Coney Island, Brooklyn, New York City, New York, United States

 

Summary

 

The Childs Restaurant Building on Surf Avenue in Coney Island was the first restaurant built for this well-known chain in Coney Island, at a time when the area was changing from its somewhat seedy aura of summer amusements to a wholesome, family resort that could be enjoyed year-round. The Childs Restaurant chain, begun in 1889, developed as small luncheonettes that catered to working people, where one could find decent meals for a reasonable price in a clean environment. As such, it was the perfect type of establishment for the “new Coney Island.”

 

This building was constructed in 1917 in West Brighton near the terminus of the Prospect Park and Coney Island Railway line and close by many of the most famous amusements of the area. Childs Restaurant filled the need for a respectable but not expensive restaurant for the many working-class New Yorkers who flocked to the beach for a relaxing day in the sun. As the area prospered, a second and larger Childs was built at 21st Street facing the new Boardwalk. This first restaurant continued to operate in this location until 1943 when the property was leased to the Blue Bird Casino and restaurant. During the following years the building continued to house restaurants, clubs and other activities related to Coney Island’s amusements.

 

It was the site of David Rosen’s Wonderland Circus Sideshow and, since 2007, has been the location of Coney Island U.S.A. and the Coney Island Museum, which documents the history of this famous New York City neighborhood. Originally designed by John C. Westervelt who worked for the Childs chain for many years, the building displays elements of the Spanish Revival style, seen in its overhanging red tile roof, round-arched openings and white facade. Its wide arches facing two streets served as grand welcoming gestures to crowds passing by, while the style suggests a warm Mediterranean resort and hint at the fun to be had in Coney Island. This building is a rare survivor from a many years of Coney Island history, beginning when an assortment of amusements and the sea air attracted thousands of pleasure-seekers escaping from the nearby hot city through the present day.

  

DESCRIPTION AND ANALYSIS

 

Coney Island

 

Although the western end of Coney Island had achieved some popularity as a rustic seaside resort early in the 19th century, it also gained an unsavory reputation for its gambling, pickpockets and prostitution. The real growth of Coney Island as a resort came about in the 1870s when five new railroads were constructed to connect the island with the rest of Brooklyn. These were built by businessmen and entrepreneurs who developed large hotels and wanted to provide easy access from Brooklyn and Manhattan to attract a higher-end clientele than those who frequented the western side. Austin Corbin built the luxurious Manhattan Beach Hotel in 1877 on the far eastern end, served by the New York and Manhattan Beach Railway with direct connections to lower Manhattan. Just to the west of this was the huge Brighton Beach Hotel opened in 1878. Its clientele were generally from Brooklyn’s middle-class business community and their families traveled to Coney Island via the Brooklyn, Flatbush, and Coney Island Railroad from Prospect Park.

 

Between Brighton Beach and the less savory environs of the far western point lay West Brighton, an area that became the island’s entertainment section and was served by the Prospect Park & Coney Island Railroad, commonly known as the Culver Line. Carrying numerous day- trippers away from their teeming tenements, this train terminated at a large depot near 17th Street across from Culver Plaza, a spacious open area filled with colorful flowers. West Brighton became the site of numerous bathing pavilions, restaurants, saloons, variety shows, small stores, games and unusual attractions such as the “Elephant Colossus” (built 1879, destroyed by fire in 1896) and the Iron Tower (imported from the Philadelphia Centennial of 1876). West Brighton was “Coney’s true entertainment district, attracting the lion’s share of the island’s visitors.”

 

During the 1890s West Brighton was the site of many innovations that increased the fame and popularity of Coney Island, including mechanical amusements such as carousels and roller coasters, hot dogs, and mixed gender public bathing. The Ferris Wheel, modeled after the original designed for the World's Columbian Exposition in Chicago in 1893, was brought to Coney Island in 1894. In 1895, Paul Boyton opened Sea Lion Park, the first outdoor amusement park in the world, which included live sea lions and a number of new mechanical rides. A series of disastrous fires in the 1890s destroyed many of the area’s flimsy wooden structures and opened large sections for redevelopment. With the goal of creating a “new” Coney Island that would attract more families and limit alcohol consumption, George C. Tilyou opened Steeplechase Park in 1897, including in his park a mechanical race track and a small version of the original Ferris Wheel. It was so successful that similar parks, such as Luna Park (1903) and Dreamland (1904) soon followed, offering more rides, entertainments, and a fantasy world of exotic architecture, bright lights, and unusual sights. The Bowery (named after the street of the same name in Manhattan) continued to serve as the island’s midway, with numerous small stands for rides, shooting galleries, arcades, and saloons, as well as palmists, dance halls, and photo galleries. By 1900, Sunday crowds reached more than 500,000 and lines for the various amusements often lasted well into the night.

 

More than any other area on the island, West Brighton...appealed to a working- class crowd, bringing together established groups and recent immigrants who in everyday life were often segregated into separate neighborhoods and work

 

places.

 

During the early years of the 20th century, Luna Park and Dreamland were destroyed by fire. The area’s racetracks were closed and the grand hotels to the east ceased to attract their previous crowds. In another effort to renew the neighborhood, the Coney Island Board of Trade was

  

formed by 1916, with membership consisting of successful local businessmen who had a sense of responsibility to improve the district for the sake of their own and other businesses. The summer season of 1916 opened with a pledge from this group to create an area that was “sanitary, safe, and sane.” Their goal was to impose “fair dealing,” with “no faking” to make sure that visitors had a good time and would want to come back again. They worked to encourage excursions to bring more people to Coney Island. Their publicity brochure stated that “Coney is better, bigger, cleaner and more wholesome than world’s fairs.”

 

These efforts had several practical effects. Sanitation was improved by providing more garbage cans with more frequent pick-up. There was greater cooperation with local police, and Surf Avenue was rebuilt with a smooth asphalt surface. The city subway system was extended to the area in 1920, allowing New Yorkers from all parts of New York to reach the beach for only five cents. After this, approximately one million visitors came to Coney Island each summer day. It soon became obvious that something had to be done to alleviate the resulting congestion and to allow for better fire-fighting access to battle the huge conflagrations that periodically decimated the area. A broad pedestrian boardwalk was constructed along the beach, with the first section opening in 1923, stretching four miles from Brighton Beach to Sea Gate. Additionally some of the area’s streets were widened destroying many smaller buildings in the process. These improvements changed the character of Coney Island and the resort attracted more families and was used during more times of the year.

 

Restaurants on Coney Island

 

Although clams were plentiful on the shoreline and many people in the 19th century came to Coney Island for picnics and clambakes, before long a number of restaurants also developed to feed the huge crowds that assembled there. Charles Feltman began selling hot dogs from his hot food wagon in 1871 as an easy-to-eat meal. As his business expanded, he leased a tiny plot of land along the shoreline and sold thousands of hot dogs to hungry visitors. In 1874 he bought a lot at West 10th Street and Surf Avenue, eventually expanding it to include several huge beer gardens serving beer, hot dogs and ice cream with German bands and Tyrolean singers entertaining his customers. Stauch’s Restaurant, located on the Bowery, was another local institution that appealed to an upper class clientele with its dining room and dance hall. Nathan’s started its hotdog stand in 1916 at the corner of Surf and Stillwell avenues. Although it took a while for this business to gain popularity, Nathan’s sold its one hundred millionth hot dog in 1955 and the store is still located at the same intersection.

 

The Child’s restaurant chain was expanding rapidly at this time and the idea of opening a branch at this busy and popular area made sense for the business.

 

Childs Restaurant

 

The restaurant as a unique place to take a meal began to gain popularity in this country after the Civil War. Although travelers had always been able to obtain food at inns and taverns, and later at hotel dining rooms, those living at home generally ate at home. Eating somewhere else was a new idea, related to a modern urban and industrial lifestyle. By the 1830s, members of the Del-Monico family established several Manhattan locales to supply New York's elite with replicas of "Parisian" cuisine. At the same time, soup kitchens and one-cent coffee stands began to provide food for the destitute, while immigrants started cafes and beer gardens to recreate a taste of the old country for their fellow emigres. After the Civil War, other restaurants including saloons, coffee shops and oyster bars began to cater to the working class, with low-priced fare that was available during extended hours, not just at set mealtimes. Lunch-counters became common after the invention of the soda drink, when stores with these popular features began to add light food such as sandwiches to the sodas and desserts already served there.

  

The Childs Restaurant chain, begun in 1889, came out of this lunch-counter tradition. Samuel and William Childs, two brothers originally from New Jersey, learned the restaurant business by working for A.W. Dennett, owner of several restaurants in New York, Philadelphia and Boston. With $1,600 and some second-hand furniture, the brothers opened their first store on Cortlandt Street in Manhattan. It was so successful that they were able to open a second one several months later. They borrowed Dennett's idea of placing a chef in the window, preparing flapjacks, as a way to advertise their business. They also started to furnish their restaurants with white-tiled walls and floors, white marble table-tops, and waitresses dressed in starched white uniforms, to convey a sense of cleanliness. The hard surfaces tended to discourage patrons from lingering on the premises, allowing for quicker turnover and more business. After ten years they had ten profitable restaurants and by 1925, the company (which was incorporated in 1902) operated107 restaurants in 33 cities in the United States and Canada.

 

Many of the early Childs Restaurants were set in narrow storefronts designed in an “austerely-elegant” style, with white tile, mirrors, bentwood furniture and exposed ceiling fans, to complement and also to symbolize the simplicity and purity of the food. Most of the stores from these early years were designed by John C. Westervelt who worked as the company architect for many years. In the 1920s however, new designs began to be used, each suited more specifically to the location of the individual store. One of these was the William Van Alen design for a Childs restaurant on Fifth Avenue which, in a bow to the more refined character of that section of town, did not display the usual signage and white decor, but had dark, mission style interiors, with “dramatic use of large sheets of curved glass for corner windows.” Another was the elegant Spanish Revival style building on the Boardwalk in Coney Island designed by Dennison & Hirons and built in 1923 (a designated New York City Landmark).

 

The Childs chain was responsible for several restaurant innovations, including a self-serve cafeteria. In 1898, at 130 Broadway, they piled a lunch counter high with sandwiches and pastry and trays on which to place them. Cafeteria service proved to be very popular and was emulated at numerous other restaurants around the country. In 1927, due to health concerns by William Childs, the Childs restaurants served only vegetarian food and were known as the Childs Unique Dairy Lunch. After a severe drop in business attributed to the meatless policy, it was reversed the following year.

 

In 1925, the Childs Company branched out from the restaurant business and became a primary investor in a new midtown hotel, the Savoy Plaza, on the east side of Fifth Avenue between 58th and 59th Streets. A large Childs Restaurant in the Spanish Renaissance style was located within this hotel. Samuel Childs served as president of the company before he died in 1925. William Childs served as a director of the new hotel corporation, as well as president and later chairman of the Childs Company until he was removed from governance of the company by irate stockholders in 1928.

 

The company and the restaurants continued to evolve over the years. After Prohibition was lifted in 1933, liquor and wine were served in some Childs outlets. In 1939, the company received the contract to provide food service at the New York World's Fair, where it sold over 16 million hot dogs. Although the organization suffered financial problems at different periods, it continued to operate for many years. In 1950, the Childs Company bought Louis Sherry, the ice cream makers, and was, in turn, purchased by Lucky Stores shortly afterwards. At that time, the company owned restaurants in 14 American cities and three in Canada. In 1961, the chain was acquired by the Reise Brothers and in 1966 they opened the 90th Childs Restaurant on 52nd Street and Third Avenue in New York.

  

John C. Westervelt (1873-1934)

 

John Corley Westervelt was born in Ithaca, New York and educated at Cornell University, where he also served as a trustee for many years. He practiced architecture in New York City for 40 years, and was a member of the Architectural League of New York and the American Institute of Architects. Westervelt served as house architect for the Childs restaurant firm for more than 30 years, designing most of their restaurants in various cities. One of his more well- known designs was for the Childs Restaurant at the Savoy Plaza Hotel in Manhattan, which he rendered in the Spanish Renaissance style (demolished). Two other buildings designed by Westervelt can be seen in the Ladies Mile Historic District: 4 East 20th Street (1900-01), a neo- Grec style, cast-iron fronted department store and 184 Fifth Avenue (facade design, 1911), a commercial style store and loft building faced with white terra cotta.

 

Child’s Restaurant, Coney Island

 

Childs Restaurant became known as a place one could buy a reasonable meal for a fair price. Having already established its reputation in other parts of New York the company opened this small restaurant at the corner of Surf Avenue and 12th Street in 1917, in the heart of the West Brighton entertainment area. The block of Surf Avenue where it was constructed was near the Columbia Hotel and Kosters Music Hall and also held a series of small, one and two-story structures for games and other amusements on Surf Avenue and what was then Thompson’s Walk (later West 12th Street). Coney Island’s popularity was increasing, and since Childs Restaurants were already well-known to New Yorkers its location on this busy spot made good business sense.

 

This Childs restaurant was a two-story structure with two designed facades, each displaying broad arched openings along the street, a tiled roof and an overhanging, bracketed cornice. The Spanish Revival style facade was created of white-painted concrete with decorative triangular panels of terra-cotta mosaics inset in the arch spandrels. The concrete helped make it fireproof and its dramatic style helped it fit into the resort atmosphere of Coney Island. The large arched openings may have been inspired by several nearby buildings that also faced the street with similar windows, possibly as a way of encouraging anyone strolling by to enter the establishment. Although the Spanish (or the variant Mediterranean) Revival style was more often found on buildings in warmer climates, such as in Florida or the Caribbean, the designer of this structure was hoping to suggest this same kind of vacation-oriented environment for a building in the heart of New York’s most popular resort area.

 

The narrow side street where the restaurant was located was a private street called Thompson’s Walk. As part of the area’s general improvement plan in 1923, the city widened it from 30 to 60 feet, paved it and opened it as West 12th Street. This necessitated the movement of the Child’s building to the west, achieved by cutting the front piers so that it could be raised onto rails and slid farther from the widened street. The facade was then restored to its original appearance.

 

This building served the Child’s restaurant chain for many years. When the Boardwalk was opened in 1923, the company opened a second, much larger restaurant at 21st Street (a designated New York City Landmark). Childs closed this store in the area’s busy amusement section by 1943. From 1944 the building housed the Bluebird Casino and later other restaurants and clubs, as well as David Rosen’s Wonderland Circus Sideshow. Since 2007, it has been owned by Coney Island USA and serves as the home of the Coney Island Museum which documents the history of this famous section of New York.

 

Description

 

The Childs Restaurant Building is located on the corner of Surf Avenue and 12th Street and has two designed facades that display the same motifs. The Surf Avenue facade is three bays wide while that on 12th Street has six bays. Constructed of brick covered with painted concrete, the building is two stories tall and is capped by a shallow pent roof that overhangs the facade and is topped by red Spanish tiles. The roof is supported on paired metal brackets with flat concrete panels between them. There are colorful, non-historic fabric signs attached to the wall space between each window that are suggestive of the kinds of banners that used to advertise Coney Island attractions during its heyday.

 

The Surf Avenue facade has three large, round-arched openings with non-historic metal-and- glass infill. The entrance is located within the center arch. The arches have remnants of painted concrete moldings along the edges of their openings. Large metal housing for roll-down metal gates is located over the windows and below the transoms. Triangular multi-colored mosaic panels are set in the arch spandrels. A concrete molding marks the top of the first story and a series of small, non-historic light fixtures extend horizontally from above it.

 

The second story has three rectangular window openings marked by painted concrete window sills. The original metal window frame is in place however, the glass has been replaced by two large panes. There are two rectangular vent openings in the cornice between the paired brackets that show up in the early tax photo.

 

The 12th Street facade is longer, with six bays displayed along its length. This side boasts similar motifs to those on Surf Avenue. There are six large, round-arched openings on the ground story. Only the first one nearest the corner has the full transom arch revealed since the others are covered by plywood and fabric signs. There is a service entrance with non-historic door located in the southernmost bay. Historic, concrete-covered piers flank the doorway and it is topped by a series of wires attached to the building. Non-historic roll-down metal gates are located above each archway. The concrete cornice carries around the building above the ground story. The second story has six rectangular windows with new glass and historic sash, except for the two southernmost windows in which the entire sash has been replaced.

 

A plastered and painted extension with mechanical housing extends above the roof at the southernmost corner of the building.

 

- From the 2011 NYCLPC Landmark Designation Report

Sulawesi, formerly known as Celebes (/ˈsɛlɪbiːz, sɪˈliːbiːz/), is an island in Indonesia. One of the four Greater Sunda Islands, and the world's eleventh-largest island, it is situated east of Borneo, west of the Maluku Islands, and south of Mindanao and the Sulu Archipelago. Within Indonesia, only Sumatra, Borneo and Papua are larger in territory, and only Java and Sumatra have larger populations.

 

The landmass of Sulawesi includes four peninsulas: the northern Minahasa Peninsula; the East Peninsula; the South Peninsula; and the Southeast Peninsula. Three gulfs separate these peninsulas: the Gulf of Tomini between the northern Minahasa and East peninsulas; the Tolo Gulf between the East and Southeast peninsulas; and the Bone Gulf between the South and Southeast peninsulas. The Strait of Makassar runs along the western side of the island and separates the island from Borneo.

 

ETYMOLOGY

The name Sulawesi possibly comes from the words sula ("island") and besi ("iron") and may refer to the historical export of iron from the rich Lake Matano iron deposits. The name came into common use in English following Indonesian independence.

 

The name Celebes was originally given to the island by Portuguese explorers. While its direct translation is unclear, it may be considered a Portuguese rendering of the native name "Sulawesi".

 

GEOGRAPHY

Sulawesi is the world's eleventh-largest island, covering an area of 174,600 km2. The central part of the island is ruggedly mountainous, such that the island's peninsulas have traditionally been remote from each other, with better connections by sea than by road. The three bays that divide Sulawesi's peninsulas are, from north to south, the Tomini, the Tolo and the Boni. These separate the Minahassa or Northern Peninsula, the East Peninsula, the Southeast Peninsula and the South Peninsula.

 

The Strait of Makassar runs along the western side of the island. The island is surrounded by Borneo to the west, by the Philippines to the north, by Maluku to the east, and by Flores and Timor to the south.

 

MINOR ISLANDS

The Selayar Islands make up a peninsula stretching southwards from Southwest Sulawesi into the Flores Sea are administratively part of Sulawesi. The Sangihe Islands and Talaud Islands stretch northward from the northeastern tip of Sulawesi, while Buton Island and its neighbours lie off its southeast peninsula, the Togian Islands are in the Gulf of Tomini, and Peleng Island and Banggai Islands form a cluster between Sulawesi and Maluku. All the above-mentioned islands, and many smaller ones are administratively part of Sulawesi's six provinces.

 

GEOLOGY

The island slopes up from the shores of the deep seas surrounding the island to a high, mostly non-volcanic, mountainous interior. Active volcanoes are found in the northern Minahassa Peninsula, stretching north to the Sangihe Islands. The northern peninsula contains several active volcanoes such as Mount Lokon, Mount Awu, Soputan and Karangetang.

 

According to plate reconstructions, the island is believed to have been formed by the collision of terranes from the Asian Plate (forming the west and southwest) and from the Australian Plate (forming the southeast and Banggai), with island arcs previously in the Pacific (forming the north and east peninsulas).[8] Because of its several tectonic origins, various faults scar the land and as a result the island is prone to earthquakes.

 

Sulawesi, in contrast to most of the other islands in the biogeographical region of Wallacea, is not truly oceanic, but a composite island at the centre of the Asia-Australia collision zone. Parts of the island were formerly attached to either the Asian or Australian continental margin and became separated from these areas by vicariant processes. In the west, the opening of the Makassar Strait separated West Sulawesi from Sundaland in the Eocene c. 45 Mya. In the east, the traditional view of collisions of multiple micro-continental fragments sliced from New Guinea with an active volcanic margin in West Sulawesi at different times since the Early Miocene c. 20 Mya has recently been replaced by the hypothesis that extensional fragmentation has followed a single Miocene collision of West Sulawesi with the Sula Spur, the western end of an ancient folded belt of Variscan origin in the Late Paleozoic.

 

PREHISTORY

Before October 2014, the settlement of South Sulawesi by modern humans had been dated to c. 30,000 BC on the basis of radiocarbon dates obtained from rock shelters in Maros. No earlier evidence of human occupation had at that point been found, but the island almost certainly formed part of the land bridge used for the settlement of Australia and New Guinea by at least 40,000 BCE. There is no evidence of Homo erectus having reached Sulawesi; crude stone tools first discovered in 1947 on the right bank of the Walennae River at Berru, Indonesia, which were thought to date to the Pleistocene on the basis of their association with vertebrate fossils, are now thought to date to perhaps 50,000 BC.

 

Following Peter Bellwood's model of a southward migration of Austronesian-speaking farmers (AN), radiocarbon dates from caves in Maros suggest a date in the mid-second millennium BC for the arrival of a group from east Borneo speaking a Proto-South Sulawesi language (PSS). Initial settlement was probably around the mouth of the Sa'dan river, on the northwest coast of the peninsula, although the south coast has also been suggested.

 

Subsequent migrations across the mountainous landscape resulted in the geographical isolation of PSS speakers and the evolution of their languages into the eight families of the South Sulawesi language group. If each group can be said to have a homeland, that of the Bugis – today the most numerous group – was around lakes Témpé and Sidénréng in the Walennaé depression. Here for some 2,000 years lived the linguistic group that would become the modern Bugis; the archaic name of this group (which is preserved in other local languages) was Ugiq. Despite the fact that today they are closely linked with the Makasar, the closest linguistic neighbours of the Bugis are the Toraja.

 

Pre-1200 Bugis society was most likely organised into chiefdoms. Some anthropologists have speculated these chiefdoms would have warred and, in times of peace, exchanged women with each other. Further, they have speculated that personal security would have been negligible and head-hunting an established cultural practice. The political economy would have been a mixture of hunting and gathering and swidden or shifting agriculture. Speculative planting of wet rice may have taken place along the margins of the lakes and rivers. In Central Sulawesi, there are over 400 granite megaliths, which various archaeological studies have dated to be from 3000 BC to AD 1300. They vary in size from a few centimetres to around 4.5 metres. The original purpose of the megaliths is unknown. About 30 of the megaliths represent human forms. Other megaliths are in form of large pots (Kalamba) and stone plates (Tutu'na).In October 2014 it was announced that cave paintings in Maros had been dated as being about 40,000 years old. Dr Maxime Aubert, of Griffith University in Queensland, Australia, said that the minimum age for the outline of a hand was 39,900 years old, which made it "the oldest hand stencil in the world" and added, "Next to it is a pig that has a minimum age of 35,400 years old, and this is one of the oldest figurative depictions in the world, if not the oldest one."

 

HISTORY

Starting in the 13th century, access to prestige trade goods and to sources of iron started to alter long-standing cultural patterns and to permit ambitious individuals to build larger political units. It is not known why these two ingredients appeared together; one was perhaps the product of the other.

 

In 1367, several identified polities, located on the island, were mentioned in the Javanese manuscript Nagarakretagama dated from the Majapahit period. Canto 14 mentioned polities including Gowa, Makassar, Luwu and Banggai. It seems that by the 14th century, polities in the island were connected in an archipelagic maritime trading network, centered in the Majapahit port in East Java. By 1400, a number of nascent agricultural principalities had arisen in the western Cenrana valley, as well as on the south coast and on the west coast near modern Parepare.

 

The first Europeans to visit the island (which they believed to be an archipelago due to its contorted shape) were the Portuguese sailors Simão de Abreu, in 1523, and Gomes de Sequeira (among others) in 1525, sent from the Moluccas in search of gold, which the islands had the reputation of producing. A Portuguese base was installed in Makassar in the first decades of the 16th century, lasting until 1665, when it was taken by the Dutch. The Dutch had arrived in Sulawesi in 1605 and were quickly followed by the English, who established a factory in Makassar. From 1660, the Dutch were at war with Gowa, the major Makassar west coast power. In 1669, Admiral Speelman forced the ruler, Sultan Hasanuddin, to sign the Treaty of Bongaya, which handed control of trade to the Dutch East India Company. The Dutch were aided in their conquest by the Bugis warlord Arung Palakka, ruler of the Bugis kingdom of Bone. The Dutch built a fort at Ujung Pandang, while Arung Palakka became the regional overlord and Bone the dominant kingdom. Political and cultural development seems to have slowed as a result of the status quo. In 1905 the entire island became part of the Dutch state colony of the Netherlands East Indies until Japanese occupation in the Second World War. During the Indonesian National Revolution, the Dutch Captain 'Turk' Westerling led campaigns in which hundreds, maybe thousands died during the South Sulawesi Campaign. Following the transfer of sovereignty in December 1949, Sulawesi became part of the federal United States of Indonesia, which in 1950 became absorbed into the unitary Republic of Indonesia.

 

CENTRAL SULAWESI

The Portuguese were rumoured to have a fort in Parigi in 1555. The Kaili were an important group based in the Palu valley and related to the Toraja. Scholars relate that their control swayed under Ternate and Makassar, but this might have been a decision by the Dutch to give their vassals a chance to govern a difficult group. Padbruge commented that in the 1700s Kaili numbers were significant and a highly militant society. In the 1850s a war erupted between the Kaili groups, including the Banawa, in which the Dutch decided to intervene. A complex conflict also involving the Sulu Island pirates and probably Wyndham (a British merchant who commented on being involved in arms dealing to the area in this period and causing a row).

 

In the late 19th century the Sarasins journeyed through the Palu valley as part of a major initiative to bring the Kaili under Dutch rule. Some very surprising and interesting photographs were taken of shamans called Tadulako. Further Christian religious missions entered the area to make one of the most detailed ethnographic studies in the early 20th century. A Swede by the name of Walter Kaudern later studied much of the literature and produced a synthesis. Erskine Downs in the 1950s produced a summary of Kruyts and Andrianis work: "The religion of the Bare'e-Speaking Toradja of Central Celebes," which is invaluable for English-speaking researchers. One of the most recent publications is "When the bones are left," a study of the material culture of central Sulawesi, offering extensive analysis. Also worthy of study are the brilliant works of Monnig Atkinson on the Wana shamans who live in the Mori area.

 

POPULATION

The 2000 census population of the provinces of Sulawesi was 14,946,488, about 7.25% of Indonesia's total population. By the 2010 Census the total had reached 17,371,782, and the latest official estimate (for January 2014) is 18,455,058. The largest city is Makassar.

 

RELIGION

Islam is the majority religion in Sulawesi. The conversion of the lowlands of the south western peninsula (South Sulawesi) to Islam occurred in the early 17th century. The kingdom of Luwu in the Gulf of Bone was the first to accept Islam in February 1605; the Makassar kingdom of Goa-Talloq, centred on the modern-day city of Makassar, followed suit in September. However, the Gorontalo and the Mongondow peoples of the northern peninsula largely converted to Islam only in the 19th century. Most Muslims are Sunnis.

  

POPULATION OF SULAWESI BY PROVINCE (2010)

South Sulawesi (46.4%)

Central Sulawesi (15%)

Southeast Sulawesi (13%)

North Sulawesi (13.0%)

West Sulawesi (6.6%)

Gorontalo (6%)

 

Christians form a substantial minority on the island. According to the demographer Toby Alice Volkman, 17% of Sulawesi's population is Protestant and less than 2% is Roman Catholic. Christians are concentrated on the tip of the northern peninsula around the city of Manado, which is inhabited by the Minahasa, a predominantly Protestant people, and the northernmost Sangir and Talaud Islands. The Toraja people of Tana Toraja in Central Sulawesi have largely converted to Christianity since Indonesia's independence. There are also substantial numbers of Christians around Lake Poso in Central Sulawesi, among the Pamona speaking peoples of Central Sulawesi, and near Mamasa.

 

Though most people identify themselves as Muslims or Christians, they often subscribe to local beliefs and deities as well. It is not uncommon for both groups to make offerings to local gods, goddesses, and spirits.

 

Smaller communities of Buddhists and Hindus are also found on Sulawesi, usually among the Chinese, Balinese and Indian communities.

 

AGMINISTRATION

The island is subdivided into six provinces: Gorontalo, West Sulawesi, South Sulawesi, Central Sulawesi, Southeast Sulawesi and North Sulawesi. West Sulawesi is a new province, created in 2004 from part of South Sulawesi. The largest cities on the island are Makassar, Manado, Palu, Kendari, Bitung, Gorontalo, Palopo and Baubau.

 

FLORA AND FAUNA

Sulawesi is part of Wallacea, meaning that it has a mix of both Indomalayan and Australasian species that reached the island by crossing deep-water oceanic barriers. The flora includes one native eucalypt, E. deglupta. There are 8 national parks on the island, of which 4 are mostly marine. The parks with the largest terrestrial area are Bogani Nani Wartabone with 2,871 km2 and Lore Lindu National Park with 2,290 km2. Bunaken National Park which protects a rich coral ecosystem has been proposed as an UNESCO World Heritage Site.

 

MAMMALS

Early in the Pleistocene, Sulawesi had a dwarf elephant and a dwarf form of Stegodon, (an elephant relative, S. sompoensis); later both were replaced by larger forms. A giant suid, Celebochoerus, was also formerly present. It is thought that many of the migrants to Sulawesi arrived via the Philippines, while Sulawesi in turn served as a way station for migrants to Flores. A Pleistocene faunal turnover is recognised, with the competitive displacement of several indigenous tarsiers by more recently arriving ones and by Celebochoerus by other medium-sized herbivores like the babirusa, anoa and Celebes warty pig.

 

There are 127 known extant native mammalian species in Sulawesi. A large percentage, 62% (79 species) are endemic, meaning that they are found nowhere else in the world. The largest of these are the two species of anoa or dwarf buffalo. Other artiodactyl species inhabiting Sulawesi are the warty pig and the babirusas, which are aberrant pigs. The only native carnivoran is the Sulawesi palm civet (Asian palm and Malayan civets have been introduced). Primates present include a number of tarsiers (T. fuscus, Dian's, Gursky's, Jatna's, Wallace's, the Lariang and pygmy tarsiers) as well as macaques (Heck's, the booted, crested black, Gorontalo, moor, and Tonkean macaques). While most of Sulawesi's mammals are placental and have Asian relatives, several species of cuscus, arboreal marsupials of Australasian origin, are also present (Ailurops ursinus and Strigocuscus celebensis).

 

Sulawesi is home to a large number of endemic rodent genera. Murid rodent genera endemic to Sulawesi and immediately adjacent islands (such as the Togian Islands, Buton Island, and Muna Island) are Bunomys, Echiothrix, Margaretamys, Taeromys and Tateomys as well as the single-species genera Eropeplus, Hyorhinomys, Melasmothrix, Paucidentomys, Paruromys and Sommeromys. Endemic sciurid genera are Hyosciurus, Prosciurillus, Rubrisciurus and Waiomys.

 

While over 20 bat species are present on Sulawesi, only a portion of these are endemic: Rhinolophus tatar, Scotophilus celebensis and the megabats Acerodon celebensis, Boneia bidens, Dobsonia exoleta, Harpyionycteris celebensis, Neopteryx frosti, Rousettus celebensis and Styloctenium wallacei.

 

Several endemic shrews, the Sulawesi shrew, Sulawesi tiny shrew and the Sulawesi white-handed shrew, are found on the island.

 

BIRDS

By contrast, Sulawesian bird species tend to be found on other nearby islands as well, such as Borneo; 31% of Sulawesi's birds are found nowhere else. One true endemic is the fiery-browed starling. Another endemic bird (also found on small neighboring islands) is the largely ground-dwelling, chicken-sized maleo, a megapode which uses hot sand close to the island's volcanic vents to incubate its eggs. Others include the flightless snoring rail, the Sulawesi masked owl, the Sulawesi myna and the grosbeak starling. There are around 350 known bird species in Sulawesi. An international partnership of conservationists, donors, and local people have formed the Alliance for Tompotika Conservation, in an effort to raise awareness and protect the nesting grounds of these birds on the central-eastern arm of the island.

 

REPTILES

The larger reptiles of Sulawesi are not endemic and include reticulated and Burmese pythons, king cobras, water monitors, sailfin lizards, saltwater crocodiles and green sea turtles. An extinct giant tortoise, Megalochelys atlas, was formerly present, but disappeared by 840,000 years ago, possibly because of the arrival of humans. Similarly, komodo dragons or similar lizards appear to have inhabited the island, being among its apex predators. The smaller snakes of Sulawesi include endemic forms such as Calamaria boesemani, Calamaria muelleri, Calamaria nuchalis, Cyclotyphlops, Enhydris matannensis, Ptyas dipsas, Rabdion grovesi, Tropidolaemus laticinctus and Typhlops conradi. Similarly, the smaller lizards of Sulawesi include nonendemic species such as Bronchocela jubata, Dibamus novaeguineae and Gekko smithii, as well as endemic species such as Lipinia infralineolata and Luperosaurus iskandari.

 

AMPHIBIANS

The amphibians of Sulawesi include the endemic frogs Hylarana celebensis, H. macrops, H. mocquardi, Ingerophrynus celebensis, Limnonectes arathooni, L. larvaepartus, L. microtympanum, Occidozyga celebensis, O. semipalmata and O. tompotika as well as the endemic "flying frogs" Rhacophorus edentulus and R. georgii.

 

FRESHWATER FISH

Sulawesi is home to more than 70 freshwater fish species, including more than 55 endemics. Among these are the genus Nomorhamphus, a species flock of viviparous halfbeaks containing 12 species that only are found on Sulawesi (others are from the Philippines). In addition to Nomorhamphus, the majority of Sulawesi's freshwater fish species are ricefishes, gobies (Glossogobius and Mugilogobius) and Telmatherinid sail-fin silversides. The last family is almost entirely restricted to Sulawesi, especially the Malili Lake system, consisting of Matano and Towuti, and the small Lontoa (Wawantoa), Mahalona and Masapi. Another unusual endemic is Lagusia micracanthus from rivers in South Sulawesi, which is the sole member of its genus and among the smallest grunters. The gudgeon Bostrychus microphthalmus from the Maros Karst is the only described species of cave-adapted fish from Sulawesi, but an apparently undescribed species from the same region and genus also exists.

 

FRESHWATER CRUSTACEANS AND SNAILS

Many species of Caridina freshwater shrimp and parathelphusid freshwater crabs (Migmathelphusa, Nautilothelphusa, Parathelphusa, Sundathelphusa and Syntripsa) are endemic to Sulawesi. Several of these species have become very popular in the aquarium hobby, and since most are restricted to a single lake system, they are potentially vulnerable to habitat loss and overexploitation. There are also several endemic cave-adapted shrimp and crabs, especially in the Maros Karst. This includes Cancrocaeca xenomorpha, which has been called the "most highly cave-adapted species of crab known in the world".

 

The genus Tylomelania of freshwater snails is also endemic to Sulawesi, with the majority of the species restricted to Lake Poso and the Malili Lake system.

 

MISCELLANEOUS

The mimic octopus is also present in the waters of Sulawesi's coast.

