, NY. From this page:

 

"Completed as a residence in 1935 for the late Vermont Hatch, the French Normandy-style building was designed by architect Maxwell Kimball. The building's granite stones were salvaged from Danskammer, the 1834 Edward Armstrong mansion located north of Newburgh that stood overlooking the Hudson River for almost 100 years. The five Ionic columns now situated on the Art Center's property formed the front of Danskammer."

 

At Storm King Art Center.

50 Year Masonic Pin presentation by M.W.Bro. Raymond S. J. Daniels, Grand Master of the Grand Lodge of Canada in the Province of Ontario.

 

Ray Daniels Obit:

 

Lifetimes: Beloved music teacher’s legacy went far beyond classroom.

 

Ray Daniels of Waterloo. Born: Sept. 2, 1937, in Orillia; Died: Jan. 24, 2016, of age-related illness.

 

Waterloo Region Record

 

By Valerie Hill

 

Ray Daniels was a conundrum, a man who sculpted himself a career that shot him into the limelight, but who also refused public accolades and often downplayed his abilities. Outgoing or introverted? Ray was both, and that is what made him so interesting and a bit mysterious.

 

Ray taught vocal music at Eastwood Collegiate for 23 years, started numerous choirs and co-founded the Waterloo Regional Gilbert & Sullivan Society, launching it at the school. Because

of Ray, students not only found their voices but several went on to professional careers including Alex Mustakas, artistic director of Drayton Entertainment.

 

Alex recalled, "I learned more about music and the works of Gilbert and Sullivan from him than anyone else I have ever met. He set the musical bar for me, no pun intended. An amazing human being."

 

Opera singer Thomas Goerz wrote a lengthy tribute to his old teacher, speaking of Ray's ability to inspire students. Ray was always at school an hour early and he led at least three choirs while encouraging even the most reluctant singer to open his mouth and just try.

 

"Raymond Daniels was known to many an Eastwood music student as Uncle Ray, Mister D, but usually just good ol' Ray," recalled Thomas. "Though I came from a musical family, it was Ray Daniels who was the true difference maker. He gave me the confidence to take the plunge into the unknown: a career in the performing arts."

 

Ray's father was an orchestral musician so the love of music might have been genetic. As a child, Ray studied piano then graduated to the organ at 13. At 17, he was hired as church organist in Barrie and later studied for a decade with a Toronto organist and at Syracuse University in New York. Ray also held diplomas from Trinity College of Music in London, England, and an undergraduate degree from Wilfrid Laurier University in music and history.

 

Ray was hired by a church in Simcoe where he was also music supervisor for the school board.

 

It was in Simcoe that he met Brenda, a music teacher. Brenda declined to be interviewed for this feature. The couple, married for 52 years, didn't have children.

 

In 1967 Ray accepted the vacated organist's position at Trinity United Church in Kitchener. He was aware of the church's reputation and told a Record reporter at the time "one of the reasons for my wanting to come to Trinity was its tradition of music. Because of the background and the service already done here the church staff was anxious that they be continued. I am also."

 

Ray and Brenda were musical powerhouses in the region. Brenda sang in the Grand Philharmonic Choir, then known as the K-W Philharmonic Choir, and Ray served as accompanist.

 

Retired conductor Howard Dyck said Ray was an exceptional accompanist, an intuitive musician who anticipated the choir's needs, sometimes before Howard did.

 

"An accompanist has to be a pretty good pianist," said Howard. "He needs to be looking at the choir, watching what the choir is doing."

 

Ray had to play with emphasis if a particular section was faltering, trying to get them back on track and he usually knew exactly which bar to start at after the conductor stopped the singing to fix a problem.

 

"Ray was able to do this magnificently," said Howard. "He was a very fine musician."

 

Howard also spoke of how much his friend loved Great Britain, particularly the musical history, and he had taken The Renaissance Singers, a choral group he founded in 1972, to perform at festivals in England.

 

"He was an Anglophile, he loved all things English," said Howard. "He was a walking encyclopedia of music, very knowledgeable."

 

Ray often suggested beautiful but neglected pieces of music, works that even Howard didn't know.

 

On a personal level, Howard said his friend was "a quirky guy who didn't suffer fools gladly. He would say really irreverent things about people he thought were uninformed. He was very funny."

 

As Ray began winding down his musical career, he poured his energies into Freemasonry. Ray had joined his father's Orillia lodge in 1959 and he was an active Mason during his teaching

career. By the early 1990s, he started moving up until he reached the highest rank in the province, that of Grand Master. Ray shared his fraternity's basic tenet of gentlemanly behaviour

and compassion for others.

 

Fellow Mason David Cameron said that Ray worked hard to open lines of communication between the general public and the Masons, an organization that has long suffered from

distorted public opinion about what goes on behind closed doors.

 

"He wanted to be open with them, get the facts out there as opposed to all those conspiracy theories," said David. "He rose to the top quickly because of his enthusiasm and his teaching

ability."

 

Ray came up with the idea of the Masons and Brock University partnering to establish the prestigious Dr. Charles A. Sankey Lecture Series on Masonic studies and they also established a

Masonic lodge in Afghanistan on a Canadian Forces base, to give young soldiers a sense of fraternity.

 

"He made it happen," said David.

 

What made Ray a good Grand Master? David thinks it was his friend's caring manner and how he would gravitate to new members ensuring they felt welcome.

 

"He always had a smile when he'd greet you," said David. "He was always approachable."