 

CONSERVATION

Sulawesi island was recently the subject of an Ecoregional Conservation Assessment, coordinated by The Nature Conservancy. Detailed reports about the vegetation of the island are available. The assessment produced a detailed and annotated list of 'conservation portfolio' sites. This information was widely distributed to local government agencies and nongovernmental organizations. Detailed conservation priorities have also been outlined in a recent publication.

 

The lowland forests on the island have mostly been removed. Because of the relative geological youth of the island and its dramatic and sharp topography, the lowland areas are naturally limited in their extent. The past decade has seen dramatic conversion of this rare and endangered habitat. The island also possesses one of the largest outcrops of serpentine soil in the world, which support an unusual and large community of specialized plant species. Overall, the flora and fauna of this unique center of global biodiversity is very poorly documented and understood and remains critically threatened.

 

The islands of Pepaya, Mas and Raja islands, located in Sumalata Village - North Gorontalo Regency (about 30 km from Saronde Island), have been named a nature reserve since the Dutch colonial time in 1936. Four of the only seven species of turtles can be found in the islands, the world's best turtle habitat. They include Penyu Hijau (Chelonia midas), Penyu Sisik (Eretmochelys imbricata), Penyu Tempayan (Caretta caretta) and Penyu Belimbing (Dermochelys coriacea). In 2011, the habitat was threatened by human activities such as illegal poaching and fish bombing activities; furthermore, a lot of coral reefs, which represent a source of food for turtles, have been damaged.

 

ENVIRONMENT

The largest environmental issue in Sulawesi is deforestation. In 2007, scientists found that 80 percent of Sulawesi's forest had been lost or degraded, especially centered in the lowlands and the mangroves. Forests have been felled for logging and large agricultural projects. Loss of forest has resulted in many of Sulawesi's endemic species becoming endangered. In addition, 99 percent of Sulawesi's wetlands have been lost or damaged.

 

Other environmental threats included bushmeat hunting and mining.

 

PARKS

The island of Sulawesi has six national parks and nineteen nature reserves. In addition, Sulawesi has three marine protected areas. Many of Sulawesi's parks are threatened by logging, mining, and deforestation for agriculture.

 

WIKIPEDIA

REFORD GARDENS | LES JARDINS DE METIS

 

MECONOPSIS BETONICIFOLIA

 

Himalayan flower imported by Elsie Reford in the early 1930s that has since become the floral emblem of the Gardens.

  

Visit : www.refordgardens.com/

 

From Wikipedia:

 

Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.

 

Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.

  

Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.

 

She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.

 

In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.

 

During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.

 

In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.

 

Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.

 

To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.

 

Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.

 

In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)

 

Visit : en.wikipedia.org/wiki/Elsie_Reford

 

Visit : www.refordgardens.com

 

LES JARDINS DE MÉTIS

 

Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.

 

Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.

 

Commission des lieux et monuments historiques du Canada

Historic Sites and Monuments Board of Canada.

Gouvernement du Canada – Government of Canada

 

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Sulawesi, formerly known as Celebes (/ˈsɛlɪbiːz, sɪˈliːbiːz/), is an island in Indonesia. One of the four Greater Sunda Islands, and the world's eleventh-largest island, it is situated east of Borneo, west of the Maluku Islands, and south of Mindanao and the Sulu Archipelago. Within Indonesia, only Sumatra, Borneo and Papua are larger in territory, and only Java and Sumatra have larger populations.

 

The landmass of Sulawesi includes four peninsulas: the northern Minahasa Peninsula; the East Peninsula; the South Peninsula; and the Southeast Peninsula. Three gulfs separate these peninsulas: the Gulf of Tomini between the northern Minahasa and East peninsulas; the Tolo Gulf between the East and Southeast peninsulas; and the Bone Gulf between the South and Southeast peninsulas. The Strait of Makassar runs along the western side of the island and separates the island from Borneo.

 

ETYMOLOGY

The name Sulawesi possibly comes from the words sula ("island") and besi ("iron") and may refer to the historical export of iron from the rich Lake Matano iron deposits. The name came into common use in English following Indonesian independence.

 

The name Celebes was originally given to the island by Portuguese explorers. While its direct translation is unclear, it may be considered a Portuguese rendering of the native name "Sulawesi".

 

GEOGRAPHY

Sulawesi is the world's eleventh-largest island, covering an area of 174,600 km2. The central part of the island is ruggedly mountainous, such that the island's peninsulas have traditionally been remote from each other, with better connections by sea than by road. The three bays that divide Sulawesi's peninsulas are, from north to south, the Tomini, the Tolo and the Boni. These separate the Minahassa or Northern Peninsula, the East Peninsula, the Southeast Peninsula and the South Peninsula.

 

The Strait of Makassar runs along the western side of the island. The island is surrounded by Borneo to the west, by the Philippines to the north, by Maluku to the east, and by Flores and Timor to the south.

 

MINOR ISLANDS

The Selayar Islands make up a peninsula stretching southwards from Southwest Sulawesi into the Flores Sea are administratively part of Sulawesi. The Sangihe Islands and Talaud Islands stretch northward from the northeastern tip of Sulawesi, while Buton Island and its neighbours lie off its southeast peninsula, the Togian Islands are in the Gulf of Tomini, and Peleng Island and Banggai Islands form a cluster between Sulawesi and Maluku. All the above-mentioned islands, and many smaller ones are administratively part of Sulawesi's six provinces.

 

GEOLOGY

The island slopes up from the shores of the deep seas surrounding the island to a high, mostly non-volcanic, mountainous interior. Active volcanoes are found in the northern Minahassa Peninsula, stretching north to the Sangihe Islands. The northern peninsula contains several active volcanoes such as Mount Lokon, Mount Awu, Soputan and Karangetang.

 

According to plate reconstructions, the island is believed to have been formed by the collision of terranes from the Asian Plate (forming the west and southwest) and from the Australian Plate (forming the southeast and Banggai), with island arcs previously in the Pacific (forming the north and east peninsulas).[8] Because of its several tectonic origins, various faults scar the land and as a result the island is prone to earthquakes.

 

Sulawesi, in contrast to most of the other islands in the biogeographical region of Wallacea, is not truly oceanic, but a composite island at the centre of the Asia-Australia collision zone. Parts of the island were formerly attached to either the Asian or Australian continental margin and became separated from these areas by vicariant processes. In the west, the opening of the Makassar Strait separated West Sulawesi from Sundaland in the Eocene c. 45 Mya. In the east, the traditional view of collisions of multiple micro-continental fragments sliced from New Guinea with an active volcanic margin in West Sulawesi at different times since the Early Miocene c. 20 Mya has recently been replaced by the hypothesis that extensional fragmentation has followed a single Miocene collision of West Sulawesi with the Sula Spur, the western end of an ancient folded belt of Variscan origin in the Late Paleozoic.

 

PREHISTORY

Before October 2014, the settlement of South Sulawesi by modern humans had been dated to c. 30,000 BC on the basis of radiocarbon dates obtained from rock shelters in Maros. No earlier evidence of human occupation had at that point been found, but the island almost certainly formed part of the land bridge used for the settlement of Australia and New Guinea by at least 40,000 BCE. There is no evidence of Homo erectus having reached Sulawesi; crude stone tools first discovered in 1947 on the right bank of the Walennae River at Berru, Indonesia, which were thought to date to the Pleistocene on the basis of their association with vertebrate fossils, are now thought to date to perhaps 50,000 BC.

 

Following Peter Bellwood's model of a southward migration of Austronesian-speaking farmers (AN), radiocarbon dates from caves in Maros suggest a date in the mid-second millennium BC for the arrival of a group from east Borneo speaking a Proto-South Sulawesi language (PSS). Initial settlement was probably around the mouth of the Sa'dan river, on the northwest coast of the peninsula, although the south coast has also been suggested.

 

Subsequent migrations across the mountainous landscape resulted in the geographical isolation of PSS speakers and the evolution of their languages into the eight families of the South Sulawesi language group. If each group can be said to have a homeland, that of the Bugis – today the most numerous group – was around lakes Témpé and Sidénréng in the Walennaé depression. Here for some 2,000 years lived the linguistic group that would become the modern Bugis; the archaic name of this group (which is preserved in other local languages) was Ugiq. Despite the fact that today they are closely linked with the Makasar, the closest linguistic neighbours of the Bugis are the Toraja.

 

Pre-1200 Bugis society was most likely organised into chiefdoms. Some anthropologists have speculated these chiefdoms would have warred and, in times of peace, exchanged women with each other. Further, they have speculated that personal security would have been negligible and head-hunting an established cultural practice. The political economy would have been a mixture of hunting and gathering and swidden or shifting agriculture. Speculative planting of wet rice may have taken place along the margins of the lakes and rivers. In Central Sulawesi, there are over 400 granite megaliths, which various archaeological studies have dated to be from 3000 BC to AD 1300. They vary in size from a few centimetres to around 4.5 metres. The original purpose of the megaliths is unknown. About 30 of the megaliths represent human forms. Other megaliths are in form of large pots (Kalamba) and stone plates (Tutu'na).In October 2014 it was announced that cave paintings in Maros had been dated as being about 40,000 years old. Dr Maxime Aubert, of Griffith University in Queensland, Australia, said that the minimum age for the outline of a hand was 39,900 years old, which made it "the oldest hand stencil in the world" and added, "Next to it is a pig that has a minimum age of 35,400 years old, and this is one of the oldest figurative depictions in the world, if not the oldest one."

 

HISTORY

Starting in the 13th century, access to prestige trade goods and to sources of iron started to alter long-standing cultural patterns and to permit ambitious individuals to build larger political units. It is not known why these two ingredients appeared together; one was perhaps the product of the other.

 

In 1367, several identified polities, located on the island, were mentioned in the Javanese manuscript Nagarakretagama dated from the Majapahit period. Canto 14 mentioned polities including Gowa, Makassar, Luwu and Banggai. It seems that by the 14th century, polities in the island were connected in an archipelagic maritime trading network, centered in the Majapahit port in East Java. By 1400, a number of nascent agricultural principalities had arisen in the western Cenrana valley, as well as on the south coast and on the west coast near modern Parepare.

 

The first Europeans to visit the island (which they believed to be an archipelago due to its contorted shape) were the Portuguese sailors Simão de Abreu, in 1523, and Gomes de Sequeira (among others) in 1525, sent from the Moluccas in search of gold, which the islands had the reputation of producing. A Portuguese base was installed in Makassar in the first decades of the 16th century, lasting until 1665, when it was taken by the Dutch. The Dutch had arrived in Sulawesi in 1605 and were quickly followed by the English, who established a factory in Makassar. From 1660, the Dutch were at war with Gowa, the major Makassar west coast power. In 1669, Admiral Speelman forced the ruler, Sultan Hasanuddin, to sign the Treaty of Bongaya, which handed control of trade to the Dutch East India Company. The Dutch were aided in their conquest by the Bugis warlord Arung Palakka, ruler of the Bugis kingdom of Bone. The Dutch built a fort at Ujung Pandang, while Arung Palakka became the regional overlord and Bone the dominant kingdom. Political and cultural development seems to have slowed as a result of the status quo. In 1905 the entire island became part of the Dutch state colony of the Netherlands East Indies until Japanese occupation in the Second World War. During the Indonesian National Revolution, the Dutch Captain 'Turk' Westerling led campaigns in which hundreds, maybe thousands died during the South Sulawesi Campaign. Following the transfer of sovereignty in December 1949, Sulawesi became part of the federal United States of Indonesia, which in 1950 became absorbed into the unitary Republic of Indonesia.

 

CENTRAL SULAWESI

The Portuguese were rumoured to have a fort in Parigi in 1555. The Kaili were an important group based in the Palu valley and related to the Toraja. Scholars relate that their control swayed under Ternate and Makassar, but this might have been a decision by the Dutch to give their vassals a chance to govern a difficult group. Padbruge commented that in the 1700s Kaili numbers were significant and a highly militant society. In the 1850s a war erupted between the Kaili groups, including the Banawa, in which the Dutch decided to intervene. A complex conflict also involving the Sulu Island pirates and probably Wyndham (a British merchant who commented on being involved in arms dealing to the area in this period and causing a row).

 

In the late 19th century the Sarasins journeyed through the Palu valley as part of a major initiative to bring the Kaili under Dutch rule. Some very surprising and interesting photographs were taken of shamans called Tadulako. Further Christian religious missions entered the area to make one of the most detailed ethnographic studies in the early 20th century. A Swede by the name of Walter Kaudern later studied much of the literature and produced a synthesis. Erskine Downs in the 1950s produced a summary of Kruyts and Andrianis work: "The religion of the Bare'e-Speaking Toradja of Central Celebes," which is invaluable for English-speaking researchers. One of the most recent publications is "When the bones are left," a study of the material culture of central Sulawesi, offering extensive analysis. Also worthy of study are the brilliant works of Monnig Atkinson on the Wana shamans who live in the Mori area.

 

POPULATION

The 2000 census population of the provinces of Sulawesi was 14,946,488, about 7.25% of Indonesia's total population. By the 2010 Census the total had reached 17,371,782, and the latest official estimate (for January 2014) is 18,455,058. The largest city is Makassar.

 

RELIGION

Islam is the majority religion in Sulawesi. The conversion of the lowlands of the south western peninsula (South Sulawesi) to Islam occurred in the early 17th century. The kingdom of Luwu in the Gulf of Bone was the first to accept Islam in February 1605; the Makassar kingdom of Goa-Talloq, centred on the modern-day city of Makassar, followed suit in September. However, the Gorontalo and the Mongondow peoples of the northern peninsula largely converted to Islam only in the 19th century. Most Muslims are Sunnis.

  

POPULATION OF SULAWESI BY PROVINCE (2010)

South Sulawesi (46.4%)

Central Sulawesi (15%)

Southeast Sulawesi (13%)

North Sulawesi (13.0%)

West Sulawesi (6.6%)

Gorontalo (6%)

 

Christians form a substantial minority on the island. According to the demographer Toby Alice Volkman, 17% of Sulawesi's population is Protestant and less than 2% is Roman Catholic. Christians are concentrated on the tip of the northern peninsula around the city of Manado, which is inhabited by the Minahasa, a predominantly Protestant people, and the northernmost Sangir and Talaud Islands. The Toraja people of Tana Toraja in Central Sulawesi have largely converted to Christianity since Indonesia's independence. There are also substantial numbers of Christians around Lake Poso in Central Sulawesi, among the Pamona speaking peoples of Central Sulawesi, and near Mamasa.

 

Though most people identify themselves as Muslims or Christians, they often subscribe to local beliefs and deities as well. It is not uncommon for both groups to make offerings to local gods, goddesses, and spirits.

 

Smaller communities of Buddhists and Hindus are also found on Sulawesi, usually among the Chinese, Balinese and Indian communities.

 

AGMINISTRATION

The island is subdivided into six provinces: Gorontalo, West Sulawesi, South Sulawesi, Central Sulawesi, Southeast Sulawesi and North Sulawesi. West Sulawesi is a new province, created in 2004 from part of South Sulawesi. The largest cities on the island are Makassar, Manado, Palu, Kendari, Bitung, Gorontalo, Palopo and Baubau.

 

FLORA AND FAUNA

Sulawesi is part of Wallacea, meaning that it has a mix of both Indomalayan and Australasian species that reached the island by crossing deep-water oceanic barriers. The flora includes one native eucalypt, E. deglupta. There are 8 national parks on the island, of which 4 are mostly marine. The parks with the largest terrestrial area are Bogani Nani Wartabone with 2,871 km2 and Lore Lindu National Park with 2,290 km2. Bunaken National Park which protects a rich coral ecosystem has been proposed as an UNESCO World Heritage Site.

 

MAMMALS

Early in the Pleistocene, Sulawesi had a dwarf elephant and a dwarf form of Stegodon, (an elephant relative, S. sompoensis); later both were replaced by larger forms. A giant suid, Celebochoerus, was also formerly present. It is thought that many of the migrants to Sulawesi arrived via the Philippines, while Sulawesi in turn served as a way station for migrants to Flores. A Pleistocene faunal turnover is recognised, with the competitive displacement of several indigenous tarsiers by more recently arriving ones and by Celebochoerus by other medium-sized herbivores like the babirusa, anoa and Celebes warty pig.

 

There are 127 known extant native mammalian species in Sulawesi. A large percentage, 62% (79 species) are endemic, meaning that they are found nowhere else in the world. The largest of these are the two species of anoa or dwarf buffalo. Other artiodactyl species inhabiting Sulawesi are the warty pig and the babirusas, which are aberrant pigs. The only native carnivoran is the Sulawesi palm civet (Asian palm and Malayan civets have been introduced). Primates present include a number of tarsiers (T. fuscus, Dian's, Gursky's, Jatna's, Wallace's, the Lariang and pygmy tarsiers) as well as macaques (Heck's, the booted, crested black, Gorontalo, moor, and Tonkean macaques). While most of Sulawesi's mammals are placental and have Asian relatives, several species of cuscus, arboreal marsupials of Australasian origin, are also present (Ailurops ursinus and Strigocuscus celebensis).

 

Sulawesi is home to a large number of endemic rodent genera. Murid rodent genera endemic to Sulawesi and immediately adjacent islands (such as the Togian Islands, Buton Island, and Muna Island) are Bunomys, Echiothrix, Margaretamys, Taeromys and Tateomys as well as the single-species genera Eropeplus, Hyorhinomys, Melasmothrix, Paucidentomys, Paruromys and Sommeromys. Endemic sciurid genera are Hyosciurus, Prosciurillus, Rubrisciurus and Waiomys.

 

While over 20 bat species are present on Sulawesi, only a portion of these are endemic: Rhinolophus tatar, Scotophilus celebensis and the megabats Acerodon celebensis, Boneia bidens, Dobsonia exoleta, Harpyionycteris celebensis, Neopteryx frosti, Rousettus celebensis and Styloctenium wallacei.

 

Several endemic shrews, the Sulawesi shrew, Sulawesi tiny shrew and the Sulawesi white-handed shrew, are found on the island.

 

BIRDS

By contrast, Sulawesian bird species tend to be found on other nearby islands as well, such as Borneo; 31% of Sulawesi's birds are found nowhere else. One true endemic is the fiery-browed starling. Another endemic bird (also found on small neighboring islands) is the largely ground-dwelling, chicken-sized maleo, a megapode which uses hot sand close to the island's volcanic vents to incubate its eggs. Others include the flightless snoring rail, the Sulawesi masked owl, the Sulawesi myna and the grosbeak starling. There are around 350 known bird species in Sulawesi. An international partnership of conservationists, donors, and local people have formed the Alliance for Tompotika Conservation, in an effort to raise awareness and protect the nesting grounds of these birds on the central-eastern arm of the island.

 

REPTILES

The larger reptiles of Sulawesi are not endemic and include reticulated and Burmese pythons, king cobras, water monitors, sailfin lizards, saltwater crocodiles and green sea turtles. An extinct giant tortoise, Megalochelys atlas, was formerly present, but disappeared by 840,000 years ago, possibly because of the arrival of humans. Similarly, komodo dragons or similar lizards appear to have inhabited the island, being among its apex predators. The smaller snakes of Sulawesi include endemic forms such as Calamaria boesemani, Calamaria muelleri, Calamaria nuchalis, Cyclotyphlops, Enhydris matannensis, Ptyas dipsas, Rabdion grovesi, Tropidolaemus laticinctus and Typhlops conradi. Similarly, the smaller lizards of Sulawesi include nonendemic species such as Bronchocela jubata, Dibamus novaeguineae and Gekko smithii, as well as endemic species such as Lipinia infralineolata and Luperosaurus iskandari.

 

AMPHIBIANS

The amphibians of Sulawesi include the endemic frogs Hylarana celebensis, H. macrops, H. mocquardi, Ingerophrynus celebensis, Limnonectes arathooni, L. larvaepartus, L. microtympanum, Occidozyga celebensis, O. semipalmata and O. tompotika as well as the endemic "flying frogs" Rhacophorus edentulus and R. georgii.

 

FRESHWATER FISH

Sulawesi is home to more than 70 freshwater fish species, including more than 55 endemics. Among these are the genus Nomorhamphus, a species flock of viviparous halfbeaks containing 12 species that only are found on Sulawesi (others are from the Philippines). In addition to Nomorhamphus, the majority of Sulawesi's freshwater fish species are ricefishes, gobies (Glossogobius and Mugilogobius) and Telmatherinid sail-fin silversides. The last family is almost entirely restricted to Sulawesi, especially the Malili Lake system, consisting of Matano and Towuti, and the small Lontoa (Wawantoa), Mahalona and Masapi. Another unusual endemic is Lagusia micracanthus from rivers in South Sulawesi, which is the sole member of its genus and among the smallest grunters. The gudgeon Bostrychus microphthalmus from the Maros Karst is the only described species of cave-adapted fish from Sulawesi, but an apparently undescribed species from the same region and genus also exists.

 

FRESHWATER CRUSTACEANS AND SNAILS

Many species of Caridina freshwater shrimp and parathelphusid freshwater crabs (Migmathelphusa, Nautilothelphusa, Parathelphusa, Sundathelphusa and Syntripsa) are endemic to Sulawesi. Several of these species have become very popular in the aquarium hobby, and since most are restricted to a single lake system, they are potentially vulnerable to habitat loss and overexploitation. There are also several endemic cave-adapted shrimp and crabs, especially in the Maros Karst. This includes Cancrocaeca xenomorpha, which has been called the "most highly cave-adapted species of crab known in the world".

 

The genus Tylomelania of freshwater snails is also endemic to Sulawesi, with the majority of the species restricted to Lake Poso and the Malili Lake system.

 

MISCELLANEOUS

The mimic octopus is also present in the waters of Sulawesi's coast.

 

CONSERVATION

Sulawesi island was recently the subject of an Ecoregional Conservation Assessment, coordinated by The Nature Conservancy. Detailed reports about the vegetation of the island are available. The assessment produced a detailed and annotated list of 'conservation portfolio' sites. This information was widely distributed to local government agencies and nongovernmental organizations. Detailed conservation priorities have also been outlined in a recent publication.

 

The lowland forests on the island have mostly been removed. Because of the relative geological youth of the island and its dramatic and sharp topography, the lowland areas are naturally limited in their extent. The past decade has seen dramatic conversion of this rare and endangered habitat. The island also possesses one of the largest outcrops of serpentine soil in the world, which support an unusual and large community of specialized plant species. Overall, the flora and fauna of this unique center of global biodiversity is very poorly documented and understood and remains critically threatened.

 

The islands of Pepaya, Mas and Raja islands, located in Sumalata Village - North Gorontalo Regency (about 30 km from Saronde Island), have been named a nature reserve since the Dutch colonial time in 1936. Four of the only seven species of turtles can be found in the islands, the world's best turtle habitat. They include Penyu Hijau (Chelonia midas), Penyu Sisik (Eretmochelys imbricata), Penyu Tempayan (Caretta caretta) and Penyu Belimbing (Dermochelys coriacea). In 2011, the habitat was threatened by human activities such as illegal poaching and fish bombing activities; furthermore, a lot of coral reefs, which represent a source of food for turtles, have been damaged.

 

ENVIRONMENT

The largest environmental issue in Sulawesi is deforestation. In 2007, scientists found that 80 percent of Sulawesi's forest had been lost or degraded, especially centered in the lowlands and the mangroves. Forests have been felled for logging and large agricultural projects. Loss of forest has resulted in many of Sulawesi's endemic species becoming endangered. In addition, 99 percent of Sulawesi's wetlands have been lost or damaged.

 

Other environmental threats included bushmeat hunting and mining.

 

PARKS

The island of Sulawesi has six national parks and nineteen nature reserves. In addition, Sulawesi has three marine protected areas. Many of Sulawesi's parks are threatened by logging, mining, and deforestation for agriculture.

 

WIKIPEDIA

Bronx, New York City, New York, United States of America

 

If you want to know more about my walks and photos, check out my blog.

 

Summary

 

Featuring robust brick facades and a high corner clock tower, the former Estey Piano Company Factory is a distinguished monument to an industry that was once one of the Bronx’s most important. Anchoring the northeast corner of Lincoln Avenue and Southern (now Bruckner) Boulevard since 1886, when its original portion was completed, the Estey building is the oldest-known former piano factory standing in the Bronx today. It is also one of the earliest large factories remaining in its Mott Haven neighborhood, dating from the period in which the area first experienced intensive industrial development. Today, as in decades past, the building’s signature clock tower and expansive facades—simply but elegantly detailed with terra cotta, patterned brick, and contrasting stone—are visible from the waterfront and nearby Harlem River bridges, making the Estey Factory a true neighborhood landmark.

 

Manufacturing blossomed in the Mott Haven section of the Bronx during the 1880s, when new factories started springing up in the area east of Third Avenue. Many of these produced pianos or their components, and by 1919, the Bronx had more than 60 such factories, making it one of America’s piano-manufacturing centers. One of the city’s first piano factories to be built in the Annexed District or North Side, as the western portions of the Bronx were known between 1874 and 1898, the Estey building was credited with providing “an unusual stimulus” for the movement of other piano makers there. Several of the manufacturers that followed Estey to the Annexed District, and later the Bronx, clustered within a few blocks of its factory, creating an important nucleus for the piano industry.

 

The Estey Piano Company was organized by Jacob Estey and John B. Simpson in 1885. Two decades before, Estey had established an organ works in Brattleboro, Vt. that had grown into one of the country’s largest producers of reed organs, thousands of which found their way into American parlors every year. Like other organ manufacturers in the late nineteenth century, Estey sought to diversify into the booming piano industry, and his partnership with Simpson—a pioneering North Side piano manufacturer—was a means to that end. When Estey Piano opened its factory, it manufactured upright and grand pianos that would become recognized for their “superior construction and workmanship.”

 

The original portion of the Estey Piano Factory was designed by the architectural firm of A.B. Ogden & Son. Many of this building’s features, including its L-shaped plan, flat roof, regular fenestration pattern and bay arrangement, and relatively narrow width to allow for daylight penetration, are characteristic of latenineteenth-century factory buildings. Its mixture of segmental- and round-headed window openings, and the Romanesque machicolations of its clock tower, place the Estey Factory within the tradition of the American round-arched style. Other features, including the factory’s distinctive, red-orange brick, dogtoothed and zigzagging patterned-brick stringcourses, recessed brick panels, terra cotta tiles featuring festoons, lions’ heads, and foliate motifs—and of course, its dramatic, projecting clock tower—speak of a building that sought to announce its presence on the urban landscape, projecting a strong public image for its owner. Indeed, the Estey Piano Company often included an illustration of this factory on its trade cards, which advertised the firm’s products.

 

The original building was extended to the east along Southern Boulevard in 1890, with a harmonious five-story addition designed by John B. Snook & Sons, and to the north, along Lincoln Avenue, with one-story additions in 1895. The Lincoln Avenue additions appear to have been combined and expanded, and then raised to three stories in 1909, and by an additional two stories in 1919; the 1919 addition near the southeast corner of Lincoln Avenue and 134th Street features broad expanses of industrial sash that were characteristic of the “daylight factories” of the early twentieth century. Known today as the Clock Tower Building, the old Estey Piano Company Factory currently houses artists and their studios. With its historic fabric almost completely intact, the building remains, in the words of the AIA Guide to New York City, “the grande dame of the piano trade: not virgin, but all-together and proud.”

 

The Industrial Development of Mott Haven

 

Well before the 1898 creation of the borough of the Bronx, industrial activity was occurring in the area that is now the Bronx’s southernmost portion. In 1828, Jordan L. Mott, the inventor of a coal-burning iron cooking stove, opened a “modest little factory” on property he had purchased on the Harlem River near the present Third Avenue, in what was then the township of Morrisania. Mott started calling the area Mott Haven and, in 1850, seeking to attract additional industry to the area, he laid out the Mott Haven Canal, an artificial inlet from the Harlem River that would ultimately extend to just south of 144th Street. The canal, however, was slow to attract industrial firms, and by 1879, only a handful of substantial ones existed nearby, including a brass and iron works, a machine shop, and a few lumber and coal yards, all of which were below 138th Street. These were joined by a marble yard, lumber yard, and hotel west of the canal, near the tracks built by the New York & Harlem Railroad to connect Manhattan with what is now the Bronx, in 1841. Despite the presence of the large Harlem River & Port Chester Railroad yard, which stretched from Lincoln Avenue to Brown Place south of 132nd Street, few factories appear to have existed east of Third Avenue at the end of the 1870s.

 

In 1874, the townships of Morrisania, West Farms, and Kingsbridge—the sections of the present Bronx borough located west of the Bronx River—became part of New York City. Officially called the 23rd and 24th Wards, they were generally referred to as the “Annexed District” or “North Side,” but they remained fairly isolated. At that time, few links existed between the southern portion of the District and Manhattan; among those that did was a cast-iron bridge at Third Avenue which, in 1860, had replaced an old wood dam-bridge built in the 1790s at that location.

 

Soon after annexation, however, local residents, property owners, business owners, and booster groups like the North Side Association began agitating for improved infrastructure, including better connections with Manhattan. In the 1880s, new public works started to be built; among them was the Madison Avenue Bridge, completed in 1884, which spanned the Harlem River at 138th Street, about five blocks north of the Mott Iron Works complex. By 1885, additional industrial concerns—including a planing mill, cabinet maker, and nickel works, and factories making carpets and surgical instruments—had sprung up in Mott Haven, near and below 138th Street, and close to Third Avenue. The expanded rail yard below 132nd Street, at that point operated by the New York, New Haven & Hartford Railroad, connected directly to new docks at the foot of Willis Avenue. A few factories had sprouted up in the area east of Lincoln Avenue, as the Estey Piano Company Factory, then under construction at the northeast corner of Lincoln Avenue and Southern (now Bruckner) Boulevard, shared a block with the expansive works of the New York Lumber and Woodworking Company.

 

The 1886 opening of the Second Avenue Bridge just a few blocks from the Estey Factory provided a Harlem River crossing for the trains of the new Suburban Rapid Transit Company. The Suburban’s line, which would come to be known in the Bronx as the Third Avenue El, was the first to bring rapid transit service to the Annexed District. With its southern terminus on the Manhattan side of the Harlem, where it met Manhattan’s east-side elevated lines, the Suburban stopped at Southern Boulevard, before continuing northward; service on the line was expanded and improved between 1887 and 1902. While the Suburban was under construction, Real Estate Record & Builders’ Guide predicted that it would have an enormous impact on the North Side, calling it, in 1885, “a great thing for the [Annexed District], as well as for New York City. It will furnish cheap homes for a poorer population, as well as choice rural habitations for the well-to-do. We may expect many light manufacturing industries to become naturalized on the other side of the Harlem.” And the line did come to play a crucial role in Mott Haven’s late-nineteenth-century development, spurring rowhouse construction in the late 1880s and 1890s. As new housing sprouted up, so too did industry; an 1894 drawing of the Harlem River east of Third Avenue shows a busy waterfront with docks and factories on both sides of the river, including the Estey Factory, with its distinctive clock tower clearly visible. In 1895, the New York Times noted that “that part of the 23rd Ward along the Harlem River”—that is, the southernmost portion of the Annexed District, including Mott Haven—was “a very busy manufacturing place.”

 

Improved rapid transit connections with Manhattan aided Mott Haven’s residential growth, but the area’s industrial development was spurred by its Harlem River location and the expansion of its freight-rail infrastructure. By the beginning of the twentieth century, the New York, New Haven & Hartford—with a freight depot located one block south of the Estey Factory, at Lincoln Avenue and 132nd Street—connected with dozens of railroads providing service throughout the eastern and midwestern United States, and into Canada. The New York Central system, with extensive yards close by in Melrose, was just as far-reaching. And the southern Bronx retained these transportation advantages into the twentieth century. Writing in 1908 about the proliferation of piano factories, many of which were in the southern Bronx, lifelong piano man William

 

P.H. Bacon pointed to the borough’s “superior transportation and shipping facilities, both by water and land,” as well as “the opportunity of getting land for the erection of commodious factories at reasonable figures.” In experiencing strong manufacturing growth in the nineteenth and early twentieth centuries, Mott Haven was a microcosm of the Bronx and the city as a whole: by 1920, New York City had 12% of the country’s factory workers, and by 1927, the Bronx had 2,700 plants with more than 100,000 employees.

 

Industrial growth had been rapid in the southern Bronx; Bacon wrote, in 1908, of “the busy hum of commerce where but a few years ago, the lowing of cattle and other sylvan sounds were the only noises heard.” The end of World War II marked the apex of manufacturing in New York, as in 1947, more manufacturing jobs existed in the city than in Boston, Detroit, Los Angeles, and Philadelphia combined. But industrial activity in the Bronx would soon begin to decline, reflecting city-wide trends. By the 1950s, New York City was rapidly losing industrial jobs, with manufacturers leaving in droves for the suburbs, or departing the region entirely. Between 1969 and 1999, the number of manufacturing jobs in the city fell by twothirds. Contributing to the decline of industry in the southern Bronx was the destruction of manufacturing space with the construction of broad new highways; the building of the earliest portions of the Major Deegan Expressway through Mott Haven between 1935 and 1939, for example, wiped out several industrial buildings on the block immediately to the north of the Estey Factory, including the former factory of the Brambach Piano Company. In 1997, the New York City Department of City Planning, citing an underutilization of industrial space in Mott Haven, rezoned a portion of Bruckner Boulevard including the block containing the former Estey Factory, to allow for residential uses and community facilities. This special mixed-use zoning was expanded to blocks to the east, west, and south in 2005.

 

As Mott Haven becomes increasingly residential, the former Estey Factory is a reminder of the neighborhood’s early years of intensive industrial growth. Today, the Estey building is one of the oldest large factories standing in Mott Haven, and in the entire area of the southern Bronx below 149th Street.

 

The Estey Piano Company and Its Factory

 

The Estey Piano Company had its roots in the firm of Manner & Company, which manufactured pianos on the Bowery between 1866 and 1869. Manner called his piano the “Arion,” and in 1870, his firm’s name changed to the Arion Piano-Forte Company. In 1872, the company’s factory moved to 149th Street, in what is now the Bronx. John Boulton Simpson, who had been Arion’s secretary since 1871, took control of the company in 1875; in that year, the company apparently moved to a new factory on St. Ann’s Avenue and boasted that “Six years ago, there were none of our pianos in existence; to-day, there are over 7,500 in use.” In the following year, the firm’s name changed to Simpson & Company, although it also continued to be known by the Arion name. By the end of the 1870s, Simpson’s factory—stretching from Brook to St. Ann’s Avenues on the north side of 149th Street—was probably the largest piano factory in the Annexed District, but in 1880, it was sold to another piano maker, the William E. Wheelock Company.

 

While Simpson apparently continued to make “high grade pianos” following the Wheelock sale, the location of his factory in the early 1880s is unclear. Between 1881 and 1885, Simpson & Company continued to maintain a space, likely a showroom, at 5 East 14th Street—where it had been since 1876—but the company was also listed at 127 East 129th and 232 East 40th Streets, neither of which appears to have been the location of a substantial factory. These addresses do, however, link Simpson in the early 1880s with the respected tuner Stephen Brambach, who would play a crucial role in developing Estey’s first pianos; Brambach was located next door to Simpson between 1881 and 1883, and in the same building in 1884.

 

In 1885, the Estey Organ Company of Brattleboro, Vt. was hitting its peak. By the end of the 1880s, the firm, which had been founded in 1866 by Jacob Estey, would be the world’s largest producer of reed organs. Thousands of these instruments found their way into American parlors every year; they were also being distributed, by 1890, to Africa, Asia, Australia, and South America, and to major European cities. Despite the company’s success—it was described, in 1886, as doing “an immense business, amounting to over one million dollars annually”—and its rapid growth—production rose by a factor of seven between 1865 and 1886—the organ business was in decline. The piano business, however, was booming; and, likely noticing the 1882 entry of the renowned organ maker Mason & Hamlin into piano manufacturing, Estey and the company’s other principals, including Levi K. Fuller and Jacob’s son Julius, decided to take the same path.

 

Estey became a piano manufacturer by forming a partnership with Simpson, who was named president of the new Estey Piano Company; the Simpson piano was essentially re-branded as the new Estey model. Simpson, of course, had been a pioneer in Bronx piano manufacturing, and this may have played a role in Estey’s decision to build its plant on the North Side. A.B. Ogden & Son was hired to design the factory, but Simpson may have had some influence over its appearance and form, as he had dabbled in architecture, altering his home on West 129th Street in 1882 to give it a “picturesque exoticism.” Work began on the “large factory with modern appliances,” as it would later be described, in August of 1885; it was completed, at a cost of approximately $40,000, in February of 1886. While the factory was under construction, Estey Piano decided to construct three more buildings that would extend its complex by an additional 80 feet along Southern Boulevard. These brick structures, designed by Ogden’s firm and completed at the same time as the main factory, were a one-story extension, a one-story shed, and a two-story stable.

 

Estey Piano prospered in its early years, as “Estey grand and upright pianos soon became a dominant factor in the piano trade,” according to Alfred Dolge, who added that they often “carried off highest awards for superior construction and workmanship.” In 1887, the trade publication Musical Courier wrote that the Estey Piano Factory was “one of the most complete in the country”; two years later, it called the firm’s upright “a most beautiful specimen of piano manufacturing,” of which Estey would “find no difficulty in disposing … in the best musical circles in the land.” While trade journals’ opinions should be considered with caution, those of the respected piano tuner and regulator Daniel Spillane may be more reliable. Five years after the Estey Factory opened, Spillane called its piano “a very excellent instrument,” adding that “much of the technical and musical merit of these pianos is due to the competency and skill of [Stephen] Brambach, who is a gentleman of fine musical and mechanical sensibilities [and] … one of the best tuners in New York.” Although Brambach had apparently started his own piano company in 1885, he remained involved with Estey in 1890, originating “all new ideas in the mechanics and acoustics of the Estey piano.” Brambach’s brother Carl, “one of the most expert and artistic tuners and toners in the country,” was also employed by Estey Piano, according to Spillane.

 

Business was good, and only four years after the Estey Piano Factory opened, it underwent a huge expansion. In May of 1890, work began on a 100-foot-long east addition that would result in the demolition of the extension, shed, and stable on Southern Boulevard, and create the unified five-story, 200-foot-long Bruckner Boulevard façade that remains essentially unchanged today. The architect of this addition, which was completed in October of 1890 at a cost of about $23,000, was John B. Snook & Sons. This firm, then one of New York’s most prolific, traced its origins to the arrival of John B. Snook (1815-1901) in the United States, from England, in 1835. By 1842, Snook was working with Joseph Trench, and the two helped introduce the Anglo-Italianate style to New York with buildings such as the A.T. Stewart Store at 280 Broadway (1845-46, a Designated New York City Landmark). One of Snook’s best-known works was the first Grand Central Terminal (1869-71, demolished); in 1887, he took his three sons, James Henry (1847-1917), Samuel Booth (18571915), and Thomas Edward, and a son-in-law, John W. Boyleston, into his office, and changed his firm’s name to John B. Snook & Sons. Although Snook had designed a diverse array of buildings—including residential and commercial structures for some of New York’s most prominent families—his firm designed several manufacturing lofts in the 1880s and 1890s that would have made it an appropriate choice for the Estey addition. These industrial buildings, now located in the SoHo-Cast Iron Historic District—including 8 Greene Street (1883-84), 12 Wooster Street (1883-84), 127 Spring Street/87-89 Greene Street (1886-87), 391-393 West Broadway/77-81 Wooster Street (1889), 151 Spring Street (1889-90) and 361 Canal Street (1891-92)—were utilitarian brick buildings; but like the Estey Factory, they were also designed with an eye toward detail, featuring patterned and textured brickwork, and contrasting stone trim that enliven their facades.

 

The Estey Factory continued to grow in the 1890s. In 1895, the company extended the building 50 feet along Lincoln Avenue with a one-story, 69-foot-deep brick addition that apparently provided a fireproof home for its woodworking department; at the same time, Estey constructed a new, one-story brick lumber room running for an additional 38 feet along Lincoln, where it met a small, one-story brick building then existing at the southeast corner of Lincoln Avenue and 134th Street. Both the extension and the new building—which appear to remain today as the base of the five-story portion of the factory north of the original building—were designed by Hewlett S. Baker of 492 East 138th Street. Little is known about Baker; he was described as “a property owner in the South Bronx” in a 1910 New York Times article, and as “a contractor and builder in the Bronx” in a 1912 article about his death. By 1900, the one-story buildings near the corner of Lincoln and 134th appear to have been extended to the east.

 

The portion of the factory north of the original building remained at one story until 1909, when Simpson and architect S. Gifford Slocum raised it to three stories. Slocum, an architect of some note, is remembered primarily for his large residences for wealthy clients, including several fine Queen Anne-style residences built in the Saratoga Springs area in the 1880s. Born in Jefferson County, N.Y., Slocum studied architecture at Cornell University from 1873 to 1875, and by 1885, he had offices in Saratoga and Glens Falls, N.Y. In 1888, Slocum moved to Philadelphia while retaining his Saratoga office; between 1890 and 1909, he practiced architecture in New York City. Simpson hired Slocum to design an alteration to his residence at 117 East 83rd Street, in 1900. Slocum’s two-story addition to the Estey Piano Factory was described as being of “similar construction to the present building” in its Buildings Department application, and it demonstrates continuity with the floor below and with the original building in its segmental-arch-headed window openings, and in its similar decorative details, including pilasters, stone sills supported by corbelled brick courses, and patterned-brick stringcourses. A drawing of the factory following the completion of Slocum’s addition appeared in a 1917 Estey Piano Company advertisement.

 

Over the previous years, the Estey Piano Company had undergone several changes, weathering the deaths—in 1890, 1896, and 1902, respectively—of Jacob Estey, Levi K. Fuller, and Julius Estey. The firm’s “warerooms” or showrooms, which had been at 5 East 14th Street since the time of the company’s founding, were at 97 Fifth Avenue by 1900 and 7 West 29th Street by 1909. They would move again—in 1912 to the since-demolished “Estey Building” at 23 West 42nd Street—and by 1916 to 12 West 45th Street. By 1912, Estey pianos were being sold at Loeser’s department store in Brooklyn; in its advertising, the company took advantage of its historical association with the Estey Organ Company, stating that “the world-renowned Estey Pianos … are just as reliable as the Estey Organs made famous by the same firm in the days of our parents.” On at least one occasion, the Estey Piano Factory witnessed strife between its employees and management, as in 1912, workers struck Estey and other Bronx piano manufacturers that would not recognize the piano makers’ union and refused to close their shop floors to non-union employees.

 

In 1917, John B. Simpson’s leadership of the Estey Piano Company came to an end, when George B. Gittins, the former president of piano manufacturer Kohler & Campbell, purchased a controlling interest in the firm. Gittins, an industry prodigy who was only 37 at the time he took Estey Piano’s helm, appears to have begun revamping the company’s product line almost immediately; an “at-the-factory” clearance sale held in November of 1917 was prompted by the company’s intention “to concentrate on the large-scale production of a few standard models.” Two years later, Gittins purchased M. Welte & Sons, Inc., which was originally the American arm of a German company that had invented the reproducing piano, a technologically advanced kind of player piano using special rolls that were able to express, to some extent, the subtleties of the renowned pianists who had “recorded” them. Following the 1907 introduction of Welte’s “Mignon” reproducing piano in the United States, dozens of the world’s most famous pianists made recordings for Welte, allowing Americans to experience, for the first time, something close to having Paderewski, Saint-Saens, and other virtuosi play for them in their homes.

 

Soon after acquiring Welte, Gittins started shutting down the firm’s Poughkeepsie, N.Y. plant—which had produced rolls, reproducing pianos with and without keyboards, Welte “Philharmonic” reproducing organs, orchestrions, and other products—and expanding the Estey Factory building and its complex. In 1919, architect George F. Hogue of 41 Union Square in Manhattan was hired to add two stories to the northern, three-story portion of the factory, and to add an elevator shaft. This alteration, which cost about $25,000, featured broad expanses of industrial sash typical of the “daylight” factories that were then being constructed around the country. By 1921, Gittins had also constructed a two-story building (not part of this Designation) facing Southern Boulevard and adjoining Snook’s 1890 addition, as well as a four-story factory for Welte (not part of this Designation) that remains today at 27 Bruckner Boulevard. In 1922, the Estey-Welte Corporation was created, which served as an umbrella organization for several Gittins holdings, including the Estey Piano Company and the Welte-Mignon Corporation. Estey, at that time, was manufacturing a variety of pianos, including an 88-note player piano, and manual and reproducing uprights and grands; the new four-story factory on Southern Boulevard made Welte-Mignon pianos and grands, actions for reproducing instruments, and Welte Philharmonic organs.

 

In 1925, perhaps sensing the end of the glory days for the piano and player piano, Gittins decided to diversify into the manufacture of pipe organs for churches, concert halls, theaters, and large residences. In the following year, Estey-Welte appeared to be perfectly healthy, but by January of 1927, a crash in its stock price brought the over-extended company to its knees. Estey-Welte was in serious trouble, and by summer of that year, it was reorganized as the Welte Company. Gittins was soon gone; by 1928 his old firm was reorganized again, as the Welte-Mignon Corp. This latest incarnation of the firm fell into receivership in 1929, when its chief assets were split up and its factory emptied; one investor, Donald F. Tripp, bought some of the organ business, and the Estey Piano Company was sold to the Settergren Piano Company of Bluffton, Ind. Tripp’s firm was bankrupt within two years; in 1935, Settergren was renamed the Estey Piano Company.

 

The Estey Piano name continued on for decades. Estey spinets were being advertised in Chicago in 1948, and the firm’s pianos appeared in Macy’s advertisements in the early-to-mid 1960s. The Estey Piano Company was still operating in 1972, when it received a loan from the Commerce Department to assist it in starting production of a plastic piano. At that time, Estey was described as having “an office in Union, N.J., and an old plant in Bluffton, Ind.”

 

After the old Estey Piano Company Factory was vacated in 1929, it passed through the hands of a number of different owners, and was occupied by many different industrial tenants. A sheet-metal works leased space there in 1932, and its occupants in 1937 included the Whitman Supply Company and Unique Balance Company. By 1939, the factory had been acquired by the Emigrant Industrial Savings Bank. In February of 1940, Emigrant sold the five-story Estey Factory building and the adjacent two-story building constructed by Gittins to the S.H. Pomeroy Company, a manufacturer of window sashes that had been located on the same block as Estey Piano since 1923 or before. One month later, however, the owner of the building was the 120 Lincoln Avenue Realty Corporation, which was leasing space to Alta Furniture Factories. Until at least 1945, 120 Lincoln Avenue Realty remained the owner of the building; in 1969, it was occupied by the Ranger Plastics Corporation, and in 1973, it was home to a draperies manufacturer. At the end of the 1970s, the old Estey Piano Company Factory housed a maker of textile products and its outlet store, along with manufacturers of wire and “novelty” products. In 1995, when the building was mostly vacant, it was purchased by Truro College, which planned to convert it into student dormitories or a home for a liberal arts and sciences program. Those plans fell through, however, and the college sold the former Estey Factory, now known as the Clock Tower Building, to Carnegie Management, which remodeled its interior to accommodate live-in artists’ studios. It retains this use today.

 

Description

 

The Estey Piano Company Factory is an L-shaped, five-story building with a projecting clock tower at its southwest corner. Spanning the east side of Lincoln Avenue between Bruckner Boulevard and East 134th Street, the building has three primary street facades, all of which feature face brick laid in common bond: a 200-foot-long Bruckner Boulevard façade, a 200-foot-long Lincoln Avenue façade, and a façade on 134th Street that is approximately 69 feet in length and attached to an elevator shaft.

 

The original factory building, which was constructed in 1885-86, extended for 100 feet along Lincoln Avenue and for 100 feet along Southern (now Bruckner) Boulevard. Comprising the westernmost 15 upper-story bays on the south façade and the southernmost 15 upper-story bays on the west façade of the existing building, including the clock tower, this original portion of the Estey Piano Factory was extended by 100 feet to the east along Bruckner Boulevard with the construction of a five-story addition in 1890. (The construction of the 1890 addition resulted in the demolition of three buildings of one and two stories that were completed at the same time as the original factory, and which had a combined street frontage of 80 feet.) Before the construction of the 1890 addition, the five-story portion of the south façade terminated, at its east, with a two-bay projection featuring round-headed windows, all set within a corbelled recess, at the first through fifth floors. This projection—which was identical to the two-bay projection that originally terminated the Lincoln Avenue façade, and remains virtually unchanged today—extended above the adjacent portion of the façade, and, like the clock tower, outward from the façade plane. With the completion of John B. Snook & Sons’ 1890 addition, the two-bay projection on the south façade was doubled in width—the two new bays matching the original two—and its parapet was raised to match, in height, the parapet above the then-new, three-bay projection at the eastern end of the extended façade. Both the raised and new parapets featured, just below their pressed-metal cornices, recessed square panels arranged in a row. Also at that time, the four-bay projection became the central feature of a broad, essentially symmetrical Southern Boulevard façade, with the new three-bay projection at the eastern end of the façade balancing the three-bay, projecting clock tower at the building’s corner.

 

The 1890 addition is virtually indistinguishable from the original portion of the factory, largely because it is faced in matching red-orange brick laid in common bond. It also features matching ornament, including stringcourses composed of decorative brick laid in a zigzagging pattern that align with the stringcourses on the original building; a dogtoothed, soldier-brick course just below the parapet that also aligns with the original; recessed, rectangular brick panels with corbelling, and terra cotta tiles arranged in a repeating three-tile pattern, with each of the three tiles featuring a different foliate design, at the roof parapets; projecting, molded sandstone stringcourses just below the parapets; and sandstone window sills, each supported by two courses of corbelled brick. The three-bay projection at the south façade’s eastern end largely duplicates the fenestration and ornament of the clock tower’s second through fifth floors, featuring segmental-headed window openings with arches composed of stone springers and three courses of header brick, set within a corbelled brick recess, at the second floor; square-headed windows at the third and fourth floors, and round-headed windows at the fifth floor; light-colored, contrasting stone trim, which wraps the heads of the rectangular openings and composes a short stringcourse at the springer level of the fifth-floor openings; and a belt course of terra cotta tiles that matches that of the clock tower, in an alternating festoon and lions’-head motif, just below a projecting stone sill course at the third floor. The easternmost three-bay projection, like the central four-bay projection on the south façade, is crowned by a stepped, pressed-metal cornice with a cyma profile at its top. The 1890 addition features seven basement-level openings with stone lintels that are larger than the five basement-level openings on the south façade of the original building; these five original openings retain their historic metal grilles. Aside from this difference, the addition continued the fenestration pattern of the original factory’s south façade: except for the openings on the three-bay east projection, the central four-bay projection, and the clock tower, all of the window openings on the Bruckner Boulevard façade are segmental-headed, each crowned by an arch composed of two header courses of brick.

 

The original part of the Lincoln Avenue façade not including the clock tower—the twelve-bay portion of this façade including, and south of, the five-story projection containing two bays of round-headed windows— is essentially identical to the original part of the Bruckner Boulevard façade, although some minor changes have been made at the first floor. A metal rooftop bulkhead is visible near this façade’s southern end, close to the clock tower. The later portions of the Lincoln Avenue façade north of the original factory, and the 134th Street façade, show evidence of their gradual construction between 1895 and 1919. Although the first through third floors of these facades show kinship with the original factory—particularly in their segmental-headed windows with sandstone sills supported by corbelled brick courses, and in the composition, of each window arch, of two courses of header brick—they also depart from the original façade in significant ways. The bay arrangement of the facades north of the original factory differs from the original bay arrangement, with the 134th Street façade and the northern half of the Lincoln Avenue façade each split into four bays of varying widths separated by austere brick pilasters. The fenestration is less regular than on the original buildings: it appears, for example, that no window opening ever existed at the second-floor, third-northernmost and tenth-northernmost bays on the Lincoln Avenue façade, or at the easternmost and fifth-easternmost second-floor bays on the 134th Street façade. Although the brick of the oldest, first-floor portions of these facades comes close to matching that of the original factory in color, the face brick of the two later two-story additions above—one built in 1909 and one in 1919—is redder in color. On both the Lincoln Avenue and 134th Street facades of the earliest, first-floor addition, and of the second-and-third-floor 1909 addition, stringcourses composed of zigzagging patterned brick align with the patterned-brick stringcourses of the original factory; an exposed horizontal metal beam between the second- and third-floor window openings is slightly lower than the corresponding patterned-brick stringcourse on the original factory. The 1919 addition differs the most of any of the additions from the original factory, featuring large window openings filled with multi-pane metal windows and with concrete lintels and projecting sills. Each of the windows, which are grouped in threes, fours, or fives within their openings, has a total of 12, 16, or 20 panes, and has a central, horizontally pivoting sash of four or six panes. At the eastern end of the north, or 134th Street façade, is an elevator shaft built in 1919 that features, at its ground floor, a large loading bay with a projecting concrete sill.

 

In addition to the Bruckner Boulevard, Lincoln Avenue, and 134th Street primary facades, the Estey Piano Company Factory has two visible secondary facades. The east façade of the Bruckner Boulevard leg of the building features red face brick laid in common bond. A brick rooftop bulkhead and rooftop chain-link fence are visible above this façade. The façade apparently was once painted with the words “ESTEY PIANO MANUFACTORY”; this lettering has either faded, or been partially removed. Visible on the east, or rear façade of the Lincoln Avenue leg of the building, to the south of the brick elevator shaft, are grouped fourth- and fifth-floor, historic metal sashes, apparently dating from 1919, within openings with concrete lintels and sills that are framed by austere brick pilasters. A metal fire escape extends to the roof; roof access is made possible by a break in the parapet.

 

The clock tower projects slightly from the façade plane. Each of the south and west faces of the tower has four window openings set within a two-story corbelled recess, with each of these openings featuring stone sills and headed by a segmental arch composed of three courses of header brick and light-colored stone springers. One pair of recessed brick panels is located below each of the first-floor openings on the tower’s west face, and a single recessed brick panel is located below each of the first-floor openings on its south face; stepped, recessed-brick panels are located below the second-floor openings on the west and south faces. A terra cotta stringcourse composed of terra cotta tiles with an alternating festoon and lions’-head motif above the second-floor windows is located below a projecting stone molding, which itself is just below the sill level of the third-floor window openings; these elements separate the lower two stories of the clock tower from its third through fifth floors. The vertically projecting top two stories of the clock tower are separated from the lower five stories by a projecting stone molding that has seen its profile softened over time. Above this, on each of the south and west faces of the clock tower, is a recessed, corbelled brick panel; faded lettering reading “ESTEY PIANO CO.” is visible within the south panel. The panels are located below two paired courses of corbelled brick that wrap all four sides of the tower. Each of the four sides of the tower contains a round clock with metal hands, with a face of metal and glass, and with metal roman numerals and minute ring; each clock face is surrounded by an inner soldier course of brick and an outer header course of brick, and is flanked by round-headed windows, each with a transom bar and stone sill. Above the clock faces, and wrapping all four sides of the tower, are a projecting stone molding; a terra cotta stringcourse similar to the one below the third-floor windows; four courses of corbelled brick; and a machicolated cornice composed of small, corbelled round arches. A parapet above this cornice is of concrete, or of stucco-covered brick. A segmental-headed opening at the sixth floor of the clock tower, on the tower’s east face, appears to provide access to the roof. Square metal wall anchors, which appear to be original to the building, are present at the first through fifth floors on the tower’s south and west faces, and on all four sides of the tower at the level of the clock faces.

 

Although the Estey Piano Company Factory remains remarkably intact for a building of its age, some alterations have occurred over time. On the 27-bay portion of the south façade east of the clock tower, the easternmost part of the ground floor has been altered with the installation of a three-bay brick projection containing two loading bays and an entrance set within a stepped recess. A projecting wall sign reading “PLUMBING SUPPLIES” on both of its display faces is attached at the easternmost portion of the second floor. The first-floor opening at the second-westernmost bay of the central four-bay projection has been enlarged to become a secondary entrance with a soldier-brick, round arch, and the westernmost first-floor window opening and second-easternmost window openings at the third, fourth, and fifth floors have been filled with brick. The westernmost first-floor window opening appears to be the only one on the south façade to have a concrete, rather than sandstone, sill. No historic windows appear to remain on this facade, except possibly at the easternmost second-, third-, and fourth-floor openings, which contain four-over-four, double-hung windows. These windows are paired at the second floor. The upper portions of the first-floor window openings have been filled with brick, as have the upper portions of the twelve second-floor openings immediately to the east of the clock tower; some of the infill panels at these windows have been punched through with rectangular or round openings. Non-historic metal grilles with lower privacy panels have been installed at the first-floor windows. Three through-the-wall air conditioners are present at the second floor, and numerous vents, satellite dishes, and other non-historic items are attached to the façade and the window sills at the second through fifth floors. A chain-link fence, visible from Bruckner Boulevard, is located on the roof behind the parapet.

 

On the original, twelve-bay portion of the Lincoln Avenue façade immediately to the north of the clock tower, none of the historic windows remain, except at the first floor. All eight first-floor windows on this portion of the façade have wood frames and wood upper sashes; the third- and fourth-northernmost of these windows have two-pane upper sashes with vertical muntins, and the rest have four-pane upper sashes. The second-northernmost window on the original portion of the factory features a round-headed, four-pane upper sash that may be original to the building. Non-historic metal window grilles have been installed at all of these windows; all except the third-southernmost of these have lower privacy panels. The historic entrance, originally located at the second bay north of the clock tower, has been removed; north of the clock tower, a former window opening has been altered to allow for the installation of a non-historic entrance featuring a surround of curved brick in varying shades, a non-historic metal-and-glass door and side panel with a metal intercom, and a non-historic transom light reading “Clock Tower 112.” The openings originally located south of this entrance have been filled with brick that does not match the original; the upper portions of the three southernmost, second-floor window openings have been filled with brick; a through-the-wall air conditioner is present below the second-southernmost, second-floor window opening; and numerous louvers, vents, signs, satellite dishes, and other non-historic items, including electrical conduit below the fourth-through-sixth-southernmost second-floor window openings, are present on this façade. The base of the façade between the entrance and the clock tower is of concrete.

 

On the northern half of the Lincoln Avenue façade—those portions of the façade dating from 1895 and later—alterations include, at the first floor, the enlargement of an opening at the southernmost bay, and its modification into a loading bay; the filling of the second-southernmost opening with brick; the modification of the opening at the seventh-southernmost bay into a secondary entrance; and the infilling of the third-northernmost opening with brick. At the second floor, the second-southernmost opening has been partially filled with brick, and a narrow window has been installed within the reduced opening. At the third floor, the second-southernmost window opening has been filled with brick. The nine remaining first-floor windows on the northern portion of the Lincoln Avenue façade have wood frames and wood top sashes. Non-historic metal grilles have been installed in front of all of these windows. The northernmost and second-, third-, and fifth-northernmost windows feature two-pane top sashes with vertical muntins; the fourth-northernmost window features a four-pane top sash; and the four southernmost of these windows feature four-pane upper and lower sashes, all of which are wood. The fourth and fifth floors appear to contain their historic, multi-pane metal windows with horizontally pivoting sashes, dating from 1919; five of the fourth-floor windows have been altered with the removal of panes for the installation of vents, air conditioners, and satellite dishes. The southernmost fifth-floor window has also been altered with the installation of an air-conditioning unit. Numerous vents, a satellite dish attached to the northernmost fifth-floor window sill, and other non-historic items are present on this façade.

 

The primary north, or 134th Street façade, has also seen alterations, with the filling of the fourthwesternmost first-floor window opening with brick. A non-historic metal gate with gate housing and exposed mechanism has been installed at the first floor, and four vents have been installed on this façade. Vertical wiring, wrapped in insulation, has been installed below the second floor. One window at the fourth floor, and one window at the fifth floor have been altered to allow for the installation of window air conditioning units. The fourth and fifth floors appear to contain their historic, multi-pane metal windows with horizontally pivoting sashes, dating from 1919. The five first-floor windows on the Lincoln Avenue façade have wood frames and wood top sashes; each of the easternmost, third-easternmost, and westernmost of these windows has a two-pane top sash with a vertical muntin, and the others feature four-pane upper sashes. Non-historic metal grilles with privacy panels have been installed in front of the first-floor windows. Two visible satellite dishes have been installed on top of the pilasters on the visible secondary east façade of the Lincoln Avenue leg of the building.

 

Alterations at the clock tower include the removal of the historic entrance on the tower’s south face, at the second-westernmost first-floor bay, and its modification into a window opening; the installation of a metal drainage pipe, which penetrates a terra cotta tile on the east face of the clock tower, above the clock face; and changes to the parapet, which appears to have originally been brick with rectangular, corbelled brick recesses. None of the windows on the clock tower appear to be historic except for the third-southernmost, four-overfour, double-hung wood window at the fourth floor on the west face of the tower; one pane of this window has been removed to allow for the installation of a vent. Brick infill has been installed within the upper portions of the first- and second-floor window openings. Through-the-wall air conditioners have been installed below the second-westernmost opening on the south face, and below the second-southernmost opening on the west face of the tower.

 

- From the 2006 NYCLPC Landmark Designation Report

The photo shows a vibrant nightclub or bar scene bathed in colorful neon lighting, predominantly pink and blue. The bar counter is illuminated with a glowing pink light along its edge. Behind the counter, there's a well-stocked shelf of various liquor bottles and glasses. The atmosphere appears lively with the distinctive nightlife ambiance. On the bar counter, there appears to be some items including what might be a small decorative piece or drink garnish. In the background, you can see part of a sign that reads "FO" (possibly "FOOD" or another word). The setting captures the typical aesthetic of a modern nightclub with its dramatic lighting and stylish bar setup.

© yohanes.budiyanto, 2010

 

LOCATION

The mansion-like Dharmawangsa is set amidst leafy upscale residential area South of Jakarta, with close proximity to the Expat-Zone of Kemang district with trendy pubs; chic restaurants and cafes; designer shops and contemporary art galleries. It's the undisputed expat-heaven of Jakarta. Although it may not be too convenient for someone who prefer CBD location for business matters around the jam-packed Golden Triangle area; The Dharmawangsa still scores big for its unrivalled resort-style ambience with lush greeneries and peaceful residential setting.

 

ROOMS:

Despite sitting atop an entire block covering several hectares in size, The Dharmawangsa is actually a boutique-sized hotel with only 100 rooms; and 64 of them are suites. The entry level room is 66m2, already the size of suites in most hotels in Hong Kong or Tokyo.

 

The interior of the hotel showcases the best of Indonesian culture, with strong references to Javanese, Balinese, Sumatran and East Indonesian heritage. This is one of the very few hotels in Jakarta that proudly pays tribute to local culture and identity, amidst the bunch of mainstream "Westernized" five star hotels around the city.

 

Jaya Ibrahim is the man behind the hotel's huge success, as his signature style has redefined the hospitality design to a new height with substance. Although The Dharmawangsa is one of his debut projects, it is a testament to its profound talent: 13 years have passed and the interior has still remained "current", thanks to its timeless elegance approach.

 

Having said that, the one aspect that needs updating is its in-room technologies and amenities. The TV is surprisingly miniscule in size and is not yet in LCD/plasma form. And the stereo set? Let's just say it reminded me of my high-school time. There is no flashy digital console box that operates the curtains, TV, lightings, etc. But that is probably the charm here. It feels just like home. And all rooms come with a balcony.

 

ROOM TO BOOK:

Senior Executive Room, which faces to the hotel's main courtyard and pool.

 

DINING:

Sriwijaya serves international haute cuisines; while the Dining Room presents esquisite meats and grilled seafood. Then there is the lovely Jakarta Restaurant with its dramatic high ceiling and garden setting that showcases Indonesian and Asian cuisines. Adjacent to the Lobby is 4 bars and lounges, which includes a Tea Lounge, a bar, a Caviar Lounge and a Library. All spaces are breathtakingly designed by Jaya Ibrahim.

 

LEISURE:

The hotel has a unique outdoor pools set amongst tropical Balinese gardens, with most other leisure facilities housed at next door building, aptly called The Bimasena Club. The facilities on offer here include an exclusive Spa; fitness center with whirpool, sauna and steam room; and infinity-edge pool on the top floor.

 

MEETING & CONVENTION:

The Ballroom here is quite small in scale, in comparison to other hotels in the city. Although it is capable of handling up to only 800 people, the Dharmawangsa has an unrivalled access to the leafy gardens, expanding the capacity to 3,000 for cocktail. The pool area itself could be turn into a garden party for 1,000.

 

X-FACTOR:

Jaya Ibrahim-designed interiors; Garden setting and resort ambience; Personal butler.

 

SERVICE:

One of the best in the city; and the only one with personal butler assigned to each guest. The moment guests arrived, they will be escorted to the room where check-in procedure are finalized; and butler immediately serves welcome drink of your choice and introduction to the hotel facilities. Service here is personalized and friendly.

 

PERSONAL RATING:

1. Location: 80

2. Room: 95

3. Quality of Bed: 85

4. Bathroom: 95

5. In-room Tech: 70

6. Service: 90

7. Dining: 85

8. Facilities: 90

9. Wellness: 95

10. Design: 100

11. Value: 85

12. View: 80

 

Overall: 87.50

 

THE DHARMAWANGSA

Jl. Brawijaya Raya No. 26

Jakarta, Indonesia

 

Managing Director: Alexander Nayoan

Executive Chef: Olivier Piganiol

Architect: Jasin Tedjasukmana

Architect (Masterplan): Don Sandy, of Sandy Babcock International

Interior Designer: Jaya Ibrahim

Mather Tower (later Lincoln Tower, as designated on the Michigan–Wacker Historic District roster; now identified primarily by its address) is a Neo-Gothic, terra cotta-clad high-rise structure in Chicago, Illinois, USA. It is located at 75 East Wacker Drive in the downtown "loop" area, adjacent to the Chicago River.

 

The 521-foot-high building is sometimes called "The Inverted Spyglass" by Chicagoans due to its highly unusual design, a 21-story octagonal tower atop a more conventional 20-story rectangular "box." Briefly the tallest building in Chicago at the time of its completion in 1928, it remains the city's most slender high-rise structure at only 100 by 65 feet at its base. The interior space within the upper octagonal spire contains the least square footage per floor of any Chicago skyscraper.

 

en.wikipedia.org/wiki/Mather_Tower

 

333 North Michigan is an art deco skyscraper located in the Loop community area of Chicago, Illinois in the United States. Architecturally, it is noted for its dramatic upper-level setbacks that were inspired by the 1923 skyscraper zoning laws. Geographically, it is known as one of the four 1920s flanks of the Michigan Avenue Bridge (along with the Wrigley Building, Tribune Tower and the London Guarantee Building) that are contributing properties to the Michigan–Wacker Historic District, which is a U.S. Registered Historic District.

 

Additionally, it is known as the geographic beneficiary of the jog in Michigan Avenue, which makes it visible along the Magnificent Mile as the building that seems to be in the middle of the road at the foot of this stretch of road (pictured at left). The building was designed by Holabird & Roche/Holabird & Root and completed in 1928. It is 396 feet (120.7 m) tall, and has 34 storeys.

 

The building is embellished by a polished marble base, ornamental bands, and reliefs depicting frontiersmen and Native Americans at Fort Dearborn, which partially occupied the site.

 

en.wikipedia.org/wiki/333_North_Michigan

 

The London Guarantee Building, formerly known as the Stone Container Building, is a historic building located in the Loop community area of Chicago, Illinois. It is known as one of the four 1920s flanks of the Michigan Avenue Bridge (along with the Wrigley Building, Tribune Tower and 333 North Michigan Avenue). It stands on part of the former site of Fort Dearborn. It was designated a Chicago Landmark on April 16, 1996.

 

The top of the building resembles the Choragic Monument of Lysicrates in Athens, but it is supposedly modelled after the Stockholm Stadshus. It is located in the Michigan–Wacker Historic District. The building stands on the property formerly occupied by the Hoyt Building from 1872 until 1921.

 

en.wikipedia.org/wiki/London_Guarantee_Building

 

The Carbide & Carbon Building is a Chicago landmark located at 230 N. Michigan Avenue. The building, which was built in 1929, is an example of Art Deco architecture designed by Daniel and Hubert Burnham, sons of architect Daniel Burnham, and was designated a Chicago Landmark on May 9, 1996. Originally built as a high-rise office tower, the Carbide & Carbon Building was converted in 2004 to the Hard Rock Hotel Chicago. The building has 37 floors and is 503 feet (153 m) tall.

 

The exterior of the building is covered in polished black granite, and the tower is dark green terra cotta with gold leaf accents. According to popular legend, architects Daniel and Hubert Burnham designed the building to resemble a dark green champagne bottle with gold foil.[citation needed] Beginning on November 16, 2007, the gold-leaf tower was permanently illuminated at night.[1] The design of the building has been compared to the American Radiator Building in New York City.[2]

 

The ground floor was originally designed to display products of the Union Carbide and Carbon Corporation's subsidiaries whose offices were in the building. The lobby features art deco bronzework and black Belgian Marble.

 

en.wikipedia.org/wiki/Carbide_%26_Carbon_Building

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

 

There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.

 

There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).

 

The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).

 

There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.

 

To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).

beverleyminster.org.uk/visit-us-2/a-brief-history/

I'm returning now to photos from the Iceland Cruise that ended in a disaster for us! These were taken as we boarded and sailed from Liverpool. This group starts the 'travelogue' with some photos of the splendid 'Three Graces'. For those who have followed this journey for the last few months up to its dramatic end - I hope that you enjoyed it!

Sumela Monastery is a historic Orthodox monastery built into a steep cliff in the Altındere Valley near Trabzon, Türkiye. Founded in the 4th century, it is dedicated to the Virgin Mary and is famous for its dramatic location, rock-cut architecture, and well-preserved frescoes. Surrounded by dense forests and misty mountains, Sumela offers a powerful connection between nature, history, and spirituality.