 

vhill@therecord.com

 

A second obit:

 

M.W. Bro. Raymond S.J. Daniels

Landmarks/Doric Lodge No.654

Passed January 24,2016

 

That incredibly rigorous intellectual mind and that gifted eloquence that were his trademarks will be no more; the friendship that was offered so graciously is now but a memory and we gather to bid a fond farewell to a friend and brother.

 

Raymond Sydney James Daniels, the 74th grand master of the Grand Lodge of Canada in the Province of Ontario first saw the light of Masonry in his father’s Lodge, Orillia Lodge No. 192 in Orillia in 1959. He was to hold membership in a number of lodges throughout this jurisdiction, was the Worshipful Master of New Hope Lodge – now Mystic Tie Lodge No. 279 – and New Light Daylight Lodge No. 744 when it was founded in 2001. He was elected Grand Junior Warden for the term 2000-2001 and served on the Board of General Purposes from 2001 until 2007 when he was elected Deputy Grand Master. He was installed as Grand Master on July 15, 2009.

 

As his theme for office Ray used the words of an ancient Hebrew scribe which best describe his approach to Masonic life – “get knowledge, get wisdom, but with all thy getting, get understanding”, for he believed that understanding the real and profound meaning of freemasonry should be the quest of every serious mason. Throughout his Masonic career Ray did just that – not only did he seek that profound understanding himself, but he tried to get people to understand that Freemasonry and Education are really synonymous terms. Right to the very end his Masonic Minutes were a source of enlightenment to those who studied them and I am grateful for those brethren of the Ancient Landmarks incorporating Doric Lodge of Hamilton who have taken the time to bring all of these Masonic Minutes together in one publication so that all Masons, present and future, may benefit from them.

 

In his efforts to ensure that all Masons had access to the benefits offered by our fraternity he spearheaded the initiative that led to the formation of Canada Lodge (UD) in Kandahar, Afghanistan. He also lent his full support to the campaign devised to provide free Tim Horton’s cards to personnel serving in the Afghan sphere of operations a simple “taste of home” that was appreciated by countless numbers of our warriors abroad.

 

His other initiative of note, the formation of the Sankey Lectures in coordination with Brock University and his attempt to develop a centre for the study of the impact that Freemasonry has had upon this country is still evolving. M.W. Bro. Daniels was a visionary in this regard and I sincerely hope we do not let this vision fade in years to come.

 

M.W. Bro. Daniels was never happier than when he was surrounded by young men with a willingness to listen and an eagerness to learn. His Socratic approach to teaching enabled others to become imbued with some of his own desire for knowledge and become enthused by the fire of his rhetoric.

 

Ray was also a trained and accomplished musician who truly appreciated the classics and in his lifetime he brought the joy of classical and sacred music to countless students and concert goers. Ray was not of course all seriousness - he had a highly developed, dry sense of humour that he often used to bring those with inflated egos back to earth and I am certain that at one time or another many in this theatre today have benefitted from his gentle but well aimed, barbs.

 

Given his frequent visits to the Ottawa Valley a group of brethren conferred “Honorary Valley Lad” status upon Ray and at some point during every visit to the area he reminded one and all that he really belonged as he was simply, a valley lad. At heart he truly was, for Ray enjoyed the people and the country which had borne them.

 

Raymond Sydney James Daniels, a man of simple tastes, a man who was renowned far and wide as a scholar, a teacher, a friend, a good man and a good Mason; a man who lived a good life and a man whose fortunes are not indeed, a matter of indifference to God. As is recorded in the gospel of Matthew 25:21 – “well done thou good and faithful servant”. He may be gone from us physically but his legacy will continue to be felt for years to come.

 

Honorary Life Member of Landmarks/Doric No. 654 It is with deepest regret and and profound sense of a great loss that we notify you of the death of our Past Grand Master. M.W. Bro. Raymond S.J. Daniels Sept 2, 1937 to Jan. 24, 2016 Grand Master July 2009 to July 2011.

 

A Masonic Memorial Service was held on Sunday January 31, 2:00pm at Dunfield Theatre Cambridge, 46 Grand Avenue South, Cambridge.

 

The entrance has crowning mouldings on the interior sides, decorated by coloured Doric and Ionic mouldings and taeniae.

There was no dromos leading to the tomb. The present staircase is a modern structure, designed to facilitate visitors and also to support the natural side walls of the excavated trench and prevent the monument from being covered with earth once again. Dimensions of the antechamber: lengh 2, width 408, heigh 5.14m ; dimensions of the main chamber: lengh 5.10, width 4.07, height 4.95m. The facade is 6.25m high, 5.25m wide, and is higher than the roof. The predominant colour on the facade up to the level of the capitals of the Ionic half-columns is white; this is the final thin layer of lime-plaster which was used according to the prevailing custom to cover the surface of the poros blocks, which was full of holes, and make it look like marble. From the level of the capitals upwards a variety of colours is used, the predominant ones being shades of red and blue applied to the individual decorative elements: Ionic and Doric mouldings, frieze, taeniaeeeeem astragals, Lesbian mouldings, and alternating palmettes and lotus flowers, which adorned the raking of the tympanum of the pediment of the Ionic architrave. The pediment ont the facade is crowned by three windblown palmettes with a strong chiaroscuro effect, produced by the deep relief of the leaves and the triangular tongue-heart at its center, with deep blue between the white-ochre and slightly pink leaves, and deep pink and red at the heart in the centre.