The Los Angeles California Temple (formerly the Los Angeles Temple), the tenth operating and the second-largest temple operated by The Church of Jesus Christ of Latter-day Saints, is on Santa Monica Boulevard in the Westwood district of Los Angeles, California. When it was dedicated in 1956, it was the largest temple of the church, later surpassed by the Salt Lake Temple with its additions and annexations. The temple serves 41 stakes in Los Angeles, Ventura, Kern, Santa Barbara and San Luis Obispo Counties. The grounds includes a visitors' center open to the public, the Los Angeles Regional Family History Center, also open to the public, and the headquarters for the Los Angeles mission.

 

The Los Angeles Temple was announced when the church purchased 24.23 acres (98,000 m²) from the Harold Lloyd Motion Picture Company on March 23, 1937, by president Heber J. Grant. Construction was to begin soon thereafter, but financial difficulties relating to the Great Depression and World War II delayed the groundbreaking until 1951.

 

The temple plans were revised at this time to include a priesthood assembly room, an unusual feature in temples built after the Salt Lake Temple. It was also expanded to accommodate an unprecedented 300 patrons per session.

 

Located at 10777 W. Santa Monica Boulevard in the Westwood district of Los Angeles, California, the temple sits atop a small hill above the intersection of Overland Avenue and Santa Monica Boulevard.

 

The well manicured grounds, open to the public, are filled with a various plants, including Canary Island Pine trees, several varieties of palm trees, Bird of Paradise trees, olive trees, and rare Chinese Ginkgo trees. At the left and right of the temple are two fountains, and at the front is a large reflection pool. Several family-themed statues further beautify the grounds. In December temple grounds are all aglow with thousands of multi-colored lights in celebration of Christmas.

 

While not as regionally prominent as the temples in Oakland, San Diego, and Washington, the Los Angeles California Temple is still one of the most distinctive features of Los Angeles' Westside. Thousands of commuters pass it every day on busy Santa Monica Boulevard. The proliferation of high-rise buildings along the Wilshire Boulevard corridor and in nearby Century City has reduced its prominence in the Westside skyline. However, its dramatic night lighting and sheer size still make an imposing sight, particularly for travelers exiting the Santa Monica Freeway northbound on Overland.

 

Numerous Church facilities are on its grounds including a meetinghouse, a baseball field, the headquarters of the Church's California Los Angeles Mission, and apartments (used by missionaries, temple workers, temple patrons, and visiting church officials).

 

The remaining land, along Manning Avenue, was subdivided for residential lots, the sale of which considerably offset the expense of constructing the temple. Because it was the church's first temple (save the roughly contemporaneous Bern Switzerland Temple) built outside of an LDS-dominated settlement, the Los Angeles Temple was the first LDS temple explicitly designed for automobile accessibility: its parking facilities were larger than those of any temple built previously, and there is no direct pedestrian connection between the front doors and Santa Monica Boulevard.

 

The temple's architecture is generally Modernist, an aesthetic that extends to the choice of exterior cladding: 146,000 square feet (14,000 m²) of Mo-Sai pre-cast concrete facing, a mixture of crushed quartz and white Portland cement quarried in Utah and Nevada. The very light brown pigmentation of the Mo-Sai blend has the advantage of concealing the thin layer of soot that accumulates on most buildings in Los Angeles. The temple is 369 feet (112 m) long, 269 feet (82 m) wide and has an overall height of 257 feet (78 m). Atop the temple stands a 15 foot (5 m) tall statue of the angel Moroni.

 

The rooms include a baptistry, celestial room, four ordinance rooms, ten sealing rooms, and an assembly room that stretches the entire length of the temple. The Los Angeles temple features murals on the walls of its progressive-style ordinance rooms including the celestial room. The only other temple with celestial room murals is the Idaho Falls Idaho Temple.

 

en.wikipedia.org/wiki/Los_Angeles_California_Temple

 

There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.

 

There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).

 

The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).

 

There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.

 

To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).

beverleyminster.org.uk/visit-us-2/a-brief-history/

Easel paintings played 'an important role in eighteenth-century interior decoration: they were intended to testify to the owners' cultivated taste. Yet pictures were acquired in a casual manner and hung only with an eye to their decorative effect. The dominating role in the Pavlovsk Picture Gallery belongs to large canvases by Italian and Flemish masters, painted expressly for display in palace apartments. The Gallery also contains smaller paintings by celebrated seventeenth-century Dutch masters - genre pieces and landscapes in the realistic manner, such as were generally used to decorate the houses of Dutch burghers. One of the large canvases, Expulsion from Paradise by Luca Giordano, notable for its dramatic colouring and strongly dynamic quality, ranks with the master's best works.

 

The walls of the Picture Gallery are lined with beautiful vases of coloured stone, in a variety of shapes, produced at the Peterhof, Ekaterinburg and Kolyvan Stone Works. The serf masters who made them had a keen sense of the beauty of the stone, which they revealed through the techniques of their craft. The pink rhodonite with darkish spots, greenish Revniukha (Revnevskaya) jasper, dark brown Korgon porphyry, pale greenish-grey Kaikan jasper, each adds its own touch of colour to the decor of the gallery.

 

The interior is furnished with carved and gilded furniture, card tables of inlaid wood, crystal chandeliers with stems of blue glass, from the workshop of Pierre Gouthiere, candelabra on tripod stands, of faultless outline, with exquisite bronzework, a clock, etc.

www.alexanderpalace.org/pavlovsk/gallery.html

 

Paul and Maria collected much of this on their over one-year-long- grand tour of western Europe.

 

Pavlovsk Palace

Pavlovsk, Russia

DSCN8387

The Rathskeller in the Seelbach Hotel, Louisville, Kentucky

The 1907 addition to The Seelbach in Louisville, Kentucky, included a German rathskeller made of Rookwood Pottery created in nearby Cincinnati, Ohio, by workers hired from the Art Academy. Rookwood Pottery was founded by Maria Longworth Nichols (later Mrs. Bellamy Storer Jr.) in 1880.

 

According to "The Seelbach Hotel, A History of Louisville Tradition" by J. Theriot in August, 1988, "In making this expensive type of pottery, decorations were drawn by hand on the clay before firing, making the design part of the ware. After baking, various glazes were added in subsequent firings. The floors, columns and walls of the eighty-foot square room were made of the pottery. The ceiling is fine-tooled leather."

 

To complement the room, The Seelbach Realty Company's president, Charles C. Vogt, presented the hotel with a $10,000 gift, a Rookwood-faced clock. Such a collection of Rookwood was very rare and, today, The Rathskeller is one of only two surviving ensembles of this art form.

 

The Rathskeller (ratskellar, a German word meaning restaurant in the town-hall cellar) was built in Bavarian tradition. The Seelbach's Rathskeller menu offers this description: "As a matter of fact the Rathskeller in every essential, artistic detail, is a reproduction of the underground drinking and council hall of one of the famous castles on the Rhine."

 

The graceful arches supported by noble columns give a cathedral-like effect. The archway pillars are encircled with Rookwood pelican frescoes, a symbol of good luck, and the ceiling above the bar is covered with hand-painted 24K gold leaf leather detailing the signs of the zodiac.

 

The Rathskeller achieved immediate popularity. The July 1912 edition of Hotel Monthly describes it as having a "seating capacity from 300 to 400." Not only was it a beautiful nightspot, conveniently located for the after-theater crowds, but it was also one of the first air-conditioned rooms ever built. The Seelbachs vowed to keep the room at least 10 degrees cooler than the outside summer temperatures. To do so required 40 tons of steam-produced refrigeration every 24 hours.

 

When the hotel was sold to Abraham Liebling, one of the first improvements was for the managers to lease a corner of the first floor to Walgreen Drugs. The Seelbach welcomed this renovation. Since prohibition and the nationwide ban on alcohol sales, the first floor bar had closed and The Rathskeller was little more than an extension of a restaurant. With the drug store on the main floor, the restaurant simply found a home downstairs in the basement. Several years later after prohibition ended, management moved the restaurant back up to the renovated first floor and closed The Rathskeller for extensive changes. In April 1934, it re-opened with a 56-foot bar staffed by six bartenders. With these renovations, the basement bar moved into a new era. Instead of simply providing a stopping place for late-night theater patrons, The Rathskeller would now offer its own musical and dramatic entertainment featuring local bands and occasional first-run theater.

 

When Walgreen's lease expired in 1941, management opted to open a new nightclub, tentatively called The Seelbach Café-Bar. The club took away from The Rathskeller and in 1945, when the Legionaries offered to rent the basement, including The Rathskeller, for a members-only club, the managers agreed. Today, The Seelbach's most treasured heirloom, The Rathskeller, with its dramatic design, lighting, and hand-carved architectural details, is again operated by The Seelbach and is available for private events.

  

The RathskellerThe Rathskeller is the only surviving room in the world completely encrusted in Rookwood pottery. Rookwood pelicans pervade the area, and although the Hotel’s tourist information likes to cheerfully note that the pelicans are there “for good luck,” it’s also true that the pelican is regarded in some occult mythologies as a symbol of resurrecting one’s children after having killed them oneself, by anointing them with one’s own blood. The pelican has also long been synonymous with the Phoenix (the mythological bird of occult initiation, wherein one is reborn into a new awareness or gnosis) and with Henet (a pelican goddess from pyramid-era Egypt, who appears on walls of ancient tombs and in royal funerary texts).

 

The Seelbach Hotel was the dream of two German immigrants, and over the past century it has gained the reputation of one of the finest hotels in the area.

 

"They opened the doors in 1905, the original cost was approximately $990,000 dollars," says Larry Johnson, who is now the lobby concierge at Louisville's Seelbach Hotel.

 

"The poker room had the distinction of being where Al Capone came to play poker," Johnson says. "He probably would have stopped here on his way back to Chicago from being in eastern Kentucky, where he picked up his moonshine." It was the era of Prohibition and Al Capone played it safe at the hotel, always facing a mirror in the poker room to keep an eye on his competition ... and on his back. And Johnson says there were "lookouts" throughout the hotel. "Whenever the police came into the lobby, somebody would step on the button and the doors going into the poker room would automatically close and he would know to get out."

 

And secret passageways -- now sealed up -- allowed just that. "One of the doors went out and down to the street, and the other door went downstairs to the tunnels underneath the hotel. They would go down into the tunnels and he could go anywhere from a block to a mile away form the hotel without being seen."

 

Louisville police never caught up with Capone, whether he was escaping a card game or from another room he favored: the Rathskeller. Now a backdrop for corporate events and other parties, Johnson says the Rathskeller was a "big night club back in the 20s and 30s, it was a USO in World War I and World War II. During Prohibition, it was a dinner club."

 

Capone wasn't the only well-known character to frequent the Seelbach. An Army captain stationed at Camp Taylor also gained quite a reputation at the hotel. F. Scott Fitzgerald, he frequented the bar and supposedly he was kicked out on several occasions for being a booze hound and being a little rowdy," Johnson says. Despite his brushes with the law, Fitzgerald loved the opulent hotel. So much so he wrote about it years later in the Great Gatsby.

 

GENE COLAN

Journey Into Mystery 81

 

GENE COLAN

Birth Date: Sep 1, 1926

Birthplace: Bronx, NY

 

Gene grew up in New York & graduated from George Washington High School (a one-of-a-kind public school majoring in gifted students in the visual arts). Gene also studied at the Art Students League of New York under renowned illustrator Frank Riley and the famous surrealistic, modern Japanese painter Kuniashi. During World War II, a two year ticket with Special Services in the Army Air Corps found Corporal Colan in the Philippines where his artwork brightened the pages of the Manila Times and won him numerous awards.

 

Back in the States, Gene Colan's official career in comics began in 1944 at Fiction House drawing Wings Comics. Gene then settled down to the task of finding a permanent niche in the comic industry, showing work to both National (DC) and Timely (Marvel) Comics. Stan Lee at Timely Comics was impressed enough to hire Gene for around sixty odd dollars a week. Since that time, Gene has been associated with both companies from 1946 to the present day. In addition, Gene has also freelanced for numerous independent publishers over the years as well.

 

Gene's work at Marvel included Menace, Mystic, and Journey into Mystery before heading over to DC for a while to do Sea Devils and Hopalong Cassidy. Returning to Marvel Comics in the 60s, Gene worked on Silver Surfer, Iron Man, Sub-Mariner, Captain America and Dr. Strange. Especially notable were his long runs on Tomb of Dracula (with Marv Wolfman) and Daredevil and his incredible collaboration with Steve Gerber on Howard the Duck. In the 80s, Gene did some more work over at DC including Night Force (again with Marv Wolfman) and the notable series Nathaniel Dusk. Nathaniel Dusk is notable as Gene has always enjoyed the detective genre, and it was one of the first times a book went to press with colors done directly over the pencils (no inking involved). Recently,

 

Gene returned to Daredevil for a short stint and did the art for the Curse of Dracula mini-series (with Wolfman) over at Dark Horse. He also did the art chores on graphic novels to accompany the motion pictures Aliens & Predator. Gene is currently (as of 2001) working on an adaptation of the old pulp fiction character "The Spider" which is slated for film in the near future. Gene's also returned to drawing special project Batman stories for DC comics

 

Gene's also been busy outside the comics genre as well. While spending most of his life in New York City, Gene moved to Vermont a few years ago where he is a member of the Bennington Museum, the Southern Vermont Art Center (Manchester, VT), and a Friend of the Clark Art Institute (Williamstown, MA). He's also enjoyed membership in the Salmagundi Club (New York, Chicago, and Paris). Gene has taught at both the School of Visual Arts in Manhattan and the Fashion Institute of Technology. Gene has enjoyed showings at the prestigious Bess Cutler Gallery in Soho, New York City and Manchester's Elm Street Arts Gallery where he lectured on Comics, Cinema, and Continuity Art.

 

Gene has made a lasting impression in comics that will last for many years to come. Not only is he closely associated with popular characters like Daredevil, Batman, Captain America, Dracula, Iron Man, Captain Marvel, Howard the Duck, Wonder Woman, Sub-Mariner and many others, he's also worked just about every genre comics have ever touched on: Romance, War, Crime/Detective, Western, Sci-Fi, Horror, Humor, and of course Superheroes. Within each of these genres, Gene has gathered a very devoted following. His artwork is original & unique, copied from nowhere but his own fertile imagination. His style is immediately recognizable for its dramatic & sweeping cinematic form, mastery of light and shadow, expression and characterization, and unusual eye-catching layouts. Gene's also responsible for the innovative use of "finished pencils" as artwork. He's the only artist today whose work is often published directly from his pencils.

 

Beam, Alex. “Lichtenstein: Creator or Copycat?” Boston Globe. 18 Oct. 2006. Accessed on 3 Dec. 2008 at .

 

Sulawesi, formerly known as Celebes (/ˈsɛlɪbiːz, sɪˈliːbiːz/), is an island in Indonesia. One of the four Greater Sunda Islands, and the world's eleventh-largest island, it is situated east of Borneo, west of the Maluku Islands, and south of Mindanao and the Sulu Archipelago. Within Indonesia, only Sumatra, Borneo and Papua are larger in territory, and only Java and Sumatra have larger populations.

 

The landmass of Sulawesi includes four peninsulas: the northern Minahasa Peninsula; the East Peninsula; the South Peninsula; and the Southeast Peninsula. Three gulfs separate these peninsulas: the Gulf of Tomini between the northern Minahasa and East peninsulas; the Tolo Gulf between the East and Southeast peninsulas; and the Bone Gulf between the South and Southeast peninsulas. The Strait of Makassar runs along the western side of the island and separates the island from Borneo.

 

ETYMOLOGY

The name Sulawesi possibly comes from the words sula ("island") and besi ("iron") and may refer to the historical export of iron from the rich Lake Matano iron deposits. The name came into common use in English following Indonesian independence.

 

The name Celebes was originally given to the island by Portuguese explorers. While its direct translation is unclear, it may be considered a Portuguese rendering of the native name "Sulawesi".

 

GEOGRAPHY

Sulawesi is the world's eleventh-largest island, covering an area of 174,600 km2. The central part of the island is ruggedly mountainous, such that the island's peninsulas have traditionally been remote from each other, with better connections by sea than by road. The three bays that divide Sulawesi's peninsulas are, from north to south, the Tomini, the Tolo and the Boni. These separate the Minahassa or Northern Peninsula, the East Peninsula, the Southeast Peninsula and the South Peninsula.

 

The Strait of Makassar runs along the western side of the island. The island is surrounded by Borneo to the west, by the Philippines to the north, by Maluku to the east, and by Flores and Timor to the south.

 

MINOR ISLANDS

The Selayar Islands make up a peninsula stretching southwards from Southwest Sulawesi into the Flores Sea are administratively part of Sulawesi. The Sangihe Islands and Talaud Islands stretch northward from the northeastern tip of Sulawesi, while Buton Island and its neighbours lie off its southeast peninsula, the Togian Islands are in the Gulf of Tomini, and Peleng Island and Banggai Islands form a cluster between Sulawesi and Maluku. All the above-mentioned islands, and many smaller ones are administratively part of Sulawesi's six provinces.

 

GEOLOGY

The island slopes up from the shores of the deep seas surrounding the island to a high, mostly non-volcanic, mountainous interior. Active volcanoes are found in the northern Minahassa Peninsula, stretching north to the Sangihe Islands. The northern peninsula contains several active volcanoes such as Mount Lokon, Mount Awu, Soputan and Karangetang.

 

According to plate reconstructions, the island is believed to have been formed by the collision of terranes from the Asian Plate (forming the west and southwest) and from the Australian Plate (forming the southeast and Banggai), with island arcs previously in the Pacific (forming the north and east peninsulas).[8] Because of its several tectonic origins, various faults scar the land and as a result the island is prone to earthquakes.

 

Sulawesi, in contrast to most of the other islands in the biogeographical region of Wallacea, is not truly oceanic, but a composite island at the centre of the Asia-Australia collision zone. Parts of the island were formerly attached to either the Asian or Australian continental margin and became separated from these areas by vicariant processes. In the west, the opening of the Makassar Strait separated West Sulawesi from Sundaland in the Eocene c. 45 Mya. In the east, the traditional view of collisions of multiple micro-continental fragments sliced from New Guinea with an active volcanic margin in West Sulawesi at different times since the Early Miocene c. 20 Mya has recently been replaced by the hypothesis that extensional fragmentation has followed a single Miocene collision of West Sulawesi with the Sula Spur, the western end of an ancient folded belt of Variscan origin in the Late Paleozoic.

 

PREHISTORY

Before October 2014, the settlement of South Sulawesi by modern humans had been dated to c. 30,000 BC on the basis of radiocarbon dates obtained from rock shelters in Maros. No earlier evidence of human occupation had at that point been found, but the island almost certainly formed part of the land bridge used for the settlement of Australia and New Guinea by at least 40,000 BCE. There is no evidence of Homo erectus having reached Sulawesi; crude stone tools first discovered in 1947 on the right bank of the Walennae River at Berru, Indonesia, which were thought to date to the Pleistocene on the basis of their association with vertebrate fossils, are now thought to date to perhaps 50,000 BC.

 

Following Peter Bellwood's model of a southward migration of Austronesian-speaking farmers (AN), radiocarbon dates from caves in Maros suggest a date in the mid-second millennium BC for the arrival of a group from east Borneo speaking a Proto-South Sulawesi language (PSS). Initial settlement was probably around the mouth of the Sa'dan river, on the northwest coast of the peninsula, although the south coast has also been suggested.

 

Subsequent migrations across the mountainous landscape resulted in the geographical isolation of PSS speakers and the evolution of their languages into the eight families of the South Sulawesi language group. If each group can be said to have a homeland, that of the Bugis – today the most numerous group – was around lakes Témpé and Sidénréng in the Walennaé depression. Here for some 2,000 years lived the linguistic group that would become the modern Bugis; the archaic name of this group (which is preserved in other local languages) was Ugiq. Despite the fact that today they are closely linked with the Makasar, the closest linguistic neighbours of the Bugis are the Toraja.

 

Pre-1200 Bugis society was most likely organised into chiefdoms. Some anthropologists have speculated these chiefdoms would have warred and, in times of peace, exchanged women with each other. Further, they have speculated that personal security would have been negligible and head-hunting an established cultural practice. The political economy would have been a mixture of hunting and gathering and swidden or shifting agriculture. Speculative planting of wet rice may have taken place along the margins of the lakes and rivers. In Central Sulawesi, there are over 400 granite megaliths, which various archaeological studies have dated to be from 3000 BC to AD 1300. They vary in size from a few centimetres to around 4.5 metres. The original purpose of the megaliths is unknown. About 30 of the megaliths represent human forms. Other megaliths are in form of large pots (Kalamba) and stone plates (Tutu'na).In October 2014 it was announced that cave paintings in Maros had been dated as being about 40,000 years old. Dr Maxime Aubert, of Griffith University in Queensland, Australia, said that the minimum age for the outline of a hand was 39,900 years old, which made it "the oldest hand stencil in the world" and added, "Next to it is a pig that has a minimum age of 35,400 years old, and this is one of the oldest figurative depictions in the world, if not the oldest one."

 

HISTORY

Starting in the 13th century, access to prestige trade goods and to sources of iron started to alter long-standing cultural patterns and to permit ambitious individuals to build larger political units. It is not known why these two ingredients appeared together; one was perhaps the product of the other.

 

In 1367, several identified polities, located on the island, were mentioned in the Javanese manuscript Nagarakretagama dated from the Majapahit period. Canto 14 mentioned polities including Gowa, Makassar, Luwu and Banggai. It seems that by the 14th century, polities in the island were connected in an archipelagic maritime trading network, centered in the Majapahit port in East Java. By 1400, a number of nascent agricultural principalities had arisen in the western Cenrana valley, as well as on the south coast and on the west coast near modern Parepare.

 

The first Europeans to visit the island (which they believed to be an archipelago due to its contorted shape) were the Portuguese sailors Simão de Abreu, in 1523, and Gomes de Sequeira (among others) in 1525, sent from the Moluccas in search of gold, which the islands had the reputation of producing. A Portuguese base was installed in Makassar in the first decades of the 16th century, lasting until 1665, when it was taken by the Dutch. The Dutch had arrived in Sulawesi in 1605 and were quickly followed by the English, who established a factory in Makassar. From 1660, the Dutch were at war with Gowa, the major Makassar west coast power. In 1669, Admiral Speelman forced the ruler, Sultan Hasanuddin, to sign the Treaty of Bongaya, which handed control of trade to the Dutch East India Company. The Dutch were aided in their conquest by the Bugis warlord Arung Palakka, ruler of the Bugis kingdom of Bone. The Dutch built a fort at Ujung Pandang, while Arung Palakka became the regional overlord and Bone the dominant kingdom. Political and cultural development seems to have slowed as a result of the status quo. In 1905 the entire island became part of the Dutch state colony of the Netherlands East Indies until Japanese occupation in the Second World War. During the Indonesian National Revolution, the Dutch Captain 'Turk' Westerling led campaigns in which hundreds, maybe thousands died during the South Sulawesi Campaign. Following the transfer of sovereignty in December 1949, Sulawesi became part of the federal United States of Indonesia, which in 1950 became absorbed into the unitary Republic of Indonesia.

 

CENTRAL SULAWESI

The Portuguese were rumoured to have a fort in Parigi in 1555. The Kaili were an important group based in the Palu valley and related to the Toraja. Scholars relate that their control swayed under Ternate and Makassar, but this might have been a decision by the Dutch to give their vassals a chance to govern a difficult group. Padbruge commented that in the 1700s Kaili numbers were significant and a highly militant society. In the 1850s a war erupted between the Kaili groups, including the Banawa, in which the Dutch decided to intervene. A complex conflict also involving the Sulu Island pirates and probably Wyndham (a British merchant who commented on being involved in arms dealing to the area in this period and causing a row).

 

In the late 19th century the Sarasins journeyed through the Palu valley as part of a major initiative to bring the Kaili under Dutch rule. Some very surprising and interesting photographs were taken of shamans called Tadulako. Further Christian religious missions entered the area to make one of the most detailed ethnographic studies in the early 20th century. A Swede by the name of Walter Kaudern later studied much of the literature and produced a synthesis. Erskine Downs in the 1950s produced a summary of Kruyts and Andrianis work: "The religion of the Bare'e-Speaking Toradja of Central Celebes," which is invaluable for English-speaking researchers. One of the most recent publications is "When the bones are left," a study of the material culture of central Sulawesi, offering extensive analysis. Also worthy of study are the brilliant works of Monnig Atkinson on the Wana shamans who live in the Mori area.

 

POPULATION

The 2000 census population of the provinces of Sulawesi was 14,946,488, about 7.25% of Indonesia's total population. By the 2010 Census the total had reached 17,371,782, and the latest official estimate (for January 2014) is 18,455,058. The largest city is Makassar.

 

RELIGION

Islam is the majority religion in Sulawesi. The conversion of the lowlands of the south western peninsula (South Sulawesi) to Islam occurred in the early 17th century. The kingdom of Luwu in the Gulf of Bone was the first to accept Islam in February 1605; the Makassar kingdom of Goa-Talloq, centred on the modern-day city of Makassar, followed suit in September. However, the Gorontalo and the Mongondow peoples of the northern peninsula largely converted to Islam only in the 19th century. Most Muslims are Sunnis.

  

POPULATION OF SULAWESI BY PROVINCE (2010)

South Sulawesi (46.4%)

Central Sulawesi (15%)

Southeast Sulawesi (13%)

North Sulawesi (13.0%)

West Sulawesi (6.6%)

Gorontalo (6%)

 

Christians form a substantial minority on the island. According to the demographer Toby Alice Volkman, 17% of Sulawesi's population is Protestant and less than 2% is Roman Catholic. Christians are concentrated on the tip of the northern peninsula around the city of Manado, which is inhabited by the Minahasa, a predominantly Protestant people, and the northernmost Sangir and Talaud Islands. The Toraja people of Tana Toraja in Central Sulawesi have largely converted to Christianity since Indonesia's independence. There are also substantial numbers of Christians around Lake Poso in Central Sulawesi, among the Pamona speaking peoples of Central Sulawesi, and near Mamasa.

 

Though most people identify themselves as Muslims or Christians, they often subscribe to local beliefs and deities as well. It is not uncommon for both groups to make offerings to local gods, goddesses, and spirits.

 

Smaller communities of Buddhists and Hindus are also found on Sulawesi, usually among the Chinese, Balinese and Indian communities.

 

AGMINISTRATION

The island is subdivided into six provinces: Gorontalo, West Sulawesi, South Sulawesi, Central Sulawesi, Southeast Sulawesi and North Sulawesi. West Sulawesi is a new province, created in 2004 from part of South Sulawesi. The largest cities on the island are Makassar, Manado, Palu, Kendari, Bitung, Gorontalo, Palopo and Baubau.

 

FLORA AND FAUNA

Sulawesi is part of Wallacea, meaning that it has a mix of both Indomalayan and Australasian species that reached the island by crossing deep-water oceanic barriers. The flora includes one native eucalypt, E. deglupta. There are 8 national parks on the island, of which 4 are mostly marine. The parks with the largest terrestrial area are Bogani Nani Wartabone with 2,871 km2 and Lore Lindu National Park with 2,290 km2. Bunaken National Park which protects a rich coral ecosystem has been proposed as an UNESCO World Heritage Site.

 

MAMMALS

Early in the Pleistocene, Sulawesi had a dwarf elephant and a dwarf form of Stegodon, (an elephant relative, S. sompoensis); later both were replaced by larger forms. A giant suid, Celebochoerus, was also formerly present. It is thought that many of the migrants to Sulawesi arrived via the Philippines, while Sulawesi in turn served as a way station for migrants to Flores. A Pleistocene faunal turnover is recognised, with the competitive displacement of several indigenous tarsiers by more recently arriving ones and by Celebochoerus by other medium-sized herbivores like the babirusa, anoa and Celebes warty pig.

 

There are 127 known extant native mammalian species in Sulawesi. A large percentage, 62% (79 species) are endemic, meaning that they are found nowhere else in the world. The largest of these are the two species of anoa or dwarf buffalo. Other artiodactyl species inhabiting Sulawesi are the warty pig and the babirusas, which are aberrant pigs. The only native carnivoran is the Sulawesi palm civet (Asian palm and Malayan civets have been introduced). Primates present include a number of tarsiers (T. fuscus, Dian's, Gursky's, Jatna's, Wallace's, the Lariang and pygmy tarsiers) as well as macaques (Heck's, the booted, crested black, Gorontalo, moor, and Tonkean macaques). While most of Sulawesi's mammals are placental and have Asian relatives, several species of cuscus, arboreal marsupials of Australasian origin, are also present (Ailurops ursinus and Strigocuscus celebensis).

 

Sulawesi is home to a large number of endemic rodent genera. Murid rodent genera endemic to Sulawesi and immediately adjacent islands (such as the Togian Islands, Buton Island, and Muna Island) are Bunomys, Echiothrix, Margaretamys, Taeromys and Tateomys as well as the single-species genera Eropeplus, Hyorhinomys, Melasmothrix, Paucidentomys, Paruromys and Sommeromys. Endemic sciurid genera are Hyosciurus, Prosciurillus, Rubrisciurus and Waiomys.

 

While over 20 bat species are present on Sulawesi, only a portion of these are endemic: Rhinolophus tatar, Scotophilus celebensis and the megabats Acerodon celebensis, Boneia bidens, Dobsonia exoleta, Harpyionycteris celebensis, Neopteryx frosti, Rousettus celebensis and Styloctenium wallacei.

 

Several endemic shrews, the Sulawesi shrew, Sulawesi tiny shrew and the Sulawesi white-handed shrew, are found on the island.

 

BIRDS

By contrast, Sulawesian bird species tend to be found on other nearby islands as well, such as Borneo; 31% of Sulawesi's birds are found nowhere else. One true endemic is the fiery-browed starling. Another endemic bird (also found on small neighboring islands) is the largely ground-dwelling, chicken-sized maleo, a megapode which uses hot sand close to the island's volcanic vents to incubate its eggs. Others include the flightless snoring rail, the Sulawesi masked owl, the Sulawesi myna and the grosbeak starling. There are around 350 known bird species in Sulawesi. An international partnership of conservationists, donors, and local people have formed the Alliance for Tompotika Conservation, in an effort to raise awareness and protect the nesting grounds of these birds on the central-eastern arm of the island.

 

REPTILES

The larger reptiles of Sulawesi are not endemic and include reticulated and Burmese pythons, king cobras, water monitors, sailfin lizards, saltwater crocodiles and green sea turtles. An extinct giant tortoise, Megalochelys atlas, was formerly present, but disappeared by 840,000 years ago, possibly because of the arrival of humans. Similarly, komodo dragons or similar lizards appear to have inhabited the island, being among its apex predators. The smaller snakes of Sulawesi include endemic forms such as Calamaria boesemani, Calamaria muelleri, Calamaria nuchalis, Cyclotyphlops, Enhydris matannensis, Ptyas dipsas, Rabdion grovesi, Tropidolaemus laticinctus and Typhlops conradi. Similarly, the smaller lizards of Sulawesi include nonendemic species such as Bronchocela jubata, Dibamus novaeguineae and Gekko smithii, as well as endemic species such as Lipinia infralineolata and Luperosaurus iskandari.

 

AMPHIBIANS

The amphibians of Sulawesi include the endemic frogs Hylarana celebensis, H. macrops, H. mocquardi, Ingerophrynus celebensis, Limnonectes arathooni, L. larvaepartus, L. microtympanum, Occidozyga celebensis, O. semipalmata and O. tompotika as well as the endemic "flying frogs" Rhacophorus edentulus and R. georgii.

 

FRESHWATER FISH

Sulawesi is home to more than 70 freshwater fish species, including more than 55 endemics. Among these are the genus Nomorhamphus, a species flock of viviparous halfbeaks containing 12 species that only are found on Sulawesi (others are from the Philippines). In addition to Nomorhamphus, the majority of Sulawesi's freshwater fish species are ricefishes, gobies (Glossogobius and Mugilogobius) and Telmatherinid sail-fin silversides. The last family is almost entirely restricted to Sulawesi, especially the Malili Lake system, consisting of Matano and Towuti, and the small Lontoa (Wawantoa), Mahalona and Masapi. Another unusual endemic is Lagusia micracanthus from rivers in South Sulawesi, which is the sole member of its genus and among the smallest grunters. The gudgeon Bostrychus microphthalmus from the Maros Karst is the only described species of cave-adapted fish from Sulawesi, but an apparently undescribed species from the same region and genus also exists.

 

FRESHWATER CRUSTACEANS AND SNAILS

Many species of Caridina freshwater shrimp and parathelphusid freshwater crabs (Migmathelphusa, Nautilothelphusa, Parathelphusa, Sundathelphusa and Syntripsa) are endemic to Sulawesi. Several of these species have become very popular in the aquarium hobby, and since most are restricted to a single lake system, they are potentially vulnerable to habitat loss and overexploitation. There are also several endemic cave-adapted shrimp and crabs, especially in the Maros Karst. This includes Cancrocaeca xenomorpha, which has been called the "most highly cave-adapted species of crab known in the world".

 

The genus Tylomelania of freshwater snails is also endemic to Sulawesi, with the majority of the species restricted to Lake Poso and the Malili Lake system.

 

MISCELLANEOUS

The mimic octopus is also present in the waters of Sulawesi's coast.

 

CONSERVATION

Sulawesi island was recently the subject of an Ecoregional Conservation Assessment, coordinated by The Nature Conservancy. Detailed reports about the vegetation of the island are available. The assessment produced a detailed and annotated list of 'conservation portfolio' sites. This information was widely distributed to local government agencies and nongovernmental organizations. Detailed conservation priorities have also been outlined in a recent publication.

 

The lowland forests on the island have mostly been removed. Because of the relative geological youth of the island and its dramatic and sharp topography, the lowland areas are naturally limited in their extent. The past decade has seen dramatic conversion of this rare and endangered habitat. The island also possesses one of the largest outcrops of serpentine soil in the world, which support an unusual and large community of specialized plant species. Overall, the flora and fauna of this unique center of global biodiversity is very poorly documented and understood and remains critically threatened.

 

The islands of Pepaya, Mas and Raja islands, located in Sumalata Village - North Gorontalo Regency (about 30 km from Saronde Island), have been named a nature reserve since the Dutch colonial time in 1936. Four of the only seven species of turtles can be found in the islands, the world's best turtle habitat. They include Penyu Hijau (Chelonia midas), Penyu Sisik (Eretmochelys imbricata), Penyu Tempayan (Caretta caretta) and Penyu Belimbing (Dermochelys coriacea). In 2011, the habitat was threatened by human activities such as illegal poaching and fish bombing activities; furthermore, a lot of coral reefs, which represent a source of food for turtles, have been damaged.

 

ENVIRONMENT

The largest environmental issue in Sulawesi is deforestation. In 2007, scientists found that 80 percent of Sulawesi's forest had been lost or degraded, especially centered in the lowlands and the mangroves. Forests have been felled for logging and large agricultural projects. Loss of forest has resulted in many of Sulawesi's endemic species becoming endangered. In addition, 99 percent of Sulawesi's wetlands have been lost or damaged.

 

Other environmental threats included bushmeat hunting and mining.

 

PARKS

The island of Sulawesi has six national parks and nineteen nature reserves. In addition, Sulawesi has three marine protected areas. Many of Sulawesi's parks are threatened by logging, mining, and deforestation for agriculture.

 

WIKIPEDIA

Bronx, New York City, New York, United States of America

 

If you want to know more about my walks and photos, check out my blog.

 

Summary

 

Featuring robust brick facades and a high corner clock tower, the former Estey Piano Company Factory is a distinguished monument to an industry that was once one of the Bronx’s most important. Anchoring the northeast corner of Lincoln Avenue and Southern (now Bruckner) Boulevard since 1886, when its original portion was completed, the Estey building is the oldest-known former piano factory standing in the Bronx today. It is also one of the earliest large factories remaining in its Mott Haven neighborhood, dating from the period in which the area first experienced intensive industrial development. Today, as in decades past, the building’s signature clock tower and expansive facades—simply but elegantly detailed with terra cotta, patterned brick, and contrasting stone—are visible from the waterfront and nearby Harlem River bridges, making the Estey Factory a true neighborhood landmark.

 

Manufacturing blossomed in the Mott Haven section of the Bronx during the 1880s, when new factories started springing up in the area east of Third Avenue. Many of these produced pianos or their components, and by 1919, the Bronx had more than 60 such factories, making it one of America’s piano-manufacturing centers. One of the city’s first piano factories to be built in the Annexed District or North Side, as the western portions of the Bronx were known between 1874 and 1898, the Estey building was credited with providing “an unusual stimulus” for the movement of other piano makers there. Several of the manufacturers that followed Estey to the Annexed District, and later the Bronx, clustered within a few blocks of its factory, creating an important nucleus for the piano industry.

 

The Estey Piano Company was organized by Jacob Estey and John B. Simpson in 1885. Two decades before, Estey had established an organ works in Brattleboro, Vt. that had grown into one of the country’s largest producers of reed organs, thousands of which found their way into American parlors every year. Like other organ manufacturers in the late nineteenth century, Estey sought to diversify into the booming piano industry, and his partnership with Simpson—a pioneering North Side piano manufacturer—was a means to that end. When Estey Piano opened its factory, it manufactured upright and grand pianos that would become recognized for their “superior construction and workmanship.”

 

The original portion of the Estey Piano Factory was designed by the architectural firm of A.B. Ogden & Son. Many of this building’s features, including its L-shaped plan, flat roof, regular fenestration pattern and bay arrangement, and relatively narrow width to allow for daylight penetration, are characteristic of latenineteenth-century factory buildings. Its mixture of segmental- and round-headed window openings, and the Romanesque machicolations of its clock tower, place the Estey Factory within the tradition of the American round-arched style. Other features, including the factory’s distinctive, red-orange brick, dogtoothed and zigzagging patterned-brick stringcourses, recessed brick panels, terra cotta tiles featuring festoons, lions’ heads, and foliate motifs—and of course, its dramatic, projecting clock tower—speak of a building that sought to announce its presence on the urban landscape, projecting a strong public image for its owner. Indeed, the Estey Piano Company often included an illustration of this factory on its trade cards, which advertised the firm’s products.

 

The original building was extended to the east along Southern Boulevard in 1890, with a harmonious five-story addition designed by John B. Snook & Sons, and to the north, along Lincoln Avenue, with one-story additions in 1895. The Lincoln Avenue additions appear to have been combined and expanded, and then raised to three stories in 1909, and by an additional two stories in 1919; the 1919 addition near the southeast corner of Lincoln Avenue and 134th Street features broad expanses of industrial sash that were characteristic of the “daylight factories” of the early twentieth century. Known today as the Clock Tower Building, the old Estey Piano Company Factory currently houses artists and their studios. With its historic fabric almost completely intact, the building remains, in the words of the AIA Guide to New York City, “the grande dame of the piano trade: not virgin, but all-together and proud.”

 

The Industrial Development of Mott Haven

 

Well before the 1898 creation of the borough of the Bronx, industrial activity was occurring in the area that is now the Bronx’s southernmost portion. In 1828, Jordan L. Mott, the inventor of a coal-burning iron cooking stove, opened a “modest little factory” on property he had purchased on the Harlem River near the present Third Avenue, in what was then the township of Morrisania. Mott started calling the area Mott Haven and, in 1850, seeking to attract additional industry to the area, he laid out the Mott Haven Canal, an artificial inlet from the Harlem River that would ultimately extend to just south of 144th Street. The canal, however, was slow to attract industrial firms, and by 1879, only a handful of substantial ones existed nearby, including a brass and iron works, a machine shop, and a few lumber and coal yards, all of which were below 138th Street. These were joined by a marble yard, lumber yard, and hotel west of the canal, near the tracks built by the New York & Harlem Railroad to connect Manhattan with what is now the Bronx, in 1841. Despite the presence of the large Harlem River & Port Chester Railroad yard, which stretched from Lincoln Avenue to Brown Place south of 132nd Street, few factories appear to have existed east of Third Avenue at the end of the 1870s.

 

In 1874, the townships of Morrisania, West Farms, and Kingsbridge—the sections of the present Bronx borough located west of the Bronx River—became part of New York City. Officially called the 23rd and 24th Wards, they were generally referred to as the “Annexed District” or “North Side,” but they remained fairly isolated. At that time, few links existed between the southern portion of the District and Manhattan; among those that did was a cast-iron bridge at Third Avenue which, in 1860, had replaced an old wood dam-bridge built in the 1790s at that location.

 

Soon after annexation, however, local residents, property owners, business owners, and booster groups like the North Side Association began agitating for improved infrastructure, including better connections with Manhattan. In the 1880s, new public works started to be built; among them was the Madison Avenue Bridge, completed in 1884, which spanned the Harlem River at 138th Street, about five blocks north of the Mott Iron Works complex. By 1885, additional industrial concerns—including a planing mill, cabinet maker, and nickel works, and factories making carpets and surgical instruments—had sprung up in Mott Haven, near and below 138th Street, and close to Third Avenue. The expanded rail yard below 132nd Street, at that point operated by the New York, New Haven & Hartford Railroad, connected directly to new docks at the foot of Willis Avenue. A few factories had sprouted up in the area east of Lincoln Avenue, as the Estey Piano Company Factory, then under construction at the northeast corner of Lincoln Avenue and Southern (now Bruckner) Boulevard, shared a block with the expansive works of the New York Lumber and Woodworking Company.

 

The 1886 opening of the Second Avenue Bridge just a few blocks from the Estey Factory provided a Harlem River crossing for the trains of the new Suburban Rapid Transit Company. The Suburban’s line, which would come to be known in the Bronx as the Third Avenue El, was the first to bring rapid transit service to the Annexed District. With its southern terminus on the Manhattan side of the Harlem, where it met Manhattan’s east-side elevated lines, the Suburban stopped at Southern Boulevard, before continuing northward; service on the line was expanded and improved between 1887 and 1902. While the Suburban was under construction, Real Estate Record & Builders’ Guide predicted that it would have an enormous impact on the North Side, calling it, in 1885, “a great thing for the [Annexed District], as well as for New York City. It will furnish cheap homes for a poorer population, as well as choice rural habitations for the well-to-do. We may expect many light manufacturing industries to become naturalized on the other side of the Harlem.” And the line did come to play a crucial role in Mott Haven’s late-nineteenth-century development, spurring rowhouse construction in the late 1880s and 1890s. As new housing sprouted up, so too did industry; an 1894 drawing of the Harlem River east of Third Avenue shows a busy waterfront with docks and factories on both sides of the river, including the Estey Factory, with its distinctive clock tower clearly visible. In 1895, the New York Times noted that “that part of the 23rd Ward along the Harlem River”—that is, the southernmost portion of the Annexed District, including Mott Haven—was “a very busy manufacturing place.”

 

Improved rapid transit connections with Manhattan aided Mott Haven’s residential growth, but the area’s industrial development was spurred by its Harlem River location and the expansion of its freight-rail infrastructure. By the beginning of the twentieth century, the New York, New Haven & Hartford—with a freight depot located one block south of the Estey Factory, at Lincoln Avenue and 132nd Street—connected with dozens of railroads providing service throughout the eastern and midwestern United States, and into Canada. The New York Central system, with extensive yards close by in Melrose, was just as far-reaching. And the southern Bronx retained these transportation advantages into the twentieth century. Writing in 1908 about the proliferation of piano factories, many of which were in the southern Bronx, lifelong piano man William

 

P.H. Bacon pointed to the borough’s “superior transportation and shipping facilities, both by water and land,” as well as “the opportunity of getting land for the erection of commodious factories at reasonable figures.” In experiencing strong manufacturing growth in the nineteenth and early twentieth centuries, Mott Haven was a microcosm of the Bronx and the city as a whole: by 1920, New York City had 12% of the country’s factory workers, and by 1927, the Bronx had 2,700 plants with more than 100,000 employees.

 

Industrial growth had been rapid in the southern Bronx; Bacon wrote, in 1908, of “the busy hum of commerce where but a few years ago, the lowing of cattle and other sylvan sounds were the only noises heard.” The end of World War II marked the apex of manufacturing in New York, as in 1947, more manufacturing jobs existed in the city than in Boston, Detroit, Los Angeles, and Philadelphia combined. But industrial activity in the Bronx would soon begin to decline, reflecting city-wide trends. By the 1950s, New York City was rapidly losing industrial jobs, with manufacturers leaving in droves for the suburbs, or departing the region entirely. Between 1969 and 1999, the number of manufacturing jobs in the city fell by twothirds. Contributing to the decline of industry in the southern Bronx was the destruction of manufacturing space with the construction of broad new highways; the building of the earliest portions of the Major Deegan Expressway through Mott Haven between 1935 and 1939, for example, wiped out several industrial buildings on the block immediately to the north of the Estey Factory, including the former factory of the Brambach Piano Company. In 1997, the New York City Department of City Planning, citing an underutilization of industrial space in Mott Haven, rezoned a portion of Bruckner Boulevard including the block containing the former Estey Factory, to allow for residential uses and community facilities. This special mixed-use zoning was expanded to blocks to the east, west, and south in 2005.

 

As Mott Haven becomes increasingly residential, the former Estey Factory is a reminder of the neighborhood’s early years of intensive industrial growth. Today, the Estey building is one of the oldest large factories standing in Mott Haven, and in the entire area of the southern Bronx below 149th Street.

 

The Estey Piano Company and Its Factory

 

The Estey Piano Company had its roots in the firm of Manner & Company, which manufactured pianos on the Bowery between 1866 and 1869. Manner called his piano the “Arion,” and in 1870, his firm’s name changed to the Arion Piano-Forte Company. In 1872, the company’s factory moved to 149th Street, in what is now the Bronx. John Boulton Simpson, who had been Arion’s secretary since 1871, took control of the company in 1875; in that year, the company apparently moved to a new factory on St. Ann’s Avenue and boasted that “Six years ago, there were none of our pianos in existence; to-day, there are over 7,500 in use.” In the following year, the firm’s name changed to Simpson & Company, although it also continued to be known by the Arion name. By the end of the 1870s, Simpson’s factory—stretching from Brook to St. Ann’s Avenues on the north side of 149th Street—was probably the largest piano factory in the Annexed District, but in 1880, it was sold to another piano maker, the William E. Wheelock Company.

 

While Simpson apparently continued to make “high grade pianos” following the Wheelock sale, the location of his factory in the early 1880s is unclear. Between 1881 and 1885, Simpson & Company continued to maintain a space, likely a showroom, at 5 East 14th Street—where it had been since 1876—but the company was also listed at 127 East 129th and 232 East 40th Streets, neither of which appears to have been the location of a substantial factory. These addresses do, however, link Simpson in the early 1880s with the respected tuner Stephen Brambach, who would play a crucial role in developing Estey’s first pianos; Brambach was located next door to Simpson between 1881 and 1883, and in the same building in 1884.

 

In 1885, the Estey Organ Company of Brattleboro, Vt. was hitting its peak. By the end of the 1880s, the firm, which had been founded in 1866 by Jacob Estey, would be the world’s largest producer of reed organs. Thousands of these instruments found their way into American parlors every year; they were also being distributed, by 1890, to Africa, Asia, Australia, and South America, and to major European cities. Despite the company’s success—it was described, in 1886, as doing “an immense business, amounting to over one million dollars annually”—and its rapid growth—production rose by a factor of seven between 1865 and 1886—the organ business was in decline. The piano business, however, was booming; and, likely noticing the 1882 entry of the renowned organ maker Mason & Hamlin into piano manufacturing, Estey and the company’s other principals, including Levi K. Fuller and Jacob’s son Julius, decided to take the same path.

 

Estey became a piano manufacturer by forming a partnership with Simpson, who was named president of the new Estey Piano Company; the Simpson piano was essentially re-branded as the new Estey model. Simpson, of course, had been a pioneer in Bronx piano manufacturing, and this may have played a role in Estey’s decision to build its plant on the North Side. A.B. Ogden & Son was hired to design the factory, but Simpson may have had some influence over its appearance and form, as he had dabbled in architecture, altering his home on West 129th Street in 1882 to give it a “picturesque exoticism.” Work began on the “large factory with modern appliances,” as it would later be described, in August of 1885; it was completed, at a cost of approximately $40,000, in February of 1886. While the factory was under construction, Estey Piano decided to construct three more buildings that would extend its complex by an additional 80 feet along Southern Boulevard. These brick structures, designed by Ogden’s firm and completed at the same time as the main factory, were a one-story extension, a one-story shed, and a two-story stable.

 

Estey Piano prospered in its early years, as “Estey grand and upright pianos soon became a dominant factor in the piano trade,” according to Alfred Dolge, who added that they often “carried off highest awards for superior construction and workmanship.” In 1887, the trade publication Musical Courier wrote that the Estey Piano Factory was “one of the most complete in the country”; two years later, it called the firm’s upright “a most beautiful specimen of piano manufacturing,” of which Estey would “find no difficulty in disposing … in the best musical circles in the land.” While trade journals’ opinions should be considered with caution, those of the respected piano tuner and regulator Daniel Spillane may be more reliable. Five years after the Estey Factory opened, Spillane called its piano “a very excellent instrument,” adding that “much of the technical and musical merit of these pianos is due to the competency and skill of [Stephen] Brambach, who is a gentleman of fine musical and mechanical sensibilities [and] … one of the best tuners in New York.” Although Brambach had apparently started his own piano company in 1885, he remained involved with Estey in 1890, originating “all new ideas in the mechanics and acoustics of the Estey piano.” Brambach’s brother Carl, “one of the most expert and artistic tuners and toners in the country,” was also employed by Estey Piano, according to Spillane.

 

Business was good, and only four years after the Estey Piano Factory opened, it underwent a huge expansion. In May of 1890, work began on a 100-foot-long east addition that would result in the demolition of the extension, shed, and stable on Southern Boulevard, and create the unified five-story, 200-foot-long Bruckner Boulevard façade that remains essentially unchanged today. The architect of this addition, which was completed in October of 1890 at a cost of about $23,000, was John B. Snook & Sons. This firm, then one of New York’s most prolific, traced its origins to the arrival of John B. Snook (1815-1901) in the United States, from England, in 1835. By 1842, Snook was working with Joseph Trench, and the two helped introduce the Anglo-Italianate style to New York with buildings such as the A.T. Stewart Store at 280 Broadway (1845-46, a Designated New York City Landmark). One of Snook’s best-known works was the first Grand Central Terminal (1869-71, demolished); in 1887, he took his three sons, James Henry (1847-1917), Samuel Booth (18571915), and Thomas Edward, and a son-in-law, John W. Boyleston, into his office, and changed his firm’s name to John B. Snook & Sons. Although Snook had designed a diverse array of buildings—including residential and commercial structures for some of New York’s most prominent families—his firm designed several manufacturing lofts in the 1880s and 1890s that would have made it an appropriate choice for the Estey addition. These industrial buildings, now located in the SoHo-Cast Iron Historic District—including 8 Greene Street (1883-84), 12 Wooster Street (1883-84), 127 Spring Street/87-89 Greene Street (1886-87), 391-393 West Broadway/77-81 Wooster Street (1889), 151 Spring Street (1889-90) and 361 Canal Street (1891-92)—were utilitarian brick buildings; but like the Estey Factory, they were also designed with an eye toward detail, featuring patterned and textured brickwork, and contrasting stone trim that enliven their facades.

 

The Estey Factory continued to grow in the 1890s. In 1895, the company extended the building 50 feet along Lincoln Avenue with a one-story, 69-foot-deep brick addition that apparently provided a fireproof home for its woodworking department; at the same time, Estey constructed a new, one-story brick lumber room running for an additional 38 feet along Lincoln, where it met a small, one-story brick building then existing at the southeast corner of Lincoln Avenue and 134th Street. Both the extension and the new building—which appear to remain today as the base of the five-story portion of the factory north of the original building—were designed by Hewlett S. Baker of 492 East 138th Street. Little is known about Baker; he was described as “a property owner in the South Bronx” in a 1910 New York Times article, and as “a contractor and builder in the Bronx” in a 1912 article about his death. By 1900, the one-story buildings near the corner of Lincoln and 134th appear to have been extended to the east.

 

The portion of the factory north of the original building remained at one story until 1909, when Simpson and architect S. Gifford Slocum raised it to three stories. Slocum, an architect of some note, is remembered primarily for his large residences for wealthy clients, including several fine Queen Anne-style residences built in the Saratoga Springs area in the 1880s. Born in Jefferson County, N.Y., Slocum studied architecture at Cornell University from 1873 to 1875, and by 1885, he had offices in Saratoga and Glens Falls, N.Y. In 1888, Slocum moved to Philadelphia while retaining his Saratoga office; between 1890 and 1909, he practiced architecture in New York City. Simpson hired Slocum to design an alteration to his residence at 117 East 83rd Street, in 1900. Slocum’s two-story addition to the Estey Piano Factory was described as being of “similar construction to the present building” in its Buildings Department application, and it demonstrates continuity with the floor below and with the original building in its segmental-arch-headed window openings, and in its similar decorative details, including pilasters, stone sills supported by corbelled brick courses, and patterned-brick stringcourses. A drawing of the factory following the completion of Slocum’s addition appeared in a 1917 Estey Piano Company advertisement.

 

Over the previous years, the Estey Piano Company had undergone several changes, weathering the deaths—in 1890, 1896, and 1902, respectively—of Jacob Estey, Levi K. Fuller, and Julius Estey. The firm’s “warerooms” or showrooms, which had been at 5 East 14th Street since the time of the company’s founding, were at 97 Fifth Avenue by 1900 and 7 West 29th Street by 1909. They would move again—in 1912 to the since-demolished “Estey Building” at 23 West 42nd Street—and by 1916 to 12 West 45th Street. By 1912, Estey pianos were being sold at Loeser’s department store in Brooklyn; in its advertising, the company took advantage of its historical association with the Estey Organ Company, stating that “the world-renowned Estey Pianos … are just as reliable as the Estey Organs made famous by the same firm in the days of our parents.” On at least one occasion, the Estey Piano Factory witnessed strife between its employees and management, as in 1912, workers struck Estey and other Bronx piano manufacturers that would not recognize the piano makers’ union and refused to close their shop floors to non-union employees.

 

In 1917, John B. Simpson’s leadership of the Estey Piano Company came to an end, when George B. Gittins, the former president of piano manufacturer Kohler & Campbell, purchased a controlling interest in the firm. Gittins, an industry prodigy who was only 37 at the time he took Estey Piano’s helm, appears to have begun revamping the company’s product line almost immediately; an “at-the-factory” clearance sale held in November of 1917 was prompted by the company’s intention “to concentrate on the large-scale production of a few standard models.” Two years later, Gittins purchased M. Welte & Sons, Inc., which was originally the American arm of a German company that had invented the reproducing piano, a technologically advanced kind of player piano using special rolls that were able to express, to some extent, the subtleties of the renowned pianists who had “recorded” them. Following the 1907 introduction of Welte’s “Mignon” reproducing piano in the United States, dozens of the world’s most famous pianists made recordings for Welte, allowing Americans to experience, for the first time, something close to having Paderewski, Saint-Saens, and other virtuosi play for them in their homes.

 

Soon after acquiring Welte, Gittins started shutting down the firm’s Poughkeepsie, N.Y. plant—which had produced rolls, reproducing pianos with and without keyboards, Welte “Philharmonic” reproducing organs, orchestrions, and other products—and expanding the Estey Factory building and its complex. In 1919, architect George F. Hogue of 41 Union Square in Manhattan was hired to add two stories to the northern, three-story portion of the factory, and to add an elevator shaft. This alteration, which cost about $25,000, featured broad expanses of industrial sash typical of the “daylight” factories that were then being constructed around the country. By 1921, Gittins had also constructed a two-story building (not part of this Designation) facing Southern Boulevard and adjoining Snook’s 1890 addition, as well as a four-story factory for Welte (not part of this Designation) that remains today at 27 Bruckner Boulevard. In 1922, the Estey-Welte Corporation was created, which served as an umbrella organization for several Gittins holdings, including the Estey Piano Company and the Welte-Mignon Corporation. Estey, at that time, was manufacturing a variety of pianos, including an 88-note player piano, and manual and reproducing uprights and grands; the new four-story factory on Southern Boulevard made Welte-Mignon pianos and grands, actions for reproducing instruments, and Welte Philharmonic organs.

 

In 1925, perhaps sensing the end of the glory days for the piano and player piano, Gittins decided to diversify into the manufacture of pipe organs for churches, concert halls, theaters, and large residences. In the following year, Estey-Welte appeared to be perfectly healthy, but by January of 1927, a crash in its stock price brought the over-extended company to its knees. Estey-Welte was in serious trouble, and by summer of that year, it was reorganized as the Welte Company. Gittins was soon gone; by 1928 his old firm was reorganized again, as the Welte-Mignon Corp. This latest incarnation of the firm fell into receivership in 1929, when its chief assets were split up and its factory emptied; one investor, Donald F. Tripp, bought some of the organ business, and the Estey Piano Company was sold to the Settergren Piano Company of Bluffton, Ind. Tripp’s firm was bankrupt within two years; in 1935, Settergren was renamed the Estey Piano Company.

 

The Estey Piano name continued on for decades. Estey spinets were being advertised in Chicago in 1948, and the firm’s pianos appeared in Macy’s advertisements in the early-to-mid 1960s. The Estey Piano Company was still operating in 1972, when it received a loan from the Commerce Department to assist it in starting production of a plastic piano. At that time, Estey was described as having “an office in Union, N.J., and an old plant in Bluffton, Ind.”

 

After the old Estey Piano Company Factory was vacated in 1929, it passed through the hands of a number of different owners, and was occupied by many different industrial tenants. A sheet-metal works leased space there in 1932, and its occupants in 1937 included the Whitman Supply Company and Unique Balance Company. By 1939, the factory had been acquired by the Emigrant Industrial Savings Bank. In February of 1940, Emigrant sold the five-story Estey Factory building and the adjacent two-story building constructed by Gittins to the S.H. Pomeroy Company, a manufacturer of window sashes that had been located on the same block as Estey Piano since 1923 or before. One month later, however, the owner of the building was the 120 Lincoln Avenue Realty Corporation, which was leasing space to Alta Furniture Factories. Until at least 1945, 120 Lincoln Avenue Realty remained the owner of the building; in 1969, it was occupied by the Ranger Plastics Corporation, and in 1973, it was home to a draperies manufacturer. At the end of the 1970s, the old Estey Piano Company Factory housed a maker of textile products and its outlet store, along with manufacturers of wire and “novelty” products. In 1995, when the building was mostly vacant, it was purchased by Truro College, which planned to convert it into student dormitories or a home for a liberal arts and sciences program. Those plans fell through, however, and the college sold the former Estey Factory, now known as the Clock Tower Building, to Carnegie Management, which remodeled its interior to accommodate live-in artists’ studios. It retains this use today.

 

Description

 

The Estey Piano Company Factory is an L-shaped, five-story building with a projecting clock tower at its southwest corner. Spanning the east side of Lincoln Avenue between Bruckner Boulevard and East 134th Street, the building has three primary street facades, all of which feature face brick laid in common bond: a 200-foot-long Bruckner Boulevard façade, a 200-foot-long Lincoln Avenue façade, and a façade on 134th Street that is approximately 69 feet in length and attached to an elevator shaft.

 

The original factory building, which was constructed in 1885-86, extended for 100 feet along Lincoln Avenue and for 100 feet along Southern (now Bruckner) Boulevard. Comprising the westernmost 15 upper-story bays on the south façade and the southernmost 15 upper-story bays on the west façade of the existing building, including the clock tower, this original portion of the Estey Piano Factory was extended by 100 feet to the east along Bruckner Boulevard with the construction of a five-story addition in 1890. (The construction of the 1890 addition resulted in the demolition of three buildings of one and two stories that were completed at the same time as the original factory, and which had a combined street frontage of 80 feet.) Before the construction of the 1890 addition, the five-story portion of the south façade terminated, at its east, with a two-bay projection featuring round-headed windows, all set within a corbelled recess, at the first through fifth floors. This projection—which was identical to the two-bay projection that originally terminated the Lincoln Avenue façade, and remains virtually unchanged today—extended above the adjacent portion of the façade, and, like the clock tower, outward from the façade plane. With the completion of John B. Snook & Sons’ 1890 addition, the two-bay projection on the south façade was doubled in width—the two new bays matching the original two—and its parapet was raised to match, in height, the parapet above the then-new, three-bay projection at the eastern end of the extended façade. Both the raised and new parapets featured, just below their pressed-metal cornices, recessed square panels arranged in a row. Also at that time, the four-bay projection became the central feature of a broad, essentially symmetrical Southern Boulevard façade, with the new three-bay projection at the eastern end of the façade balancing the three-bay, projecting clock tower at the building’s corner.

 

The 1890 addition is virtually indistinguishable from the original portion of the factory, largely because it is faced in matching red-orange brick laid in common bond. It also features matching ornament, including stringcourses composed of decorative brick laid in a zigzagging pattern that align with the stringcourses on the original building; a dogtoothed, soldier-brick course just below the parapet that also aligns with the original; recessed, rectangular brick panels with corbelling, and terra cotta tiles arranged in a repeating three-tile pattern, with each of the three tiles featuring a different foliate design, at the roof parapets; projecting, molded sandstone stringcourses just below the parapets; and sandstone window sills, each supported by two courses of corbelled brick. The three-bay projection at the south façade’s eastern end largely duplicates the fenestration and ornament of the clock tower’s second through fifth floors, featuring segmental-headed window openings with arches composed of stone springers and three courses of header brick, set within a corbelled brick recess, at the second floor; square-headed windows at the third and fourth floors, and round-headed windows at the fifth floor; light-colored, contrasting stone trim, which wraps the heads of the rectangular openings and composes a short stringcourse at the springer level of the fifth-floor openings; and a belt course of terra cotta tiles that matches that of the clock tower, in an alternating festoon and lions’-head motif, just below a projecting stone sill course at the third floor. The easternmost three-bay projection, like the central four-bay projection on the south façade, is crowned by a stepped, pressed-metal cornice with a cyma profile at its top. The 1890 addition features seven basement-level openings with stone lintels that are larger than the five basement-level openings on the south façade of the original building; these five original openings retain their historic metal grilles. Aside from this difference, the addition continued the fenestration pattern of the original factory’s south façade: except for the openings on the three-bay east projection, the central four-bay projection, and the clock tower, all of the window openings on the Bruckner Boulevard façade are segmental-headed, each crowned by an arch composed of two header courses of brick.

 

The original part of the Lincoln Avenue façade not including the clock tower—the twelve-bay portion of this façade including, and south of, the five-story projection containing two bays of round-headed windows— is essentially identical to the original part of the Bruckner Boulevard façade, although some minor changes have been made at the first floor. A metal rooftop bulkhead is visible near this façade’s southern end, close to the clock tower. The later portions of the Lincoln Avenue façade north of the original factory, and the 134th Street façade, show evidence of their gradual construction between 1895 and 1919. Although the first through third floors of these facades show kinship with the original factory—particularly in their segmental-headed windows with sandstone sills supported by corbelled brick courses, and in the composition, of each window arch, of two courses of header brick—they also depart from the original façade in significant ways. The bay arrangement of the facades north of the original factory differs from the original bay arrangement, with the 134th Street façade and the northern half of the Lincoln Avenue façade each split into four bays of varying widths separated by austere brick pilasters. The fenestration is less regular than on the original buildings: it appears, for example, that no window opening ever existed at the second-floor, third-northernmost and tenth-northernmost bays on the Lincoln Avenue façade, or at the easternmost and fifth-easternmost second-floor bays on the 134th Street façade. Although the brick of the oldest, first-floor portions of these facades comes close to matching that of the original factory in color, the face brick of the two later two-story additions above—one built in 1909 and one in 1919—is redder in color. On both the Lincoln Avenue and 134th Street facades of the earliest, first-floor addition, and of the second-and-third-floor 1909 addition, stringcourses composed of zigzagging patterned brick align with the patterned-brick stringcourses of the original factory; an exposed horizontal metal beam between the second- and third-floor window openings is slightly lower than the corresponding patterned-brick stringcourse on the original factory. The 1919 addition differs the most of any of the additions from the original factory, featuring large window openings filled with multi-pane metal windows and with concrete lintels and projecting sills. Each of the windows, which are grouped in threes, fours, or fives within their openings, has a total of 12, 16, or 20 panes, and has a central, horizontally pivoting sash of four or six panes. At the eastern end of the north, or 134th Street façade, is an elevator shaft built in 1919 that features, at its ground floor, a large loading bay with a projecting concrete sill.

 

In addition to the Bruckner Boulevard, Lincoln Avenue, and 134th Street primary facades, the Estey Piano Company Factory has two visible secondary facades. The east façade of the Bruckner Boulevard leg of the building features red face brick laid in common bond. A brick rooftop bulkhead and rooftop chain-link fence are visible above this façade. The façade apparently was once painted with the words “ESTEY PIANO MANUFACTORY”; this lettering has either faded, or been partially removed. Visible on the east, or rear façade of the Lincoln Avenue leg of the building, to the south of the brick elevator shaft, are grouped fourth- and fifth-floor, historic metal sashes, apparently dating from 1919, within openings with concrete lintels and sills that are framed by austere brick pilasters. A metal fire escape extends to the roof; roof access is made possible by a break in the parapet.

 

The clock tower projects slightly from the façade plane. Each of the south and west faces of the tower has four window openings set within a two-story corbelled recess, with each of these openings featuring stone sills and headed by a segmental arch composed of three courses of header brick and light-colored stone springers. One pair of recessed brick panels is located below each of the first-floor openings on the tower’s west face, and a single recessed brick panel is located below each of the first-floor openings on its south face; stepped, recessed-brick panels are located below the second-floor openings on the west and south faces. A terra cotta stringcourse composed of terra cotta tiles with an alternating festoon and lions’-head motif above the second-floor windows is located below a projecting stone molding, which itself is just below the sill level of the third-floor window openings; these elements separate the lower two stories of the clock tower from its third through fifth floors. The vertically projecting top two stories of the clock tower are separated from the lower five stories by a projecting stone molding that has seen its profile softened over time. Above this, on each of the south and west faces of the clock tower, is a recessed, corbelled brick panel; faded lettering reading “ESTEY PIANO CO.” is visible within the south panel. The panels are located below two paired courses of corbelled brick that wrap all four sides of the tower. Each of the four sides of the tower contains a round clock with metal hands, with a face of metal and glass, and with metal roman numerals and minute ring; each clock face is surrounded by an inner soldier course of brick and an outer header course of brick, and is flanked by round-headed windows, each with a transom bar and stone sill. Above the clock faces, and wrapping all four sides of the tower, are a projecting stone molding; a terra cotta stringcourse similar to the one below the third-floor windows; four courses of corbelled brick; and a machicolated cornice composed of small, corbelled round arches. A parapet above this cornice is of concrete, or of stucco-covered brick. A segmental-headed opening at the sixth floor of the clock tower, on the tower’s east face, appears to provide access to the roof. Square metal wall anchors, which appear to be original to the building, are present at the first through fifth floors on the tower’s south and west faces, and on all four sides of the tower at the level of the clock faces.

 

Although the Estey Piano Company Factory remains remarkably intact for a building of its age, some alterations have occurred over time. On the 27-bay portion of the south façade east of the clock tower, the easternmost part of the ground floor has been altered with the installation of a three-bay brick projection containing two loading bays and an entrance set within a stepped recess. A projecting wall sign reading “PLUMBING SUPPLIES” on both of its display faces is attached at the easternmost portion of the second floor. The first-floor opening at the second-westernmost bay of the central four-bay projection has been enlarged to become a secondary entrance with a soldier-brick, round arch, and the westernmost first-floor window opening and second-easternmost window openings at the third, fourth, and fifth floors have been filled with brick. The westernmost first-floor window opening appears to be the only one on the south façade to have a concrete, rather than sandstone, sill. No historic windows appear to remain on this facade, except possibly at the easternmost second-, third-, and fourth-floor openings, which contain four-over-four, double-hung windows. These windows are paired at the second floor. The upper portions of the first-floor window openings have been filled with brick, as have the upper portions of the twelve second-floor openings immediately to the east of the clock tower; some of the infill panels at these windows have been punched through with rectangular or round openings. Non-historic metal grilles with lower privacy panels have been installed at the first-floor windows. Three through-the-wall air conditioners are present at the second floor, and numerous vents, satellite dishes, and other non-historic items are attached to the façade and the window sills at the second through fifth floors. A chain-link fence, visible from Bruckner Boulevard, is located on the roof behind the parapet.

 

On the original, twelve-bay portion of the Lincoln Avenue façade immediately to the north of the clock tower, none of the historic windows remain, except at the first floor. All eight first-floor windows on this portion of the façade have wood frames and wood upper sashes; the third- and fourth-northernmost of these windows have two-pane upper sashes with vertical muntins, and the rest have four-pane upper sashes. The second-northernmost window on the original portion of the factory features a round-headed, four-pane upper sash that may be original to the building. Non-historic metal window grilles have been installed at all of these windows; all except the third-southernmost of these have lower privacy panels. The historic entrance, originally located at the second bay north of the clock tower, has been removed; north of the clock tower, a former window opening has been altered to allow for the installation of a non-historic entrance featuring a surround of curved brick in varying shades, a non-historic metal-and-glass door and side panel with a metal intercom, and a non-historic transom light reading “Clock Tower 112.” The openings originally located south of this entrance have been filled with brick that does not match the original; the upper portions of the three southernmost, second-floor window openings have been filled with brick; a through-the-wall air conditioner is present below the second-southernmost, second-floor window opening; and numerous louvers, vents, signs, satellite dishes, and other non-historic items, including electrical conduit below the fourth-through-sixth-southernmost second-floor window openings, are present on this façade. The base of the façade between the entrance and the clock tower is of concrete.

 

On the northern half of the Lincoln Avenue façade—those portions of the façade dating from 1895 and later—alterations include, at the first floor, the enlargement of an opening at the southernmost bay, and its modification into a loading bay; the filling of the second-southernmost opening with brick; the modification of the opening at the seventh-southernmost bay into a secondary entrance; and the infilling of the third-northernmost opening with brick. At the second floor, the second-southernmost opening has been partially filled with brick, and a narrow window has been installed within the reduced opening. At the third floor, the second-southernmost window opening has been filled with brick. The nine remaining first-floor windows on the northern portion of the Lincoln Avenue façade have wood frames and wood top sashes. Non-historic metal grilles have been installed in front of all of these windows. The northernmost and second-, third-, and fifth-northernmost windows feature two-pane top sashes with vertical muntins; the fourth-northernmost window features a four-pane top sash; and the four southernmost of these windows feature four-pane upper and lower sashes, all of which are wood. The fourth and fifth floors appear to contain their historic, multi-pane metal windows with horizontally pivoting sashes, dating from 1919; five of the fourth-floor windows have been altered with the removal of panes for the installation of vents, air conditioners, and satellite dishes. The southernmost fifth-floor window has also been altered with the installation of an air-conditioning unit. Numerous vents, a satellite dish attached to the northernmost fifth-floor window sill, and other non-historic items are present on this façade.

 

The primary north, or 134th Street façade, has also seen alterations, with the filling of the fourthwesternmost first-floor window opening with brick. A non-historic metal gate with gate housing and exposed mechanism has been installed at the first floor, and four vents have been installed on this façade. Vertical wiring, wrapped in insulation, has been installed below the second floor. One window at the fourth floor, and one window at the fifth floor have been altered to allow for the installation of window air conditioning units. The fourth and fifth floors appear to contain their historic, multi-pane metal windows with horizontally pivoting sashes, dating from 1919. The five first-floor windows on the Lincoln Avenue façade have wood frames and wood top sashes; each of the easternmost, third-easternmost, and westernmost of these windows has a two-pane top sash with a vertical muntin, and the others feature four-pane upper sashes. Non-historic metal grilles with privacy panels have been installed in front of the first-floor windows. Two visible satellite dishes have been installed on top of the pilasters on the visible secondary east façade of the Lincoln Avenue leg of the building.

 

Alterations at the clock tower include the removal of the historic entrance on the tower’s south face, at the second-westernmost first-floor bay, and its modification into a window opening; the installation of a metal drainage pipe, which penetrates a terra cotta tile on the east face of the clock tower, above the clock face; and changes to the parapet, which appears to have originally been brick with rectangular, corbelled brick recesses. None of the windows on the clock tower appear to be historic except for the third-southernmost, four-overfour, double-hung wood window at the fourth floor on the west face of the tower; one pane of this window has been removed to allow for the installation of a vent. Brick infill has been installed within the upper portions of the first- and second-floor window openings. Through-the-wall air conditioners have been installed below the second-westernmost opening on the south face, and below the second-southernmost opening on the west face of the tower.

 

- From the 2006 NYCLPC Landmark Designation Report

Rauðfeldssgjá, which translates to Red-Cloak Rift, is a beautiful gorge in Botnsfjall Mountain on the Snæfellsnes Peninsula. In the summer, it is possible to walk up to and climb inside it.

 

Rauðfelsdsgjá is mentioned in a saga called Bárðar Saga Snæfellsáss, which was written in the 14th Century about events half a millennium before. The first part of the saga follows the half-giant Bárðar, who upon death later became the guardian spirit of the Snæfellsnes Peninsula.

 

It was said that his daughters would play with the local boys. One of these boys pushed one of his daughters out to sea on an iceberg, where she drifted all the way to Greenland. Here, she found a lover, but Barður, thinking she was dead, punished this boy and his brother by throwing them into Rauðfelsdsgjá gorge (guidetoiceland)

 

The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble beach

Iceland, a Nordic island nation, is defined by its dramatic landscape with volcanoes, geysers, hot springs and lava fields. Massive glaciers are protected in Vatnajökull and Snæfellsjökull national parks.

 

Most of the population lives in the capital, Reykjavik, which runs on geothermal power and is home to the National and Saga museums, tracing Iceland’s Viking history.

 

There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.

 

There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of the Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).

 

The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).

 

There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.

 

To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!).

beverleyminster.org.uk/visit-us-2/a-brief-history/

Midtown, Manhattan, New York City, New York, United States

 

The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.

 

History of Construction

 

The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.

 

Walter Percy Chrysler , one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.

 

Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.

 

It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.

  

William Van Alen studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "

 

His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.

 

'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.

 

Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.

 

The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.

 

Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.

 

In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.

 

The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.

 

The Chrysler Building and Art Deco

 

Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.

 

The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.

 

In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.

 

The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.

 

The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,

 

The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.

 

The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.

 

Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.

 

In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.

 

The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.

 

The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.

 

The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.

 

The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.

 

On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.

 

Conclusion

 

Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:

 

It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.

 

The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.

 

- From the 1978 NYCLPC Landmark Designation Report

Rauðfeldssgjá, which translates to Red-Cloak Rift, is a beautiful gorge in Botnsfjall Mountain on the Snæfellsnes Peninsula. In the summer, it is possible to walk up to and climb inside it.

 

Rauðfelsdsgjá is mentioned in a saga called Bárðar Saga Snæfellsáss, which was written in the 14th Century about events half a millennium before. The first part of the saga follows the half-giant Bárðar, who upon death later became the guardian spirit of the Snæfellsnes Peninsula.

 

It was said that his daughters would play with the local boys. One of these boys pushed one of his daughters out to sea on an iceberg, where she drifted all the way to Greenland. Here, she found a lover, but Barður, thinking she was dead, punished this boy and his brother by throwing them into Rauðfelsdsgjá gorge (guidetoiceland)

 

The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble beach

The Düsseldorf Media Harbor, or Medienhafen, is a striking example of urban regeneration that has transformed a derelict industrial port into one of the city's most fashionable and dynamic districts. Once a bustling commercial harbor filled with warehouses and disused buildings, the area began its dramatic makeover in the 1990s. City planners embarked on a strategic project to rejuvenate the waterfront, focusing on a plot-by-plot approach that blended new, avant-garde architecture with the preservation of historic industrial elements. The result is a vibrant hub that seamlessly combines the old and the new, attracting both locals and tourists with its unique atmosphere and creative energy.

 

The architectural landscape of the Medienhafen is its most prominent feature, showcasing the works of some of the world's most renowned architects. The most iconic structures are undoubtedly the "Gehry Buildings," officially known as the Neuer Zollhof. Designed by the visionary Frank O. Gehry, these three asymmetrical, sculptural high-rises—clad in stainless steel, red brick, and white plaster—have become a symbol of modern Düsseldorf. Other notable buildings include the Colorium, with its eye-catching kaleidoscopic glass facade by William Alsop, and the sleek Stadttor by Helmut Jahn. These architectural masterpieces stand alongside renovated historic warehouses, creating a visually captivating and diverse urban environment that has made the area a must-see for architecture enthusiasts.

 

Beyond its architectural appeal, the Media Harbor is a thriving economic center. As its name suggests, it is home to over 800 companies, primarily from the media, advertising, and creative sectors. The area's revitalization was driven by a vision to create a hub for these industries, and the project has been a resounding success. The modern office buildings and refurbished industrial spaces provide a unique and inspiring setting for creative work. This concentration of innovative firms has not only revitalized the district but has also solidified Düsseldorf's reputation as a major player in Germany's creative economy.

 

The cultural and leisure offerings in the Medienhafen are as diverse as its architecture. The waterfront is lined with a variety of trendy cafes, upscale restaurants, and vibrant bars, catering to the district's sophisticated crowd. Visitors can enjoy a wide range of culinary experiences, from Mediterranean cuisine and gourmet burgers to fine dining with stunning views of the Rhine River. The area is also a popular spot for leisure activities, whether it's a stroll along the promenade, a sightseeing cruise on the river, or simply enjoying the lively atmosphere. The fusion of business and pleasure makes the Medienhafen a destination where people can work, dine, and relax in style.

 

In essence, the Düsseldorf Media Harbor is a testament to the power of thoughtful urban redevelopment. It has successfully transformed an aging industrial zone into a modern, stylish, and economically significant district. By preserving its historical character while embracing cutting-edge architecture and new industries, the Medienhafen has created a unique identity. It stands as a symbol of Düsseldorf's reinvention and a vibrant, forward-looking neighborhood that attracts a mix of creatives, business professionals, and tourists alike, all drawn to its dynamic blend of art, commerce, and culture.

Half Dome emerges from a passing winter storm in Yosemite National Park, its granite face partially obscured by swirling clouds and soft light. This image was taken in February, when the Sierra Nevada often reveals its dramatic contrasts—harsh stone softened by snow and sky.

 

The moody tones and layered composition are meant to evoke both reverence and stillness.

The redness in the sky to the west was now alarming, although I knew the reason, it felt like something supernatural.

 

Palgrave was just a few miles from Hepworth, and one I hoped to find open, and at just after four in the afternoon, but nearly dar, it was.

 

It was really very gloomy inside the church, even with the lights on, shots were difficult to take. I was on a mission to snap all I could as soon as possible before the light failed altogether.

 

Church features a splendid Norman font, modern glass, and the remains of a spiral staircase leading to a room over the south porch, the floor of which has long since vanished. The stairs now a broom cupboard.

 

Wonderful painted roof, I thought maybe done in the last century, but might be much, much older than that.

 

-----------------------------------------

 

2015: I've visited Palgrave church several times since this account first appeared, most recently to take the photographs here. However, I hope I will be forgiven for retaining the original text from 2003, if only for its freshness, and perhaps also for what may be viewed at this distance as its charm.

2003: I arrived at Diss railway station in that gentle sunshine for which we’ll remember the Spring of 2003. Diss is in Norfolk; I had just crossed the border on my train journey from Ipswich, but I was bound for Diss's southern suburb, the Suffolk village of Palgrave. I cycled off from the station. I headed under the railway line, and over the infant Waveney. At this point, I entered Suffolk again, but there were no county signs in either direction. To be honest, it didn’t feel that different, apart from the way that the road surface improved, the schools came off special measures, the police force became efficient, and so on.

 

The countryside opened out into golden oilseed rape fields under a wide sky. It was good to be home. Soon, I was coming into Palgrave village, which seemed very pleasant indeed.

 

In medieval times, Palgrave was actually two parishes; the westerly one, Palgrave St John, has been subsumed into this one, and that church has completely disappeared. However, this pretty church is walled neatly into its graveyard at the heart of the village, which spreads neatly around it. As this was my first church of the day, I hoped it would be open; it always puts a crimp in a trip if the first one is a lock-out. I was not disappointed; St Peter is a friendly parish that knows that part of its Christian mission is to welcome strangers and pilgrims.

 

I stepped through the elaborate arch of the late 15th Century south doorway. An angel and a dragon contended in the spandrels, and there were characterful heads carved in the entrance arch. Inside, a very nice lady was busy with the flowers, and took time out to show me around. All the while, I was conscious that above my head the lovely painted roof of Palgrave. Marian monograms and symbols punctuate the whitewash; once, many small Suffolk churches must have been like this. Perhaps someone can explain to me why this one hasn’t faded like many of the others; I don’t think it has been redone.

 

The other famous treasure here is the font. It is unlike anything else in Suffolk. Clearly Norman, but much more elaborate than most, its most outstanding features are the faces in each corner. Again, this is a more intimate experience of the faces we normally see as corbels; but Palgrave has these too, stunning medieval characters along the lines of the arcades.

 

While we are on the subject of treasure, there were two modern features that were obviously loved by the locals. Firstly, Surinder Warboys has her studio nearby at Mellis, and here is one of her windows in the south aisle. The light flooded through it. The lady told me that everybody liked it, but that it was very hard to do a flower arrangement in front of it! I thought that they had done very well. Secondly, up in the chancel is the benefice millennium banner – people from all the parishes came together and produced this amazing patchwork cross. On the back, there are panels depicting the mission of the Church. Apparently, it is shared around the benefice churches for display for a few weeks at a time.

 

In the place where many churches now display the coat of arms, Palgrave has part of a suit of armour. I have seen an explanation in several books that it was from the parish armoury, which was once stored in the upper room of the porch, as at Mendlesham. This upper room has now gone, and the armoury has, as in most churches, been dispersed. However, I could find no evidence for this story, and it seems to be based on one of Arthur Mee’s fancies. I don't think it is even real armour; rather, it is similar to the mock plate armour behind the Bacon memorial at nearby Redgrave. It seems likely to me that this is also part of an old set of armour associated with a memorial of some kind, which the Victorians swept away. I don’t suppose we’ll ever know.

 

Back outside again, I took time out to photograph the famous grave of carter John Catchpole, with its relief of a wagon and horses – you can see it in the left-hand column. It seems a modern fashion to decorate headstones with symbols associated with the deceased; nice to know it was happening in the mid-18th century.

I turned, and looked back at the neat tower, the splendid porch with its dramatic niches. You can see that there was once an upper room, but it has now gone.

 

And it was time for me to be gone, too. Waving cheerily, I headed off in the direction of Thrandeston, all the road back to Ipswich open in front of me in the sunshine.

   

Simon Knott, August 2003, updated July 2015

 

www.suffolkchurches.co.uk/palgrave.htm

RockinJim59.

 

Souter Lighthouse, with its dramatic red and white hoops, is an iconic landmark on the North East coast.

Iceland, a Nordic island nation, is defined by its dramatic landscape with volcanoes, geysers, hot springs and lava fields.

 

Massive glaciers are protected in Vatnajökull and Snæfellsjökull national parks.

 

Most of the population lives in the capital, Reykjavik, which runs on geothermal power and is home to the National and Saga museums, tracing Iceland’s Viking history.

 

Iceland, a Nordic island nation, is defined by its dramatic landscape with volcanoes, geysers, hot springs and lava fields. Massive glaciers are protected in Vatnajökull and Snæfellsjökull national parks. Most of the population lives in the capital, Reykjavik, which runs on geothermal power and is home to the National and Saga museums, tracing Iceland’s Viking history. Iceland is it the most sparsely populated country in Europe.

There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.

 

There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of the Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).

 

The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).

 

There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.

 

To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).

beverleyminster.org.uk/visit-us-2/a-brief-history/

The MS Düsseldorf is a modern and comfortable tour boat operated by the Weisse Flotte Düsseldorf/Duisburg GmbH, not the KD (Köln-Düsseldorfer). This vessel is well-suited for a variety of events and tours on the Rhine River, from public sightseeing cruises to private corporate and celebratory functions. It has the capacity to carry up to 250 people, offering guests a relaxed atmosphere and a range of amenities to enhance their experience on the water.

 

The ship is designed with a spacious interior and multiple decks to provide ample space for passengers. The main deck below features a bar and a large dance floor, while a smaller upper deck and two open-air sun decks allow for a variety of experiences. The open decks can be fitted with flexible sun sails to provide shade. The MS Düsseldorf is also equipped with modern technology, including LED lighting that creates a special ambiance in the evening, and two large plasma screens for presentations or other visual displays.

 

The MS Düsseldorf is used for a variety of public tours, including panoramic cruises that showcase the sights of the city, such as the Old Town and the Media Harbour. It also operates on a regular line service, taking passengers on scenic trips between Düsseldorf and the charming historical town of Kaiserswerth. On board, guests can enjoy a full-service experience with a ship's galley and various bars, making it a popular choice for both tourists and locals looking to explore the Rhine from a new perspective.

 

The Düsseldorf Media Harbor, or Medienhafen, is a striking example of urban regeneration that has transformed a derelict industrial port into one of the city's most fashionable and dynamic districts. Once a bustling commercial harbor filled with warehouses and disused buildings, the area began its dramatic makeover in the 1990s. City planners embarked on a strategic project to rejuvenate the waterfront, focusing on a plot-by-plot approach that blended new, avant-garde architecture with the preservation of historic industrial elements. The result is a vibrant hub that seamlessly combines the old and the new, attracting both locals and tourists with its unique atmosphere and creative energy.

 

The architectural landscape of the Medienhafen is its most prominent feature, showcasing the works of some of the world's most renowned architects. The most iconic structures are undoubtedly the "Gehry Buildings," officially known as the Neuer Zollhof. Designed by the visionary Frank O. Gehry, these three asymmetrical, sculptural high-rises—clad in stainless steel, red brick, and white plaster—have become a symbol of modern Düsseldorf. Other notable buildings include the Colorium, with its eye-catching kaleidoscopic glass facade by William Alsop, and the sleek Stadttor by Helmut Jahn. These architectural masterpieces stand alongside renovated historic warehouses, creating a visually captivating and diverse urban environment that has made the area a must-see for architecture enthusiasts.

 

Beyond its architectural appeal, the Media Harbor is a thriving economic center. As its name suggests, it is home to over 800 companies, primarily from the media, advertising, and creative sectors. The area's revitalization was driven by a vision to create a hub for these industries, and the project has been a resounding success. The modern office buildings and refurbished industrial spaces provide a unique and inspiring setting for creative work. This concentration of innovative firms has not only revitalized the district but has also solidified Düsseldorf's reputation as a major player in Germany's creative economy.

 

The cultural and leisure offerings in the Medienhafen are as diverse as its architecture. The waterfront is lined with a variety of trendy cafes, upscale restaurants, and vibrant bars, catering to the district's sophisticated crowd. Visitors can enjoy a wide range of culinary experiences, from Mediterranean cuisine and gourmet burgers to fine dining with stunning views of the Rhine River. The area is also a popular spot for leisure activities, whether it's a stroll along the promenade, a sightseeing cruise on the river, or simply enjoying the lively atmosphere. The fusion of business and pleasure makes the Medienhafen a destination where people can work, dine, and relax in style.

 

In essence, the Düsseldorf Media Harbor is a testament to the power of thoughtful urban redevelopment. It has successfully transformed an aging industrial zone into a modern, stylish, and economically significant district. By preserving its historical character while embracing cutting-edge architecture and new industries, the Medienhafen has created a unique identity. It stands as a symbol of Düsseldorf's reinvention and a vibrant, forward-looking neighborhood that attracts a mix of creatives, business professionals, and tourists alike, all drawn to its dynamic blend of art, commerce, and culture.

Thingvallavatn (Long) Lake in the background, largest in Iceland, and part of the earth fault in the foreground.

 

Thingvellir National Park is located in an active volcanic area, just 49 km east of Reykjavík, the capital of Iceland, and covers 24,000 ha, of which 9,270 ha constitute the World Heritage property. Its best-defined feature is a major rift, which has produced dramatic fissures and cliffs demonstrating inter-continental drifting in a spectacular and understandable way. The National Park is enclosed by a varied belt of mountains on three sides, featuring grass-covered lava fields, and Lake Thingvallavatn lies at its southern end. This outstanding scenery gives the area its unparalleled value.

 

A rift valley with its high cliffs makes Thingvellir National Park a magnificent natural backdrop for the open air parliamentary assembly (or Alþing) of Iceland, which was held there annually from around 930 AD to 1798. Over two weeks a year, the assembly set laws – seen as a covenant between free people – and settled disputes. The Alþing has deep historical and symbolic associations for the people of Iceland. The property includes the Thingvellir National Park and the remains of the Alþing itself: fragments of around 50 booths built from turf and stone. Remains from the 10th century are thought to be buried underground. The property also includes Thingvellir Church and adjacent farm, the population of arctic char in Lake Thingvallavatn as well as remains of agricultural use from the 18th and 19th centuries. Its dramatic history dating back to the establishment of the Alþing gives insight into how a Viking Age pioneer community organized its society from scratch and evolved towards the modern world.

  

The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble beach

Midtown, Manhattan, New York City, New York, United States

 

The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.

 

History of Construction

 

The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.

 

Walter Percy Chrysler , one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.

 

Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.

 

It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.

  

William Van Alen studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "

 

His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.

 

'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.

 

Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.

 

The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.

 

Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.

 

In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.

 

The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.

 

The Chrysler Building and Art Deco

 

Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.

 

The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.

 

In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.

 

The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.

 

The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,

 

The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.

 

The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.

 

Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.

 

In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.

 

The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.

 

The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.

 

The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.

 

The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.

 

On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.

 

Conclusion

 

Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:

 

It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.

 

The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.

 

- From the 1978 NYCLPC Landmark Designation Report

Sulawesi, formerly known as Celebes (/ˈsɛlɪbiːz, sɪˈliːbiːz/), is an island in Indonesia. One of the four Greater Sunda Islands, and the world's eleventh-largest island, it is situated east of Borneo, west of the Maluku Islands, and south of Mindanao and the Sulu Archipelago. Within Indonesia, only Sumatra, Borneo and Papua are larger in territory, and only Java and Sumatra have larger populations.

 

The landmass of Sulawesi includes four peninsulas: the northern Minahasa Peninsula; the East Peninsula; the South Peninsula; and the Southeast Peninsula. Three gulfs separate these peninsulas: the Gulf of Tomini between the northern Minahasa and East peninsulas; the Tolo Gulf between the East and Southeast peninsulas; and the Bone Gulf between the South and Southeast peninsulas. The Strait of Makassar runs along the western side of the island and separates the island from Borneo.

 

ETYMOLOGY

The name Sulawesi possibly comes from the words sula ("island") and besi ("iron") and may refer to the historical export of iron from the rich Lake Matano iron deposits. The name came into common use in English following Indonesian independence.

 

The name Celebes was originally given to the island by Portuguese explorers. While its direct translation is unclear, it may be considered a Portuguese rendering of the native name "Sulawesi".

 

GEOGRAPHY

Sulawesi is the world's eleventh-largest island, covering an area of 174,600 km2. The central part of the island is ruggedly mountainous, such that the island's peninsulas have traditionally been remote from each other, with better connections by sea than by road. The three bays that divide Sulawesi's peninsulas are, from north to south, the Tomini, the Tolo and the Boni. These separate the Minahassa or Northern Peninsula, the East Peninsula, the Southeast Peninsula and the South Peninsula.

 

The Strait of Makassar runs along the western side of the island. The island is surrounded by Borneo to the west, by the Philippines to the north, by Maluku to the east, and by Flores and Timor to the south.

 

MINOR ISLANDS

The Selayar Islands make up a peninsula stretching southwards from Southwest Sulawesi into the Flores Sea are administratively part of Sulawesi. The Sangihe Islands and Talaud Islands stretch northward from the northeastern tip of Sulawesi, while Buton Island and its neighbours lie off its southeast peninsula, the Togian Islands are in the Gulf of Tomini, and Peleng Island and Banggai Islands form a cluster between Sulawesi and Maluku. All the above-mentioned islands, and many smaller ones are administratively part of Sulawesi's six provinces.

 

GEOLOGY

The island slopes up from the shores of the deep seas surrounding the island to a high, mostly non-volcanic, mountainous interior. Active volcanoes are found in the northern Minahassa Peninsula, stretching north to the Sangihe Islands. The northern peninsula contains several active volcanoes such as Mount Lokon, Mount Awu, Soputan and Karangetang.

 

According to plate reconstructions, the island is believed to have been formed by the collision of terranes from the Asian Plate (forming the west and southwest) and from the Australian Plate (forming the southeast and Banggai), with island arcs previously in the Pacific (forming the north and east peninsulas).[8] Because of its several tectonic origins, various faults scar the land and as a result the island is prone to earthquakes.

 

Sulawesi, in contrast to most of the other islands in the biogeographical region of Wallacea, is not truly oceanic, but a composite island at the centre of the Asia-Australia collision zone. Parts of the island were formerly attached to either the Asian or Australian continental margin and became separated from these areas by vicariant processes. In the west, the opening of the Makassar Strait separated West Sulawesi from Sundaland in the Eocene c. 45 Mya. In the east, the traditional view of collisions of multiple micro-continental fragments sliced from New Guinea with an active volcanic margin in West Sulawesi at different times since the Early Miocene c. 20 Mya has recently been replaced by the hypothesis that extensional fragmentation has followed a single Miocene collision of West Sulawesi with the Sula Spur, the western end of an ancient folded belt of Variscan origin in the Late Paleozoic.

 

PREHISTORY

Before October 2014, the settlement of South Sulawesi by modern humans had been dated to c. 30,000 BC on the basis of radiocarbon dates obtained from rock shelters in Maros. No earlier evidence of human occupation had at that point been found, but the island almost certainly formed part of the land bridge used for the settlement of Australia and New Guinea by at least 40,000 BCE. There is no evidence of Homo erectus having reached Sulawesi; crude stone tools first discovered in 1947 on the right bank of the Walennae River at Berru, Indonesia, which were thought to date to the Pleistocene on the basis of their association with vertebrate fossils, are now thought to date to perhaps 50,000 BC.

 

Following Peter Bellwood's model of a southward migration of Austronesian-speaking farmers (AN), radiocarbon dates from caves in Maros suggest a date in the mid-second millennium BC for the arrival of a group from east Borneo speaking a Proto-South Sulawesi language (PSS). Initial settlement was probably around the mouth of the Sa'dan river, on the northwest coast of the peninsula, although the south coast has also been suggested.

 

Subsequent migrations across the mountainous landscape resulted in the geographical isolation of PSS speakers and the evolution of their languages into the eight families of the South Sulawesi language group. If each group can be said to have a homeland, that of the Bugis – today the most numerous group – was around lakes Témpé and Sidénréng in the Walennaé depression. Here for some 2,000 years lived the linguistic group that would become the modern Bugis; the archaic name of this group (which is preserved in other local languages) was Ugiq. Despite the fact that today they are closely linked with the Makasar, the closest linguistic neighbours of the Bugis are the Toraja.

 

Pre-1200 Bugis society was most likely organised into chiefdoms. Some anthropologists have speculated these chiefdoms would have warred and, in times of peace, exchanged women with each other. Further, they have speculated that personal security would have been negligible and head-hunting an established cultural practice. The political economy would have been a mixture of hunting and gathering and swidden or shifting agriculture. Speculative planting of wet rice may have taken place along the margins of the lakes and rivers. In Central Sulawesi, there are over 400 granite megaliths, which various archaeological studies have dated to be from 3000 BC to AD 1300. They vary in size from a few centimetres to around 4.5 metres. The original purpose of the megaliths is unknown. About 30 of the megaliths represent human forms. Other megaliths are in form of large pots (Kalamba) and stone plates (Tutu'na).In October 2014 it was announced that cave paintings in Maros had been dated as being about 40,000 years old. Dr Maxime Aubert, of Griffith University in Queensland, Australia, said that the minimum age for the outline of a hand was 39,900 years old, which made it "the oldest hand stencil in the world" and added, "Next to it is a pig that has a minimum age of 35,400 years old, and this is one of the oldest figurative depictions in the world, if not the oldest one."

 

HISTORY

Starting in the 13th century, access to prestige trade goods and to sources of iron started to alter long-standing cultural patterns and to permit ambitious individuals to build larger political units. It is not known why these two ingredients appeared together; one was perhaps the product of the other.

 

In 1367, several identified polities, located on the island, were mentioned in the Javanese manuscript Nagarakretagama dated from the Majapahit period. Canto 14 mentioned polities including Gowa, Makassar, Luwu and Banggai. It seems that by the 14th century, polities in the island were connected in an archipelagic maritime trading network, centered in the Majapahit port in East Java. By 1400, a number of nascent agricultural principalities had arisen in the western Cenrana valley, as well as on the south coast and on the west coast near modern Parepare.

 

The first Europeans to visit the island (which they believed to be an archipelago due to its contorted shape) were the Portuguese sailors Simão de Abreu, in 1523, and Gomes de Sequeira (among others) in 1525, sent from the Moluccas in search of gold, which the islands had the reputation of producing. A Portuguese base was installed in Makassar in the first decades of the 16th century, lasting until 1665, when it was taken by the Dutch. The Dutch had arrived in Sulawesi in 1605 and were quickly followed by the English, who established a factory in Makassar. From 1660, the Dutch were at war with Gowa, the major Makassar west coast power. In 1669, Admiral Speelman forced the ruler, Sultan Hasanuddin, to sign the Treaty of Bongaya, which handed control of trade to the Dutch East India Company. The Dutch were aided in their conquest by the Bugis warlord Arung Palakka, ruler of the Bugis kingdom of Bone. The Dutch built a fort at Ujung Pandang, while Arung Palakka became the regional overlord and Bone the dominant kingdom. Political and cultural development seems to have slowed as a result of the status quo. In 1905 the entire island became part of the Dutch state colony of the Netherlands East Indies until Japanese occupation in the Second World War. During the Indonesian National Revolution, the Dutch Captain 'Turk' Westerling led campaigns in which hundreds, maybe thousands died during the South Sulawesi Campaign. Following the transfer of sovereignty in December 1949, Sulawesi became part of the federal United States of Indonesia, which in 1950 became absorbed into the unitary Republic of Indonesia.

 

CENTRAL SULAWESI

The Portuguese were rumoured to have a fort in Parigi in 1555. The Kaili were an important group based in the Palu valley and related to the Toraja. Scholars relate that their control swayed under Ternate and Makassar, but this might have been a decision by the Dutch to give their vassals a chance to govern a difficult group. Padbruge commented that in the 1700s Kaili numbers were significant and a highly militant society. In the 1850s a war erupted between the Kaili groups, including the Banawa, in which the Dutch decided to intervene. A complex conflict also involving the Sulu Island pirates and probably Wyndham (a British merchant who commented on being involved in arms dealing to the area in this period and causing a row).

 

In the late 19th century the Sarasins journeyed through the Palu valley as part of a major initiative to bring the Kaili under Dutch rule. Some very surprising and interesting photographs were taken of shamans called Tadulako. Further Christian religious missions entered the area to make one of the most detailed ethnographic studies in the early 20th century. A Swede by the name of Walter Kaudern later studied much of the literature and produced a synthesis. Erskine Downs in the 1950s produced a summary of Kruyts and Andrianis work: "The religion of the Bare'e-Speaking Toradja of Central Celebes," which is invaluable for English-speaking researchers. One of the most recent publications is "When the bones are left," a study of the material culture of central Sulawesi, offering extensive analysis. Also worthy of study are the brilliant works of Monnig Atkinson on the Wana shamans who live in the Mori area.

 

POPULATION

The 2000 census population of the provinces of Sulawesi was 14,946,488, about 7.25% of Indonesia's total population. By the 2010 Census the total had reached 17,371,782, and the latest official estimate (for January 2014) is 18,455,058. The largest city is Makassar.

 

RELIGION

Islam is the majority religion in Sulawesi. The conversion of the lowlands of the south western peninsula (South Sulawesi) to Islam occurred in the early 17th century. The kingdom of Luwu in the Gulf of Bone was the first to accept Islam in February 1605; the Makassar kingdom of Goa-Talloq, centred on the modern-day city of Makassar, followed suit in September. However, the Gorontalo and the Mongondow peoples of the northern peninsula largely converted to Islam only in the 19th century. Most Muslims are Sunnis.

  

POPULATION OF SULAWESI BY PROVINCE (2010)

South Sulawesi (46.4%)

Central Sulawesi (15%)

Southeast Sulawesi (13%)

North Sulawesi (13.0%)

West Sulawesi (6.6%)

Gorontalo (6%)

 

Christians form a substantial minority on the island. According to the demographer Toby Alice Volkman, 17% of Sulawesi's population is Protestant and less than 2% is Roman Catholic. Christians are concentrated on the tip of the northern peninsula around the city of Manado, which is inhabited by the Minahasa, a predominantly Protestant people, and the northernmost Sangir and Talaud Islands. The Toraja people of Tana Toraja in Central Sulawesi have largely converted to Christianity since Indonesia's independence. There are also substantial numbers of Christians around Lake Poso in Central Sulawesi, among the Pamona speaking peoples of Central Sulawesi, and near Mamasa.

 

Though most people identify themselves as Muslims or Christians, they often subscribe to local beliefs and deities as well. It is not uncommon for both groups to make offerings to local gods, goddesses, and spirits.

 

Smaller communities of Buddhists and Hindus are also found on Sulawesi, usually among the Chinese, Balinese and Indian communities.

 

AGMINISTRATION

The island is subdivided into six provinces: Gorontalo, West Sulawesi, South Sulawesi, Central Sulawesi, Southeast Sulawesi and North Sulawesi. West Sulawesi is a new province, created in 2004 from part of South Sulawesi. The largest cities on the island are Makassar, Manado, Palu, Kendari, Bitung, Gorontalo, Palopo and Baubau.

 

FLORA AND FAUNA

Sulawesi is part of Wallacea, meaning that it has a mix of both Indomalayan and Australasian species that reached the island by crossing deep-water oceanic barriers. The flora includes one native eucalypt, E. deglupta. There are 8 national parks on the island, of which 4 are mostly marine. The parks with the largest terrestrial area are Bogani Nani Wartabone with 2,871 km2 and Lore Lindu National Park with 2,290 km2. Bunaken National Park which protects a rich coral ecosystem has been proposed as an UNESCO World Heritage Site.

 

MAMMALS

Early in the Pleistocene, Sulawesi had a dwarf elephant and a dwarf form of Stegodon, (an elephant relative, S. sompoensis); later both were replaced by larger forms. A giant suid, Celebochoerus, was also formerly present. It is thought that many of the migrants to Sulawesi arrived via the Philippines, while Sulawesi in turn served as a way station for migrants to Flores. A Pleistocene faunal turnover is recognised, with the competitive displacement of several indigenous tarsiers by more recently arriving ones and by Celebochoerus by other medium-sized herbivores like the babirusa, anoa and Celebes warty pig.

 

There are 127 known extant native mammalian species in Sulawesi. A large percentage, 62% (79 species) are endemic, meaning that they are found nowhere else in the world. The largest of these are the two species of anoa or dwarf buffalo. Other artiodactyl species inhabiting Sulawesi are the warty pig and the babirusas, which are aberrant pigs. The only native carnivoran is the Sulawesi palm civet (Asian palm and Malayan civets have been introduced). Primates present include a number of tarsiers (T. fuscus, Dian's, Gursky's, Jatna's, Wallace's, the Lariang and pygmy tarsiers) as well as macaques (Heck's, the booted, crested black, Gorontalo, moor, and Tonkean macaques). While most of Sulawesi's mammals are placental and have Asian relatives, several species of cuscus, arboreal marsupials of Australasian origin, are also present (Ailurops ursinus and Strigocuscus celebensis).

 

Sulawesi is home to a large number of endemic rodent genera. Murid rodent genera endemic to Sulawesi and immediately adjacent islands (such as the Togian Islands, Buton Island, and Muna Island) are Bunomys, Echiothrix, Margaretamys, Taeromys and Tateomys as well as the single-species genera Eropeplus, Hyorhinomys, Melasmothrix, Paucidentomys, Paruromys and Sommeromys. Endemic sciurid genera are Hyosciurus, Prosciurillus, Rubrisciurus and Waiomys.

 

While over 20 bat species are present on Sulawesi, only a portion of these are endemic: Rhinolophus tatar, Scotophilus celebensis and the megabats Acerodon celebensis, Boneia bidens, Dobsonia exoleta, Harpyionycteris celebensis, Neopteryx frosti, Rousettus celebensis and Styloctenium wallacei.

 

Several endemic shrews, the Sulawesi shrew, Sulawesi tiny shrew and the Sulawesi white-handed shrew, are found on the island.

 

BIRDS

By contrast, Sulawesian bird species tend to be found on other nearby islands as well, such as Borneo; 31% of Sulawesi's birds are found nowhere else. One true endemic is the fiery-browed starling. Another endemic bird (also found on small neighboring islands) is the largely ground-dwelling, chicken-sized maleo, a megapode which uses hot sand close to the island's volcanic vents to incubate its eggs. Others include the flightless snoring rail, the Sulawesi masked owl, the Sulawesi myna and the grosbeak starling. There are around 350 known bird species in Sulawesi. An international partnership of conservationists, donors, and local people have formed the Alliance for Tompotika Conservation, in an effort to raise awareness and protect the nesting grounds of these birds on the central-eastern arm of the island.

 

REPTILES

The larger reptiles of Sulawesi are not endemic and include reticulated and Burmese pythons, king cobras, water monitors, sailfin lizards, saltwater crocodiles and green sea turtles. An extinct giant tortoise, Megalochelys atlas, was formerly present, but disappeared by 840,000 years ago, possibly because of the arrival of humans. Similarly, komodo dragons or similar lizards appear to have inhabited the island, being among its apex predators. The smaller snakes of Sulawesi include endemic forms such as Calamaria boesemani, Calamaria muelleri, Calamaria nuchalis, Cyclotyphlops, Enhydris matannensis, Ptyas dipsas, Rabdion grovesi, Tropidolaemus laticinctus and Typhlops conradi. Similarly, the smaller lizards of Sulawesi include nonendemic species such as Bronchocela jubata, Dibamus novaeguineae and Gekko smithii, as well as endemic species such as Lipinia infralineolata and Luperosaurus iskandari.

 

AMPHIBIANS

The amphibians of Sulawesi include the endemic frogs Hylarana celebensis, H. macrops, H. mocquardi, Ingerophrynus celebensis, Limnonectes arathooni, L. larvaepartus, L. microtympanum, Occidozyga celebensis, O. semipalmata and O. tompotika as well as the endemic "flying frogs" Rhacophorus edentulus and R. georgii.

 

FRESHWATER FISH

Sulawesi is home to more than 70 freshwater fish species, including more than 55 endemics. Among these are the genus Nomorhamphus, a species flock of viviparous halfbeaks containing 12 species that only are found on Sulawesi (others are from the Philippines). In addition to Nomorhamphus, the majority of Sulawesi's freshwater fish species are ricefishes, gobies (Glossogobius and Mugilogobius) and Telmatherinid sail-fin silversides. The last family is almost entirely restricted to Sulawesi, especially the Malili Lake system, consisting of Matano and Towuti, and the small Lontoa (Wawantoa), Mahalona and Masapi. Another unusual endemic is Lagusia micracanthus from rivers in South Sulawesi, which is the sole member of its genus and among the smallest grunters. The gudgeon Bostrychus microphthalmus from the Maros Karst is the only described species of cave-adapted fish from Sulawesi, but an apparently undescribed species from the same region and genus also exists.

 

FRESHWATER CRUSTACEANS AND SNAILS

Many species of Caridina freshwater shrimp and parathelphusid freshwater crabs (Migmathelphusa, Nautilothelphusa, Parathelphusa, Sundathelphusa and Syntripsa) are endemic to Sulawesi. Several of these species have become very popular in the aquarium hobby, and since most are restricted to a single lake system, they are potentially vulnerable to habitat loss and overexploitation. There are also several endemic cave-adapted shrimp and crabs, especially in the Maros Karst. This includes Cancrocaeca xenomorpha, which has been called the "most highly cave-adapted species of crab known in the world".

 

The genus Tylomelania of freshwater snails is also endemic to Sulawesi, with the majority of the species restricted to Lake Poso and the Malili Lake system.

 

MISCELLANEOUS

The mimic octopus is also present in the waters of Sulawesi's coast.

 

CONSERVATION

Sulawesi island was recently the subject of an Ecoregional Conservation Assessment, coordinated by The Nature Conservancy. Detailed reports about the vegetation of the island are available. The assessment produced a detailed and annotated list of 'conservation portfolio' sites. This information was widely distributed to local government agencies and nongovernmental organizations. Detailed conservation priorities have also been outlined in a recent publication.

 

The lowland forests on the island have mostly been removed. Because of the relative geological youth of the island and its dramatic and sharp topography, the lowland areas are naturally limited in their extent. The past decade has seen dramatic conversion of this rare and endangered habitat. The island also possesses one of the largest outcrops of serpentine soil in the world, which support an unusual and large community of specialized plant species. Overall, the flora and fauna of this unique center of global biodiversity is very poorly documented and understood and remains critically threatened.

 

The islands of Pepaya, Mas and Raja islands, located in Sumalata Village - North Gorontalo Regency (about 30 km from Saronde Island), have been named a nature reserve since the Dutch colonial time in 1936. Four of the only seven species of turtles can be found in the islands, the world's best turtle habitat. They include Penyu Hijau (Chelonia midas), Penyu Sisik (Eretmochelys imbricata), Penyu Tempayan (Caretta caretta) and Penyu Belimbing (Dermochelys coriacea). In 2011, the habitat was threatened by human activities such as illegal poaching and fish bombing activities; furthermore, a lot of coral reefs, which represent a source of food for turtles, have been damaged.

 

ENVIRONMENT

The largest environmental issue in Sulawesi is deforestation. In 2007, scientists found that 80 percent of Sulawesi's forest had been lost or degraded, especially centered in the lowlands and the mangroves. Forests have been felled for logging and large agricultural projects. Loss of forest has resulted in many of Sulawesi's endemic species becoming endangered. In addition, 99 percent of Sulawesi's wetlands have been lost or damaged.

 

Other environmental threats included bushmeat hunting and mining.

 

PARKS

The island of Sulawesi has six national parks and nineteen nature reserves. In addition, Sulawesi has three marine protected areas. Many of Sulawesi's parks are threatened by logging, mining, and deforestation for agriculture.

 

WIKIPEDIA

Bronx, New York City, New York, United States of America

 

If you want to know more about my walks and photos, check out my blog.

 

Summary

 

Featuring robust brick facades and a high corner clock tower, the former Estey Piano Company Factory is a distinguished monument to an industry that was once one of the Bronx’s most important. Anchoring the northeast corner of Lincoln Avenue and Southern (now Bruckner) Boulevard since 1886, when its original portion was completed, the Estey building is the oldest-known former piano factory standing in the Bronx today. It is also one of the earliest large factories remaining in its Mott Haven neighborhood, dating from the period in which the area first experienced intensive industrial development. Today, as in decades past, the building’s signature clock tower and expansive facades—simply but elegantly detailed with terra cotta, patterned brick, and contrasting stone—are visible from the waterfront and nearby Harlem River bridges, making the Estey Factory a true neighborhood landmark.

 

Manufacturing blossomed in the Mott Haven section of the Bronx during the 1880s, when new factories started springing up in the area east of Third Avenue. Many of these produced pianos or their components, and by 1919, the Bronx had more than 60 such factories, making it one of America’s piano-manufacturing centers. One of the city’s first piano factories to be built in the Annexed District or North Side, as the western portions of the Bronx were known between 1874 and 1898, the Estey building was credited with providing “an unusual stimulus” for the movement of other piano makers there. Several of the manufacturers that followed Estey to the Annexed District, and later the Bronx, clustered within a few blocks of its factory, creating an important nucleus for the piano industry.

 

The Estey Piano Company was organized by Jacob Estey and John B. Simpson in 1885. Two decades before, Estey had established an organ works in Brattleboro, Vt. that had grown into one of the country’s largest producers of reed organs, thousands of which found their way into American parlors every year. Like other organ manufacturers in the late nineteenth century, Estey sought to diversify into the booming piano industry, and his partnership with Simpson—a pioneering North Side piano manufacturer—was a means to that end. When Estey Piano opened its factory, it manufactured upright and grand pianos that would become recognized for their “superior construction and workmanship.”

 

The original portion of the Estey Piano Factory was designed by the architectural firm of A.B. Ogden & Son. Many of this building’s features, including its L-shaped plan, flat roof, regular fenestration pattern and bay arrangement, and relatively narrow width to allow for daylight penetration, are characteristic of latenineteenth-century factory buildings. Its mixture of segmental- and round-headed window openings, and the Romanesque machicolations of its clock tower, place the Estey Factory within the tradition of the American round-arched style. Other features, including the factory’s distinctive, red-orange brick, dogtoothed and zigzagging patterned-brick stringcourses, recessed brick panels, terra cotta tiles featuring festoons, lions’ heads, and foliate motifs—and of course, its dramatic, projecting clock tower—speak of a building that sought to announce its presence on the urban landscape, projecting a strong public image for its owner. Indeed, the Estey Piano Company often included an illustration of this factory on its trade cards, which advertised the firm’s products.

 

The original building was extended to the east along Southern Boulevard in 1890, with a harmonious five-story addition designed by John B. Snook & Sons, and to the north, along Lincoln Avenue, with one-story additions in 1895. The Lincoln Avenue additions appear to have been combined and expanded, and then raised to three stories in 1909, and by an additional two stories in 1919; the 1919 addition near the southeast corner of Lincoln Avenue and 134th Street features broad expanses of industrial sash that were characteristic of the “daylight factories” of the early twentieth century. Known today as the Clock Tower Building, the old Estey Piano Company Factory currently houses artists and their studios. With its historic fabric almost completely intact, the building remains, in the words of the AIA Guide to New York City, “the grande dame of the piano trade: not virgin, but all-together and proud.”

 

The Industrial Development of Mott Haven

 

Well before the 1898 creation of the borough of the Bronx, industrial activity was occurring in the area that is now the Bronx’s southernmost portion. In 1828, Jordan L. Mott, the inventor of a coal-burning iron cooking stove, opened a “modest little factory” on property he had purchased on the Harlem River near the present Third Avenue, in what was then the township of Morrisania. Mott started calling the area Mott Haven and, in 1850, seeking to attract additional industry to the area, he laid out the Mott Haven Canal, an artificial inlet from the Harlem River that would ultimately extend to just south of 144th Street. The canal, however, was slow to attract industrial firms, and by 1879, only a handful of substantial ones existed nearby, including a brass and iron works, a machine shop, and a few lumber and coal yards, all of which were below 138th Street. These were joined by a marble yard, lumber yard, and hotel west of the canal, near the tracks built by the New York & Harlem Railroad to connect Manhattan with what is now the Bronx, in 1841. Despite the presence of the large Harlem River & Port Chester Railroad yard, which stretched from Lincoln Avenue to Brown Place south of 132nd Street, few factories appear to have existed east of Third Avenue at the end of the 1870s.

 

In 1874, the townships of Morrisania, West Farms, and Kingsbridge—the sections of the present Bronx borough located west of the Bronx River—became part of New York City. Officially called the 23rd and 24th Wards, they were generally referred to as the “Annexed District” or “North Side,” but they remained fairly isolated. At that time, few links existed between the southern portion of the District and Manhattan; among those that did was a cast-iron bridge at Third Avenue which, in 1860, had replaced an old wood dam-bridge built in the 1790s at that location.

 

Soon after annexation, however, local residents, property owners, business owners, and booster groups like the North Side Association began agitating for improved infrastructure, including better connections with Manhattan. In the 1880s, new public works started to be built; among them was the Madison Avenue Bridge, completed in 1884, which spanned the Harlem River at 138th Street, about five blocks north of the Mott Iron Works complex. By 1885, additional industrial concerns—including a planing mill, cabinet maker, and nickel works, and factories making carpets and surgical instruments—had sprung up in Mott Haven, near and below 138th Street, and close to Third Avenue. The expanded rail yard below 132nd Street, at that point operated by the New York, New Haven & Hartford Railroad, connected directly to new docks at the foot of Willis Avenue. A few factories had sprouted up in the area east of Lincoln Avenue, as the Estey Piano Company Factory, then under construction at the northeast corner of Lincoln Avenue and Southern (now Bruckner) Boulevard, shared a block with the expansive works of the New York Lumber and Woodworking Company.

 

The 1886 opening of the Second Avenue Bridge just a few blocks from the Estey Factory provided a Harlem River crossing for the trains of the new Suburban Rapid Transit Company. The Suburban’s line, which would come to be known in the Bronx as the Third Avenue El, was the first to bring rapid transit service to the Annexed District. With its southern terminus on the Manhattan side of the Harlem, where it met Manhattan’s east-side elevated lines, the Suburban stopped at Southern Boulevard, before continuing northward; service on the line was expanded and improved between 1887 and 1902. While the Suburban was under construction, Real Estate Record & Builders’ Guide predicted that it would have an enormous impact on the North Side, calling it, in 1885, “a great thing for the [Annexed District], as well as for New York City. It will furnish cheap homes for a poorer population, as well as choice rural habitations for the well-to-do. We may expect many light manufacturing industries to become naturalized on the other side of the Harlem.” And the line did come to play a crucial role in Mott Haven’s late-nineteenth-century development, spurring rowhouse construction in the late 1880s and 1890s. As new housing sprouted up, so too did industry; an 1894 drawing of the Harlem River east of Third Avenue shows a busy waterfront with docks and factories on both sides of the river, including the Estey Factory, with its distinctive clock tower clearly visible. In 1895, the New York Times noted that “that part of the 23rd Ward along the Harlem River”—that is, the southernmost portion of the Annexed District, including Mott Haven—was “a very busy manufacturing place.”

 

Improved rapid transit connections with Manhattan aided Mott Haven’s residential growth, but the area’s industrial development was spurred by its Harlem River location and the expansion of its freight-rail infrastructure. By the beginning of the twentieth century, the New York, New Haven & Hartford—with a freight depot located one block south of the Estey Factory, at Lincoln Avenue and 132nd Street—connected with dozens of railroads providing service throughout the eastern and midwestern United States, and into Canada. The New York Central system, with extensive yards close by in Melrose, was just as far-reaching. And the southern Bronx retained these transportation advantages into the twentieth century. Writing in 1908 about the proliferation of piano factories, many of which were in the southern Bronx, lifelong piano man William

 

P.H. Bacon pointed to the borough’s “superior transportation and shipping facilities, both by water and land,” as well as “the opportunity of getting land for the erection of commodious factories at reasonable figures.” In experiencing strong manufacturing growth in the nineteenth and early twentieth centuries, Mott Haven was a microcosm of the Bronx and the city as a whole: by 1920, New York City had 12% of the country’s factory workers, and by 1927, the Bronx had 2,700 plants with more than 100,000 employees.

 

Industrial growth had been rapid in the southern Bronx; Bacon wrote, in 1908, of “the busy hum of commerce where but a few years ago, the lowing of cattle and other sylvan sounds were the only noises heard.” The end of World War II marked the apex of manufacturing in New York, as in 1947, more manufacturing jobs existed in the city than in Boston, Detroit, Los Angeles, and Philadelphia combined. But industrial activity in the Bronx would soon begin to decline, reflecting city-wide trends. By the 1950s, New York City was rapidly losing industrial jobs, with manufacturers leaving in droves for the suburbs, or departing the region entirely. Between 1969 and 1999, the number of manufacturing jobs in the city fell by twothirds. Contributing to the decline of industry in the southern Bronx was the destruction of manufacturing space with the construction of broad new highways; the building of the earliest portions of the Major Deegan Expressway through Mott Haven between 1935 and 1939, for example, wiped out several industrial buildings on the block immediately to the north of the Estey Factory, including the former factory of the Brambach Piano Company. In 1997, the New York City Department of City Planning, citing an underutilization of industrial space in Mott Haven, rezoned a portion of Bruckner Boulevard including the block containing the former Estey Factory, to allow for residential uses and community facilities. This special mixed-use zoning was expanded to blocks to the east, west, and south in 2005.

 

As Mott Haven becomes increasingly residential, the former Estey Factory is a reminder of the neighborhood’s early years of intensive industrial growth. Today, the Estey building is one of the oldest large factories standing in Mott Haven, and in the entire area of the southern Bronx below 149th Street.

 

The Estey Piano Company and Its Factory

 

The Estey Piano Company had its roots in the firm of Manner & Company, which manufactured pianos on the Bowery between 1866 and 1869. Manner called his piano the “Arion,” and in 1870, his firm’s name changed to the Arion Piano-Forte Company. In 1872, the company’s factory moved to 149th Street, in what is now the Bronx. John Boulton Simpson, who had been Arion’s secretary since 1871, took control of the company in 1875; in that year, the company apparently moved to a new factory on St. Ann’s Avenue and boasted that “Six years ago, there were none of our pianos in existence; to-day, there are over 7,500 in use.” In the following year, the firm’s name changed to Simpson & Company, although it also continued to be known by the Arion name. By the end of the 1870s, Simpson’s factory—stretching from Brook to St. Ann’s Avenues on the north side of 149th Street—was probably the largest piano factory in the Annexed District, but in 1880, it was sold to another piano maker, the William E. Wheelock Company.

 

While Simpson apparently continued to make “high grade pianos” following the Wheelock sale, the location of his factory in the early 1880s is unclear. Between 1881 and 1885, Simpson & Company continued to maintain a space, likely a showroom, at 5 East 14th Street—where it had been since 1876—but the company was also listed at 127 East 129th and 232 East 40th Streets, neither of which appears to have been the location of a substantial factory. These addresses do, however, link Simpson in the early 1880s with the respected tuner Stephen Brambach, who would play a crucial role in developing Estey’s first pianos; Brambach was located next door to Simpson between 1881 and 1883, and in the same building in 1884.

 

In 1885, the Estey Organ Company of Brattleboro, Vt. was hitting its peak. By the end of the 1880s, the firm, which had been founded in 1866 by Jacob Estey, would be the world’s largest producer of reed organs. Thousands of these instruments found their way into American parlors every year; they were also being distributed, by 1890, to Africa, Asia, Australia, and South America, and to major European cities. Despite the company’s success—it was described, in 1886, as doing “an immense business, amounting to over one million dollars annually”—and its rapid growth—production rose by a factor of seven between 1865 and 1886—the organ business was in decline. The piano business, however, was booming; and, likely noticing the 1882 entry of the renowned organ maker Mason & Hamlin into piano manufacturing, Estey and the company’s other principals, including Levi K. Fuller and Jacob’s son Julius, decided to take the same path.

 

Estey became a piano manufacturer by forming a partnership with Simpson, who was named president of the new Estey Piano Company; the Simpson piano was essentially re-branded as the new Estey model. Simpson, of course, had been a pioneer in Bronx piano manufacturing, and this may have played a role in Estey’s decision to build its plant on the North Side. A.B. Ogden & Son was hired to design the factory, but Simpson may have had some influence over its appearance and form, as he had dabbled in architecture, altering his home on West 129th Street in 1882 to give it a “picturesque exoticism.” Work began on the “large factory with modern appliances,” as it would later be described, in August of 1885; it was completed, at a cost of approximately $40,000, in February of 1886. While the factory was under construction, Estey Piano decided to construct three more buildings that would extend its complex by an additional 80 feet along Southern Boulevard. These brick structures, designed by Ogden’s firm and completed at the same time as the main factory, were a one-story extension, a one-story shed, and a two-story stable.

 

Estey Piano prospered in its early years, as “Estey grand and upright pianos soon became a dominant factor in the piano trade,” according to Alfred Dolge, who added that they often “carried off highest awards for superior construction and workmanship.” In 1887, the trade publication Musical Courier wrote that the Estey Piano Factory was “one of the most complete in the country”; two years later, it called the firm’s upright “a most beautiful specimen of piano manufacturing,” of which Estey would “find no difficulty in disposing … in the best musical circles in the land.” While trade journals’ opinions should be considered with caution, those of the respected piano tuner and regulator Daniel Spillane may be more reliable. Five years after the Estey Factory opened, Spillane called its piano “a very excellent instrument,” adding that “much of the technical and musical merit of these pianos is due to the competency and skill of [Stephen] Brambach, who is a gentleman of fine musical and mechanical sensibilities [and] … one of the best tuners in New York.” Although Brambach had apparently started his own piano company in 1885, he remained involved with Estey in 1890, originating “all new ideas in the mechanics and acoustics of the Estey piano.” Brambach’s brother Carl, “one of the most expert and artistic tuners and toners in the country,” was also employed by Estey Piano, according to Spillane.

 

Business was good, and only four years after the Estey Piano Factory opened, it underwent a huge expansion. In May of 1890, work began on a 100-foot-long east addition that would result in the demolition of the extension, shed, and stable on Southern Boulevard, and create the unified five-story, 200-foot-long Bruckner Boulevard façade that remains essentially unchanged today. The architect of this addition, which was completed in October of 1890 at a cost of about $23,000, was John B. Snook & Sons. This firm, then one of New York’s most prolific, traced its origins to the arrival of John B. Snook (1815-1901) in the United States, from England, in 1835. By 1842, Snook was working with Joseph Trench, and the two helped introduce the Anglo-Italianate style to New York with buildings such as the A.T. Stewart Store at 280 Broadway (1845-46, a Designated New York City Landmark). One of Snook’s best-known works was the first Grand Central Terminal (1869-71, demolished); in 1887, he took his three sons, James Henry (1847-1917), Samuel Booth (18571915), and Thomas Edward, and a son-in-law, John W. Boyleston, into his office, and changed his firm’s name to John B. Snook & Sons. Although Snook had designed a diverse array of buildings—including residential and commercial structures for some of New York’s most prominent families—his firm designed several manufacturing lofts in the 1880s and 1890s that would have made it an appropriate choice for the Estey addition. These industrial buildings, now located in the SoHo-Cast Iron Historic District—including 8 Greene Street (1883-84), 12 Wooster Street (1883-84), 127 Spring Street/87-89 Greene Street (1886-87), 391-393 West Broadway/77-81 Wooster Street (1889), 151 Spring Street (1889-90) and 361 Canal Street (1891-92)—were utilitarian brick buildings; but like the Estey Factory, they were also designed with an eye toward detail, featuring patterned and textured brickwork, and contrasting stone trim that enliven their facades.

 

The Estey Factory continued to grow in the 1890s. In 1895, the company extended the building 50 feet along Lincoln Avenue with a one-story, 69-foot-deep brick addition that apparently provided a fireproof home for its woodworking department; at the same time, Estey constructed a new, one-story brick lumber room running for an additional 38 feet along Lincoln, where it met a small, one-story brick building then existing at the southeast corner of Lincoln Avenue and 134th Street. Both the extension and the new building—which appear to remain today as the base of the five-story portion of the factory north of the original building—were designed by Hewlett S. Baker of 492 East 138th Street. Little is known about Baker; he was described as “a property owner in the South Bronx” in a 1910 New York Times article, and as “a contractor and builder in the Bronx” in a 1912 article about his death. By 1900, the one-story buildings near the corner of Lincoln and 134th appear to have been extended to the east.

 

The portion of the factory north of the original building remained at one story until 1909, when Simpson and architect S. Gifford Slocum raised it to three stories. Slocum, an architect of some note, is remembered primarily for his large residences for wealthy clients, including several fine Queen Anne-style residences built in the Saratoga Springs area in the 1880s. Born in Jefferson County, N.Y., Slocum studied architecture at Cornell University from 1873 to 1875, and by 1885, he had offices in Saratoga and Glens Falls, N.Y. In 1888, Slocum moved to Philadelphia while retaining his Saratoga office; between 1890 and 1909, he practiced architecture in New York City. Simpson hired Slocum to design an alteration to his residence at 117 East 83rd Street, in 1900. Slocum’s two-story addition to the Estey Piano Factory was described as being of “similar construction to the present building” in its Buildings Department application, and it demonstrates continuity with the floor below and with the original building in its segmental-arch-headed window openings, and in its similar decorative details, including pilasters, stone sills supported by corbelled brick courses, and patterned-brick stringcourses. A drawing of the factory following the completion of Slocum’s addition appeared in a 1917 Estey Piano Company advertisement.

 

Over the previous years, the Estey Piano Company had undergone several changes, weathering the deaths—in 1890, 1896, and 1902, respectively—of Jacob Estey, Levi K. Fuller, and Julius Estey. The firm’s “warerooms” or showrooms, which had been at 5 East 14th Street since the time of the company’s founding, were at 97 Fifth Avenue by 1900 and 7 West 29th Street by 1909. They would move again—in 1912 to the since-demolished “Estey Building” at 23 West 42nd Street—and by 1916 to 12 West 45th Street. By 1912, Estey pianos were being sold at Loeser’s department store in Brooklyn; in its advertising, the company took advantage of its historical association with the Estey Organ Company, stating that “the world-renowned Estey Pianos … are just as reliable as the Estey Organs made famous by the same firm in the days of our parents.” On at least one occasion, the Estey Piano Factory witnessed strife between its employees and management, as in 1912, workers struck Estey and other Bronx piano manufacturers that would not recognize the piano makers’ union and refused to close their shop floors to non-union employees.

 

In 1917, John B. Simpson’s leadership of the Estey Piano Company came to an end, when George B. Gittins, the former president of piano manufacturer Kohler & Campbell, purchased a controlling interest in the firm. Gittins, an industry prodigy who was only 37 at the time he took Estey Piano’s helm, appears to have begun revamping the company’s product line almost immediately; an “at-the-factory” clearance sale held in November of 1917 was prompted by the company’s intention “to concentrate on the large-scale production of a few standard models.” Two years later, Gittins purchased M. Welte & Sons, Inc., which was originally the American arm of a German company that had invented the reproducing piano, a technologically advanced kind of player piano using special rolls that were able to express, to some extent, the subtleties of the renowned pianists who had “recorded” them. Following the 1907 introduction of Welte’s “Mignon” reproducing piano in the United States, dozens of the world’s most famous pianists made recordings for Welte, allowing Americans to experience, for the first time, something close to having Paderewski, Saint-Saens, and other virtuosi play for them in their homes.

 

Soon after acquiring Welte, Gittins started shutting down the firm’s Poughkeepsie, N.Y. plant—which had produced rolls, reproducing pianos with and without keyboards, Welte “Philharmonic” reproducing organs, orchestrions, and other products—and expanding the Estey Factory building and its complex. In 1919, architect George F. Hogue of 41 Union Square in Manhattan was hired to add two stories to the northern, three-story portion of the factory, and to add an elevator shaft. This alteration, which cost about $25,000, featured broad expanses of industrial sash typical of the “daylight” factories that were then being constructed around the country. By 1921, Gittins had also constructed a two-story building (not part of this Designation) facing Southern Boulevard and adjoining Snook’s 1890 addition, as well as a four-story factory for Welte (not part of this Designation) that remains today at 27 Bruckner Boulevard. In 1922, the Estey-Welte Corporation was created, which served as an umbrella organization for several Gittins holdings, including the Estey Piano Company and the Welte-Mignon Corporation. Estey, at that time, was manufacturing a variety of pianos, including an 88-note player piano, and manual and reproducing uprights and grands; the new four-story factory on Southern Boulevard made Welte-Mignon pianos and grands, actions for reproducing instruments, and Welte Philharmonic organs.

 

In 1925, perhaps sensing the end of the glory days for the piano and player piano, Gittins decided to diversify into the manufacture of pipe organs for churches, concert halls, theaters, and large residences. In the following year, Estey-Welte appeared to be perfectly healthy, but by January of 1927, a crash in its stock price brought the over-extended company to its knees. Estey-Welte was in serious trouble, and by summer of that year, it was reorganized as the Welte Company. Gittins was soon gone; by 1928 his old firm was reorganized again, as the Welte-Mignon Corp. This latest incarnation of the firm fell into receivership in 1929, when its chief assets were split up and its factory emptied; one investor, Donald F. Tripp, bought some of the organ business, and the Estey Piano Company was sold to the Settergren Piano Company of Bluffton, Ind. Tripp’s firm was bankrupt within two years; in 1935, Settergren was renamed the Estey Piano Company.

 

The Estey Piano name continued on for decades. Estey spinets were being advertised in Chicago in 1948, and the firm’s pianos appeared in Macy’s advertisements in the early-to-mid 1960s. The Estey Piano Company was still operating in 1972, when it received a loan from the Commerce Department to assist it in starting production of a plastic piano. At that time, Estey was described as having “an office in Union, N.J., and an old plant in Bluffton, Ind.”

 

After the old Estey Piano Company Factory was vacated in 1929, it passed through the hands of a number of different owners, and was occupied by many different industrial tenants. A sheet-metal works leased space there in 1932, and its occupants in 1937 included the Whitman Supply Company and Unique Balance Company. By 1939, the factory had been acquired by the Emigrant Industrial Savings Bank. In February of 1940, Emigrant sold the five-story Estey Factory building and the adjacent two-story building constructed by Gittins to the S.H. Pomeroy Company, a manufacturer of window sashes that had been located on the same block as Estey Piano since 1923 or before. One month later, however, the owner of the building was the 120 Lincoln Avenue Realty Corporation, which was leasing space to Alta Furniture Factories. Until at least 1945, 120 Lincoln Avenue Realty remained the owner of the building; in 1969, it was occupied by the Ranger Plastics Corporation, and in 1973, it was home to a draperies manufacturer. At the end of the 1970s, the old Estey Piano Company Factory housed a maker of textile products and its outlet store, along with manufacturers of wire and “novelty” products. In 1995, when the building was mostly vacant, it was purchased by Truro College, which planned to convert it into student dormitories or a home for a liberal arts and sciences program. Those plans fell through, however, and the college sold the former Estey Factory, now known as the Clock Tower Building, to Carnegie Management, which remodeled its interior to accommodate live-in artists’ studios. It retains this use today.

 

Description

 

The Estey Piano Company Factory is an L-shaped, five-story building with a projecting clock tower at its southwest corner. Spanning the east side of Lincoln Avenue between Bruckner Boulevard and East 134th Street, the building has three primary street facades, all of which feature face brick laid in common bond: a 200-foot-long Bruckner Boulevard façade, a 200-foot-long Lincoln Avenue façade, and a façade on 134th Street that is approximately 69 feet in length and attached to an elevator shaft.

 

The original factory building, which was constructed in 1885-86, extended for 100 feet along Lincoln Avenue and for 100 feet along Southern (now Bruckner) Boulevard. Comprising the westernmost 15 upper-story bays on the south façade and the southernmost 15 upper-story bays on the west façade of the existing building, including the clock tower, this original portion of the Estey Piano Factory was extended by 100 feet to the east along Bruckner Boulevard with the construction of a five-story addition in 1890. (The construction of the 1890 addition resulted in the demolition of three buildings of one and two stories that were completed at the same time as the original factory, and which had a combined street frontage of 80 feet.) Before the construction of the 1890 addition, the five-story portion of the south façade terminated, at its east, with a two-bay projection featuring round-headed windows, all set within a corbelled recess, at the first through fifth floors. This projection—which was identical to the two-bay projection that originally terminated the Lincoln Avenue façade, and remains virtually unchanged today—extended above the adjacent portion of the façade, and, like the clock tower, outward from the façade plane. With the completion of John B. Snook & Sons’ 1890 addition, the two-bay projection on the south façade was doubled in width—the two new bays matching the original two—and its parapet was raised to match, in height, the parapet above the then-new, three-bay projection at the eastern end of the extended façade. Both the raised and new parapets featured, just below their pressed-metal cornices, recessed square panels arranged in a row. Also at that time, the four-bay projection became the central feature of a broad, essentially symmetrical Southern Boulevard façade, with the new three-bay projection at the eastern end of the façade balancing the three-bay, projecting clock tower at the building’s corner.

 

The 1890 addition is virtually indistinguishable from the original portion of the factory, largely because it is faced in matching red-orange brick laid in common bond. It also features matching ornament, including stringcourses composed of decorative brick laid in a zigzagging pattern that align with the stringcourses on the original building; a dogtoothed, soldier-brick course just below the parapet that also aligns with the original; recessed, rectangular brick panels with corbelling, and terra cotta tiles arranged in a repeating three-tile pattern, with each of the three tiles featuring a different foliate design, at the roof parapets; projecting, molded sandstone stringcourses just below the parapets; and sandstone window sills, each supported by two courses of corbelled brick. The three-bay projection at the south façade’s eastern end largely duplicates the fenestration and ornament of the clock tower’s second through fifth floors, featuring segmental-headed window openings with arches composed of stone springers and three courses of header brick, set within a corbelled brick recess, at the second floor; square-headed windows at the third and fourth floors, and round-headed windows at the fifth floor; light-colored, contrasting stone trim, which wraps the heads of the rectangular openings and composes a short stringcourse at the springer level of the fifth-floor openings; and a belt course of terra cotta tiles that matches that of the clock tower, in an alternating festoon and lions’-head motif, just below a projecting stone sill course at the third floor. The easternmost three-bay projection, like the central four-bay projection on the south façade, is crowned by a stepped, pressed-metal cornice with a cyma profile at its top. The 1890 addition features seven basement-level openings with stone lintels that are larger than the five basement-level openings on the south façade of the original building; these five original openings retain their historic metal grilles. Aside from this difference, the addition continued the fenestration pattern of the original factory’s south façade: except for the openings on the three-bay east projection, the central four-bay projection, and the clock tower, all of the window openings on the Bruckner Boulevard façade are segmental-headed, each crowned by an arch composed of two header courses of brick.

 

The original part of the Lincoln Avenue façade not including the clock tower—the twelve-bay portion of this façade including, and south of, the five-story projection containing two bays of round-headed windows— is essentially identical to the original part of the Bruckner Boulevard façade, although some minor changes have been made at the first floor. A metal rooftop bulkhead is visible near this façade’s southern end, close to the clock tower. The later portions of the Lincoln Avenue façade north of the original factory, and the 134th Street façade, show evidence of their gradual construction between 1895 and 1919. Although the first through third floors of these facades show kinship with the original factory—particularly in their segmental-headed windows with sandstone sills supported by corbelled brick courses, and in the composition, of each window arch, of two courses of header brick—they also depart from the original façade in significant ways. The bay arrangement of the facades north of the original factory differs from the original bay arrangement, with the 134th Street façade and the northern half of the Lincoln Avenue façade each split into four bays of varying widths separated by austere brick pilasters. The fenestration is less regular than on the original buildings: it appears, for example, that no window opening ever existed at the second-floor, third-northernmost and tenth-northernmost bays on the Lincoln Avenue façade, or at the easternmost and fifth-easternmost second-floor bays on the 134th Street façade. Although the brick of the oldest, first-floor portions of these facades comes close to matching that of the original factory in color, the face brick of the two later two-story additions above—one built in 1909 and one in 1919—is redder in color. On both the Lincoln Avenue and 134th Street facades of the earliest, first-floor addition, and of the second-and-third-floor 1909 addition, stringcourses composed of zigzagging patterned brick align with the patterned-brick stringcourses of the original factory; an exposed horizontal metal beam between the second- and third-floor window openings is slightly lower than the corresponding patterned-brick stringcourse on the original factory. The 1919 addition differs the most of any of the additions from the original factory, featuring large window openings filled with multi-pane metal windows and with concrete lintels and projecting sills. Each of the windows, which are grouped in threes, fours, or fives within their openings, has a total of 12, 16, or 20 panes, and has a central, horizontally pivoting sash of four or six panes. At the eastern end of the north, or 134th Street façade, is an elevator shaft built in 1919 that features, at its ground floor, a large loading bay with a projecting concrete sill.

 

In addition to the Bruckner Boulevard, Lincoln Avenue, and 134th Street primary facades, the Estey Piano Company Factory has two visible secondary facades. The east façade of the Bruckner Boulevard leg of the building features red face brick laid in common bond. A brick rooftop bulkhead and rooftop chain-link fence are visible above this façade. The façade apparently was once painted with the words “ESTEY PIANO MANUFACTORY”; this lettering has either faded, or been partially removed. Visible on the east, or rear façade of the Lincoln Avenue leg of the building, to the south of the brick elevator shaft, are grouped fourth- and fifth-floor, historic metal sashes, apparently dating from 1919, within openings with concrete lintels and sills that are framed by austere brick pilasters. A metal fire escape extends to the roof; roof access is made possible by a break in the parapet.

 

The clock tower projects slightly from the façade plane. Each of the south and west faces of the tower has four window openings set within a two-story corbelled recess, with each of these openings featuring stone sills and headed by a segmental arch composed of three courses of header brick and light-colored stone springers. One pair of recessed brick panels is located below each of the first-floor openings on the tower’s west face, and a single recessed brick panel is located below each of the first-floor openings on its south face; stepped, recessed-brick panels are located below the second-floor openings on the west and south faces. A terra cotta stringcourse composed of terra cotta tiles with an alternating festoon and lions’-head motif above the second-floor windows is located below a projecting stone molding, which itself is just below the sill level of the third-floor window openings; these elements separate the lower two stories of the clock tower from its third through fifth floors. The vertically projecting top two stories of the clock tower are separated from the lower five stories by a projecting stone molding that has seen its profile softened over time. Above this, on each of the south and west faces of the clock tower, is a recessed, corbelled brick panel; faded lettering reading “ESTEY PIANO CO.” is visible within the south panel. The panels are located below two paired courses of corbelled brick that wrap all four sides of the tower. Each of the four sides of the tower contains a round clock with metal hands, with a face of metal and glass, and with metal roman numerals and minute ring; each clock face is surrounded by an inner soldier course of brick and an outer header course of brick, and is flanked by round-headed windows, each with a transom bar and stone sill. Above the clock faces, and wrapping all four sides of the tower, are a projecting stone molding; a terra cotta stringcourse similar to the one below the third-floor windows; four courses of corbelled brick; and a machicolated cornice composed of small, corbelled round arches. A parapet above this cornice is of concrete, or of stucco-covered brick. A segmental-headed opening at the sixth floor of the clock tower, on the tower’s east face, appears to provide access to the roof. Square metal wall anchors, which appear to be original to the building, are present at the first through fifth floors on the tower’s south and west faces, and on all four sides of the tower at the level of the clock faces.

 

Although the Estey Piano Company Factory remains remarkably intact for a building of its age, some alterations have occurred over time. On the 27-bay portion of the south façade east of the clock tower, the easternmost part of the ground floor has been altered with the installation of a three-bay brick projection containing two loading bays and an entrance set within a stepped recess. A projecting wall sign reading “PLUMBING SUPPLIES” on both of its display faces is attached at the easternmost portion of the second floor. The first-floor opening at the second-westernmost bay of the central four-bay projection has been enlarged to become a secondary entrance with a soldier-brick, round arch, and the westernmost first-floor window opening and second-easternmost window openings at the third, fourth, and fifth floors have been filled with brick. The westernmost first-floor window opening appears to be the only one on the south façade to have a concrete, rather than sandstone, sill. No historic windows appear to remain on this facade, except possibly at the easternmost second-, third-, and fourth-floor openings, which contain four-over-four, double-hung windows. These windows are paired at the second floor. The upper portions of the first-floor window openings have been filled with brick, as have the upper portions of the twelve second-floor openings immediately to the east of the clock tower; some of the infill panels at these windows have been punched through with rectangular or round openings. Non-historic metal grilles with lower privacy panels have been installed at the first-floor windows. Three through-the-wall air conditioners are present at the second floor, and numerous vents, satellite dishes, and other non-historic items are attached to the façade and the window sills at the second through fifth floors. A chain-link fence, visible from Bruckner Boulevard, is located on the roof behind the parapet.

 

On the original, twelve-bay portion of the Lincoln Avenue façade immediately to the north of the clock tower, none of the historic windows remain, except at the first floor. All eight first-floor windows on this portion of the façade have wood frames and wood upper sashes; the third- and fourth-northernmost of these windows have two-pane upper sashes with vertical muntins, and the rest have four-pane upper sashes. The second-northernmost window on the original portion of the factory features a round-headed, four-pane upper sash that may be original to the building. Non-historic metal window grilles have been installed at all of these windows; all except the third-southernmost of these have lower privacy panels. The historic entrance, originally located at the second bay north of the clock tower, has been removed; north of the clock tower, a former window opening has been altered to allow for the installation of a non-historic entrance featuring a surround of curved brick in varying shades, a non-historic metal-and-glass door and side panel with a metal intercom, and a non-historic transom light reading “Clock Tower 112.” The openings originally located south of this entrance have been filled with brick that does not match the original; the upper portions of the three southernmost, second-floor window openings have been filled with brick; a through-the-wall air conditioner is present below the second-southernmost, second-floor window opening; and numerous louvers, vents, signs, satellite dishes, and other non-historic items, including electrical conduit below the fourth-through-sixth-southernmost second-floor window openings, are present on this façade. The base of the façade between the entrance and the clock tower is of concrete.

 

On the northern half of the Lincoln Avenue façade—those portions of the façade dating from 1895 and later—alterations include, at the first floor, the enlargement of an opening at the southernmost bay, and its modification into a loading bay; the filling of the second-southernmost opening with brick; the modification of the opening at the seventh-southernmost bay into a secondary entrance; and the infilling of the third-northernmost opening with brick. At the second floor, the second-southernmost opening has been partially filled with brick, and a narrow window has been installed within the reduced opening. At the third floor, the second-southernmost window opening has been filled with brick. The nine remaining first-floor windows on the northern portion of the Lincoln Avenue façade have wood frames and wood top sashes. Non-historic metal grilles have been installed in front of all of these windows. The northernmost and second-, third-, and fifth-northernmost windows feature two-pane top sashes with vertical muntins; the fourth-northernmost window features a four-pane top sash; and the four southernmost of these windows feature four-pane upper and lower sashes, all of which are wood. The fourth and fifth floors appear to contain their historic, multi-pane metal windows with horizontally pivoting sashes, dating from 1919; five of the fourth-floor windows have been altered with the removal of panes for the installation of vents, air conditioners, and satellite dishes. The southernmost fifth-floor window has also been altered with the installation of an air-conditioning unit. Numerous vents, a satellite dish attached to the northernmost fifth-floor window sill, and other non-historic items are present on this façade.

 

The primary north, or 134th Street façade, has also seen alterations, with the filling of the fourthwesternmost first-floor window opening with brick. A non-historic metal gate with gate housing and exposed mechanism has been installed at the first floor, and four vents have been installed on this façade. Vertical wiring, wrapped in insulation, has been installed below the second floor. One window at the fourth floor, and one window at the fifth floor have been altered to allow for the installation of window air conditioning units. The fourth and fifth floors appear to contain their historic, multi-pane metal windows with horizontally pivoting sashes, dating from 1919. The five first-floor windows on the Lincoln Avenue façade have wood frames and wood top sashes; each of the easternmost, third-easternmost, and westernmost of these windows has a two-pane top sash with a vertical muntin, and the others feature four-pane upper sashes. Non-historic metal grilles with privacy panels have been installed in front of the first-floor windows. Two visible satellite dishes have been installed on top of the pilasters on the visible secondary east façade of the Lincoln Avenue leg of the building.

 

Alterations at the clock tower include the removal of the historic entrance on the tower’s south face, at the second-westernmost first-floor bay, and its modification into a window opening; the installation of a metal drainage pipe, which penetrates a terra cotta tile on the east face of the clock tower, above the clock face; and changes to the parapet, which appears to have originally been brick with rectangular, corbelled brick recesses. None of the windows on the clock tower appear to be historic except for the third-southernmost, four-overfour, double-hung wood window at the fourth floor on the west face of the tower; one pane of this window has been removed to allow for the installation of a vent. Brick infill has been installed within the upper portions of the first- and second-floor window openings. Through-the-wall air conditioners have been installed below the second-westernmost opening on the south face, and below the second-southernmost opening on the west face of the tower.

 

- From the 2006 NYCLPC Landmark Designation Report

Brand new 2023 Case J recolour of the Hot Wheels Lamborghini Sian FKP 37 and quite a decent replica of the mid engined hybrid sports car. Loving the bright orange colour, lace effect wheels and detailing to its dramatically styled front and rear ends.

Found recently at Poundland.

Mint and boxed.

1208 Surf Avenue, Coney Island, Brooklyn, New York City, New York, United States

 

Summary

 

The Childs Restaurant Building on Surf Avenue in Coney Island was the first restaurant built for this well-known chain in Coney Island, at a time when the area was changing from its somewhat seedy aura of summer amusements to a wholesome, family resort that could be enjoyed year-round. The Childs Restaurant chain, begun in 1889, developed as small luncheonettes that catered to working people, where one could find decent meals for a reasonable price in a clean environment. As such, it was the perfect type of establishment for the “new Coney Island.”

 

This building was constructed in 1917 in West Brighton near the terminus of the Prospect Park and Coney Island Railway line and close by many of the most famous amusements of the area. Childs Restaurant filled the need for a respectable but not expensive restaurant for the many working-class New Yorkers who flocked to the beach for a relaxing day in the sun. As the area prospered, a second and larger Childs was built at 21st Street facing the new Boardwalk. This first restaurant continued to operate in this location until 1943 when the property was leased to the Blue Bird Casino and restaurant. During the following years the building continued to house restaurants, clubs and other activities related to Coney Island’s amusements.

 

It was the site of David Rosen’s Wonderland Circus Sideshow and, since 2007, has been the location of Coney Island U.S.A. and the Coney Island Museum, which documents the history of this famous New York City neighborhood. Originally designed by John C. Westervelt who worked for the Childs chain for many years, the building displays elements of the Spanish Revival style, seen in its overhanging red tile roof, round-arched openings and white facade. Its wide arches facing two streets served as grand welcoming gestures to crowds passing by, while the style suggests a warm Mediterranean resort and hint at the fun to be had in Coney Island. This building is a rare survivor from a many years of Coney Island history, beginning when an assortment of amusements and the sea air attracted thousands of pleasure-seekers escaping from the nearby hot city through the present day.

  

DESCRIPTION AND ANALYSIS

 

Coney Island

 

Although the western end of Coney Island had achieved some popularity as a rustic seaside resort early in the 19th century, it also gained an unsavory reputation for its gambling, pickpockets and prostitution. The real growth of Coney Island as a resort came about in the 1870s when five new railroads were constructed to connect the island with the rest of Brooklyn. These were built by businessmen and entrepreneurs who developed large hotels and wanted to provide easy access from Brooklyn and Manhattan to attract a higher-end clientele than those who frequented the western side. Austin Corbin built the luxurious Manhattan Beach Hotel in 1877 on the far eastern end, served by the New York and Manhattan Beach Railway with direct connections to lower Manhattan. Just to the west of this was the huge Brighton Beach Hotel opened in 1878. Its clientele were generally from Brooklyn’s middle-class business community and their families traveled to Coney Island via the Brooklyn, Flatbush, and Coney Island Railroad from Prospect Park.

 

Between Brighton Beach and the less savory environs of the far western point lay West Brighton, an area that became the island’s entertainment section and was served by the Prospect Park & Coney Island Railroad, commonly known as the Culver Line. Carrying numerous day- trippers away from their teeming tenements, this train terminated at a large depot near 17th Street across from Culver Plaza, a spacious open area filled with colorful flowers. West Brighton became the site of numerous bathing pavilions, restaurants, saloons, variety shows, small stores, games and unusual attractions such as the “Elephant Colossus” (built 1879, destroyed by fire in 1896) and the Iron Tower (imported from the Philadelphia Centennial of 1876). West Brighton was “Coney’s true entertainment district, attracting the lion’s share of the island’s visitors.”

 

During the 1890s West Brighton was the site of many innovations that increased the fame and popularity of Coney Island, including mechanical amusements such as carousels and roller coasters, hot dogs, and mixed gender public bathing. The Ferris Wheel, modeled after the original designed for the World's Columbian Exposition in Chicago in 1893, was brought to Coney Island in 1894. In 1895, Paul Boyton opened Sea Lion Park, the first outdoor amusement park in the world, which included live sea lions and a number of new mechanical rides. A series of disastrous fires in the 1890s destroyed many of the area’s flimsy wooden structures and opened large sections for redevelopment. With the goal of creating a “new” Coney Island that would attract more families and limit alcohol consumption, George C. Tilyou opened Steeplechase Park in 1897, including in his park a mechanical race track and a small version of the original Ferris Wheel. It was so successful that similar parks, such as Luna Park (1903) and Dreamland (1904) soon followed, offering more rides, entertainments, and a fantasy world of exotic architecture, bright lights, and unusual sights. The Bowery (named after the street of the same name in Manhattan) continued to serve as the island’s midway, with numerous small stands for rides, shooting galleries, arcades, and saloons, as well as palmists, dance halls, and photo galleries. By 1900, Sunday crowds reached more than 500,000 and lines for the various amusements often lasted well into the night.

 

More than any other area on the island, West Brighton...appealed to a working- class crowd, bringing together established groups and recent immigrants who in everyday life were often segregated into separate neighborhoods and work

 

places.

 

During the early years of the 20th century, Luna Park and Dreamland were destroyed by fire. The area’s racetracks were closed and the grand hotels to the east ceased to attract their previous crowds. In another effort to renew the neighborhood, the Coney Island Board of Trade was

  

formed by 1916, with membership consisting of successful local businessmen who had a sense of responsibility to improve the district for the sake of their own and other businesses. The summer season of 1916 opened with a pledge from this group to create an area that was “sanitary, safe, and sane.” Their goal was to impose “fair dealing,” with “no faking” to make sure that visitors had a good time and would want to come back again. They worked to encourage excursions to bring more people to Coney Island. Their publicity brochure stated that “Coney is better, bigger, cleaner and more wholesome than world’s fairs.”

 

These efforts had several practical effects. Sanitation was improved by providing more garbage cans with more frequent pick-up. There was greater cooperation with local police, and Surf Avenue was rebuilt with a smooth asphalt surface. The city subway system was extended to the area in 1920, allowing New Yorkers from all parts of New York to reach the beach for only five cents. After this, approximately one million visitors came to Coney Island each summer day. It soon became obvious that something had to be done to alleviate the resulting congestion and to allow for better fire-fighting access to battle the huge conflagrations that periodically decimated the area. A broad pedestrian boardwalk was constructed along the beach, with the first section opening in 1923, stretching four miles from Brighton Beach to Sea Gate. Additionally some of the area’s streets were widened destroying many smaller buildings in the process. These improvements changed the character of Coney Island and the resort attracted more families and was used during more times of the year.

 

Restaurants on Coney Island

 

Although clams were plentiful on the shoreline and many people in the 19th century came to Coney Island for picnics and clambakes, before long a number of restaurants also developed to feed the huge crowds that assembled there. Charles Feltman began selling hot dogs from his hot food wagon in 1871 as an easy-to-eat meal. As his business expanded, he leased a tiny plot of land along the shoreline and sold thousands of hot dogs to hungry visitors. In 1874 he bought a lot at West 10th Street and Surf Avenue, eventually expanding it to include several huge beer gardens serving beer, hot dogs and ice cream with German bands and Tyrolean singers entertaining his customers. Stauch’s Restaurant, located on the Bowery, was another local institution that appealed to an upper class clientele with its dining room and dance hall. Nathan’s started its hotdog stand in 1916 at the corner of Surf and Stillwell avenues. Although it took a while for this business to gain popularity, Nathan’s sold its one hundred millionth hot dog in 1955 and the store is still located at the same intersection.

 

The Child’s restaurant chain was expanding rapidly at this time and the idea of opening a branch at this busy and popular area made sense for the business.

 

Childs Restaurant

 

The restaurant as a unique place to take a meal began to gain popularity in this country after the Civil War. Although travelers had always been able to obtain food at inns and taverns, and later at hotel dining rooms, those living at home generally ate at home. Eating somewhere else was a new idea, related to a modern urban and industrial lifestyle. By the 1830s, members of the Del-Monico family established several Manhattan locales to supply New York's elite with replicas of "Parisian" cuisine. At the same time, soup kitchens and one-cent coffee stands began to provide food for the destitute, while immigrants started cafes and beer gardens to recreate a taste of the old country for their fellow emigres. After the Civil War, other restaurants including saloons, coffee shops and oyster bars began to cater to the working class, with low-priced fare that was available during extended hours, not just at set mealtimes. Lunch-counters became common after the invention of the soda drink, when stores with these popular features began to add light food such as sandwiches to the sodas and desserts already served there.

  

The Childs Restaurant chain, begun in 1889, came out of this lunch-counter tradition. Samuel and William Childs, two brothers originally from New Jersey, learned the restaurant business by working for A.W. Dennett, owner of several restaurants in New York, Philadelphia and Boston. With $1,600 and some second-hand furniture, the brothers opened their first store on Cortlandt Street in Manhattan. It was so successful that they were able to open a second one several months later. They borrowed Dennett's idea of placing a chef in the window, preparing flapjacks, as a way to advertise their business. They also started to furnish their restaurants with white-tiled walls and floors, white marble table-tops, and waitresses dressed in starched white uniforms, to convey a sense of cleanliness. The hard surfaces tended to discourage patrons from lingering on the premises, allowing for quicker turnover and more business. After ten years they had ten profitable restaurants and by 1925, the company (which was incorporated in 1902) operated107 restaurants in 33 cities in the United States and Canada.

 

Many of the early Childs Restaurants were set in narrow storefronts designed in an “austerely-elegant” style, with white tile, mirrors, bentwood furniture and exposed ceiling fans, to complement and also to symbolize the simplicity and purity of the food. Most of the stores from these early years were designed by John C. Westervelt who worked as the company architect for many years. In the 1920s however, new designs began to be used, each suited more specifically to the location of the individual store. One of these was the William Van Alen design for a Childs restaurant on Fifth Avenue which, in a bow to the more refined character of that section of town, did not display the usual signage and white decor, but had dark, mission style interiors, with “dramatic use of large sheets of curved glass for corner windows.” Another was the elegant Spanish Revival style building on the Boardwalk in Coney Island designed by Dennison & Hirons and built in 1923 (a designated New York City Landmark).

 

The Childs chain was responsible for several restaurant innovations, including a self-serve cafeteria. In 1898, at 130 Broadway, they piled a lunch counter high with sandwiches and pastry and trays on which to place them. Cafeteria service proved to be very popular and was emulated at numerous other restaurants around the country. In 1927, due to health concerns by William Childs, the Childs restaurants served only vegetarian food and were known as the Childs Unique Dairy Lunch. After a severe drop in business attributed to the meatless policy, it was reversed the following year.

 

In 1925, the Childs Company branched out from the restaurant business and became a primary investor in a new midtown hotel, the Savoy Plaza, on the east side of Fifth Avenue between 58th and 59th Streets. A large Childs Restaurant in the Spanish Renaissance style was located within this hotel. Samuel Childs served as president of the company before he died in 1925. William Childs served as a director of the new hotel corporation, as well as president and later chairman of the Childs Company until he was removed from governance of the company by irate stockholders in 1928.

 

The company and the restaurants continued to evolve over the years. After Prohibition was lifted in 1933, liquor and wine were served in some Childs outlets. In 1939, the company received the contract to provide food service at the New York World's Fair, where it sold over 16 million hot dogs. Although the organization suffered financial problems at different periods, it continued to operate for many years. In 1950, the Childs Company bought Louis Sherry, the ice cream makers, and was, in turn, purchased by Lucky Stores shortly afterwards. At that time, the company owned restaurants in 14 American cities and three in Canada. In 1961, the chain was acquired by the Reise Brothers and in 1966 they opened the 90th Childs Restaurant on 52nd Street and Third Avenue in New York.

  

John C. Westervelt (1873-1934)

 

John Corley Westervelt was born in Ithaca, New York and educated at Cornell University, where he also served as a trustee for many years. He practiced architecture in New York City for 40 years, and was a member of the Architectural League of New York and the American Institute of Architects. Westervelt served as house architect for the Childs restaurant firm for more than 30 years, designing most of their restaurants in various cities. One of his more well- known designs was for the Childs Restaurant at the Savoy Plaza Hotel in Manhattan, which he rendered in the Spanish Renaissance style (demolished). Two other buildings designed by Westervelt can be seen in the Ladies Mile Historic District: 4 East 20th Street (1900-01), a neo- Grec style, cast-iron fronted department store and 184 Fifth Avenue (facade design, 1911), a commercial style store and loft building faced with white terra cotta.

 

Child’s Restaurant, Coney Island

 

Childs Restaurant became known as a place one could buy a reasonable meal for a fair price. Having already established its reputation in other parts of New York the company opened this small restaurant at the corner of Surf Avenue and 12th Street in 1917, in the heart of the West Brighton entertainment area. The block of Surf Avenue where it was constructed was near the Columbia Hotel and Kosters Music Hall and also held a series of small, one and two-story structures for games and other amusements on Surf Avenue and what was then Thompson’s Walk (later West 12th Street). Coney Island’s popularity was increasing, and since Childs Restaurants were already well-known to New Yorkers its location on this busy spot made good business sense.

 

This Childs restaurant was a two-story structure with two designed facades, each displaying broad arched openings along the street, a tiled roof and an overhanging, bracketed cornice. The Spanish Revival style facade was created of white-painted concrete with decorative triangular panels of terra-cotta mosaics inset in the arch spandrels. The concrete helped make it fireproof and its dramatic style helped it fit into the resort atmosphere of Coney Island. The large arched openings may have been inspired by several nearby buildings that also faced the street with similar windows, possibly as a way of encouraging anyone strolling by to enter the establishment. Although the Spanish (or the variant Mediterranean) Revival style was more often found on buildings in warmer climates, such as in Florida or the Caribbean, the designer of this structure was hoping to suggest this same kind of vacation-oriented environment for a building in the heart of New York’s most popular resort area.

 

The narrow side street where the restaurant was located was a private street called Thompson’s Walk. As part of the area’s general improvement plan in 1923, the city widened it from 30 to 60 feet, paved it and opened it as West 12th Street. This necessitated the movement of the Child’s building to the west, achieved by cutting the front piers so that it could be raised onto rails and slid farther from the widened street. The facade was then restored to its original appearance.

 

This building served the Child’s restaurant chain for many years. When the Boardwalk was opened in 1923, the company opened a second, much larger restaurant at 21st Street (a designated New York City Landmark). Childs closed this store in the area’s busy amusement section by 1943. From 1944 the building housed the Bluebird Casino and later other restaurants and clubs, as well as David Rosen’s Wonderland Circus Sideshow. Since 2007, it has been owned by Coney Island USA and serves as the home of the Coney Island Museum which documents the history of this famous section of New York.

 

Description

 

The Childs Restaurant Building is located on the corner of Surf Avenue and 12th Street and has two designed facades that display the same motifs. The Surf Avenue facade is three bays wide while that on 12th Street has six bays. Constructed of brick covered with painted concrete, the building is two stories tall and is capped by a shallow pent roof that overhangs the facade and is topped by red Spanish tiles. The roof is supported on paired metal brackets with flat concrete panels between them. There are colorful, non-historic fabric signs attached to the wall space between each window that are suggestive of the kinds of banners that used to advertise Coney Island attractions during its heyday.

 

The Surf Avenue facade has three large, round-arched openings with non-historic metal-and- glass infill. The entrance is located within the center arch. The arches have remnants of painted concrete moldings along the edges of their openings. Large metal housing for roll-down metal gates is located over the windows and below the transoms. Triangular multi-colored mosaic panels are set in the arch spandrels. A concrete molding marks the top of the first story and a series of small, non-historic light fixtures extend horizontally from above it.

 

The second story has three rectangular window openings marked by painted concrete window sills. The original metal window frame is in place however, the glass has been replaced by two large panes. There are two rectangular vent openings in the cornice between the paired brackets that show up in the early tax photo.

 

The 12th Street facade is longer, with six bays displayed along its length. This side boasts similar motifs to those on Surf Avenue. There are six large, round-arched openings on the ground story. Only the first one nearest the corner has the full transom arch revealed since the others are covered by plywood and fabric signs. There is a service entrance with non-historic door located in the southernmost bay. Historic, concrete-covered piers flank the doorway and it is topped by a series of wires attached to the building. Non-historic roll-down metal gates are located above each archway. The concrete cornice carries around the building above the ground story. The second story has six rectangular windows with new glass and historic sash, except for the two southernmost windows in which the entire sash has been replaced.

 

A plastered and painted extension with mechanical housing extends above the roof at the southernmost corner of the building.

 

- From the 2011 NYCLPC Landmark Designation Report

Upper West Side, Manhattan, New York City, New York, United States

 

DESCRIPTION AND ANALYSIS

 

Summary

 

145 Central Park West, Upper West Side, Manhattan, New York City, New York, United States

 

Soaring over Central Park, the profile of the San Remo is among the most important components of the magnificent skyline of Central Park West. The first of the twin-towered buildings which give Central Park West its distinctive silhouette, and one of the New York's last grand apartment houses built in the pre-Depression era, it was designed by Emery Roth, then at the pinnacle of his career as a specialist in apartment house architecture. A residential skyscraper in classical garb, the San Remo epitomizes Roth's ability to combine the traditional with the modern, an urbane amalgam of luxury and convenience, decorum and drama.

 

Development of Central Park West

 

Central Park West, the northern continuation of Eighth Avenue bordering on the park, is today one of New York's finest residential streets, but in the mid-nineteenth century it was a rural and inhospitable outpost, notable for its rocky terrain, browsing goats and ramshackle shanties. With the creation of Central Park in the 1860s, followed by Riverside Park , as well as a series of transportation improvements such as the Ninth Avenue Elevated Railroad , the Upper West Side in general experienced a period of intense real estate speculation. The 1880were the first decade of major development, and set the pattern for the Upper West Side, where rowhouses line the side streets, and multiple dwellings, commercial and institutional structures are sited on the avenues.

 

Not surprisingly, those avenues closest to the parks. Central Park West and Riverside Drive, were immediately considered the most desirable.

 

The potential of the parkside avenues for development as prime locations led to an anticipatory increase in land values; prices rose to such extravagant heights that many speculative builders shied away from row house and tenement construction, from which they would realize relatively meager returns, while the very wealthy, who could afford to build mansions, for the most part remained on the more fashionable East Side- As a result, the development of Central Park West lagged behind the general development of the Upper West Side. It was not until the turn of the century that Central Park West's construction boom began and it emerged as a- boulevard of elegant tall apartments punctuated by impressive institutional buildings—a kind of grand proscenium to the architectural variety show of the Upper West Side.

 

The stage had been set By two great monuments, the American Museum of Natural History between 77th and 81st Streets, , and the Dakota, the pioneering luxury apartments at 72nd Street . Yet a survey of roughly a decade later revealed that more than half the block fronts along the park from 60th to 96th Streets remained vacant or contained only old, modest frame houses. A few rather unprepossessing apartment hotels were constructed in the early 1890s, among them the San Remo at 75th Street, designed in 1890 by architect Edward Angel 1.2 was described by Moses King in his Handbook as "an immense and imposing edifice, finely situated on the high ground of West 75th Street and facing on the lawns, woods and waters of Central Park. The rooms . . . are all in suites"; and more recently as "a ten-story, high Victorian pile, a mixture of Gothic and Romanesque details . . . unremarkable from an architectural standpoint except for the steep pyramidal towers at its corners."

 

Among the other apartment hotels on the avenue, were the Beresford at 81st Street, the Majestic just south of the Dakota, both erected in the early 1890s, and the El Dorado at 90th Street of 1901. These have all been replaced by their towered namesakes of the late 1920s and early '30s, but they had already been architecturally superceded by grand apartments houses of the early 1900s—such as the Prasada at 65th Street, the Langham at 73rd Street, the Kenilworth at 75th Street. This phase in Central Park West's development was interrupted by World War I, when construction ground to a halt. The second major phase of development began with the great prosperity of the '20s producing the Art Deco towered buildings, and Roth's Beresford and San Remo Apartments which now define the skyline.

 

The 1920s provided a generation of aspiring immigrants with the opportunity to move up in the world, both economically and geographically. Many Jewish immigrants, refugees from Csarist pogroms, had achieved prosperity in New York by the late 1920s, and looked from the Lower East Side and the Boroughs to the Upper West Side as a cultural and architectural haven. By the mid-1930s more than half the residents of the Upper West Side from 72nd to 96th Streets were Jewish, and more than a third of these families was headed by a parent born in Europe. Emery Roth was himself a Jewish immigrant of Horatio Algeresque stamina and optimism, a family man and Upper West Sider, although he arrived by a more circuitous route than most of his neighbors.

 

The Architect

 

Emery Roth was born in 1871 in the town or Galzecs, Hungary, then part of the Austro-Hungarian Empire. When he was thirteen the family's fortunes took a turn for the worse, and it was decided that young Emery, alone, would immigrate to America. Passing through Ellis Island, he continued on to Chicago where his success story began.

 

When still a teenager living a hand to mouth existence in Bloomington, Illinois, Roth determined to become an architect. He worked for both a local builder and a local architect. In 1889, having won a national-government sponsored contest, the Maize Competition—for which he drew a living room utilizing the corn plant as a decorative motif—Roth took his $100 prize money and set out for Kansas City. Apparently he could not find architectural employment there, but while he was still in Bloomington, had applied to join the office of Burnham & Root. Offered the job by mail. Roth moved on to Chicago and worked under Charles Atwood Roth helped to prepare drawings for the celebrated Palace of Fine Arts. While at the fair, he met Richard Morris Hunt, the recognized dean of American architects, who offered to hire him if he ever came to New York. After the fair, with true to form optimism, Roth made his way to New York, where Hunt's casual offer was honored. Assigned to draft interior perspectives for The Breakers, the Newport mansion of Cornelius Vanderbilt, Roth came in contact with Ogden Codman, a noted architect, interior designer and socialite. In 1895 Roth went to work for Codman, where his decorative and planning abilities were sharpened.

 

By 1898 Roth believed himself ready for private practice. Two young architects, Theodore G. Stein and E. Yancy Cohen, after involved negotiations, sold Roth their architectural practice for $1000. As part of the agreement, Roth was entitled to represent himself as a partner in Stein, Cohen & Roth in order to capitalize on the good will of the existing firm. In fact, Roth was on his own.

 

Roth's first major commission was the Hotel Belleclaire of 1901-03 on upper Broadway, a designated New York City Landmark. While it was under construction Roth was approached by Leo and Alexander Bing, Manhattan real estate developers. The Bing brothers admired the Belleclaire and commissioned Roth to design a group of five-story apartment buildings in Washington Heights. This alliance inaugurated a lifelong association.

 

In the following years, Roth had several commissions, among them Bancroft Hall of 1910—a student housing facility for Columbia University, and a series of religious structures, including the Congregation Ahavith Achem of 1908 in Brooklyn and the First Reformed Hungarian Church of 1916 on East 69th Street in Manhattan.

 

The year 1918 was a traumatic one for Roth. He lost his vision in one eye, the result of glaucoma, and nearly died in the great influenza epidemic. But the prosperity of the 1920s was to carry him into a period of great achievement. After the hiatus in construction caused by the First World War, building was again undertaken. In New York City, a 1921 ordinance exempting new residential construction from real estate taxes for the next decade, opened the door to a building boom. The Bing brothers commissioned a series of apartment buildings and hotels from Roth, many of which Ruttenbaum aptly terras "fine background buildings," while two other developers, Samuel Minskoff and Harris H. Uris commissioned Roth to design a number of handsome medium height apartment houses which the architect dubbed "skyscratchers."

 

In 1926 Roth in association with Thomas Hastings, the surviving partner of the eminent firm of Carrere & Hastings, designed the Ritz Tower at Park Avenue and 57th Street, a 41-story apartment hotel In a neo-Renaissance style, its extreme height making it "a symbol of a new way to live for wealthy New Yorkers." After the Ritz Tower, Roth went on to design a host of luxury residential skyscrapers, among them the Oliver Cromwell Hotel on West 72nd Street , the Beresford Apartments on Central Park West, and as a consultant to Margon & Holder, the Art Deco style El dorado Apartments also on Central Park West . From the mid-1920s on, the signature of a major Roth apartment house was its tower. Initially designed to conceal water tanks, they evolved in the Beresford with its three towers into a major element of the design.

 

In the San Remo. among Roth's finest works, the towers are carried even further, becoming an integral component of this residential skyscraper. This fusing of the functional with the aesthetic was equally characteristic of his apartment plans. Roth's sons credit their father with the creation of the foyer plan, and if not the originator he was certainly a refiner of this type. Roth's best apartments seem effortlessly interlocked, wasteful corridor space reduced to a minimum, with spacious, well-lit rooms in their stead.

 

Roth's last great work was the Normandy Apartments on Riverside Drive of 1938-39 , by which time his sons had joined the firm. The majority of his later buildings in concession to the Depression had smaller apartments and fewer amenities, while still maintaining high standards. Roth died in 1947, and his sons continued the firm, which has been prosperous and prolific.

 

The San Remo

 

In an advertisement of May 18, 1930, in the New York Times the San Remo was heralded as:

 

The Aristocrat of Central Park West Apartments Designed for You Built by the builders of the Beresford

 

Every detail of these sumptuous apartments has been carefully planned to make living in them the last word in luxury. Only private homes have ceilings as lofty as these and rooms as- spacious. Every chamber has its own colored tile bathroom and is well-supplied with deep closets. Many have dressing rooms too. The long galleries and living rooms with fireplaces offer splendid decorative possibilities. The kitchens have been fitted with the most modern appliances. Up in the towers are apartments such as New York has never before seen with windows on all four sides and views of Central Park, the Hudson, and Westchester. Other specially designed apartments have slate terraces overlooking the park.

 

Six to sixteen rooms, simplex and duplex apartments H.R.H. Construction Company 11

 

Contemporary writers essentially concurred with this euphoric description, and were impressed by the height of the building, the twin-towered silhouette, good plans and luxurious detailing. The New Yorker magazine featured two articles on the San Remo, one by "Penthouse" [Marcia Clarke Davenport]. Davenport is impressed by the views, the size of the terraces and rooms, and "the remarkable sun and light everywhere." Perhaps a hint of the Depression can be detected in her interest in costs--"This is not one of the houses you use to illustrate that rents are lower on the West Side." An eighteen-room duplex was offered at $21,000 per year.

 

The second New Yorker contributor, "T-Square" [George S. Chappell] considers the San Remo in more strictly architectural terms and as a design by Roth "whose name must be inextricably associated with the development of this section" of Manhattan.

 

...the Italian baroque [is] skillfully adapted to modern conditions. Cornices are reduced to a minimum, becoming simply bandcourses, but such detail as is used is classic in derivation. The twin towers with their circular colonnades of Corinthian columns, crowned by bronze lanterns,

 

are fine in silhouette____ The proportions are

 

well-studied and the warm light brick used above the limestone substructure give a delightful effect.

 

Chappell also praises the watertank coverings and the innovative window design with upper and lower movable transoms.

 

Despite its popular success, the San Remo fell prey to the pervasive economic mayhem of the 1930s. A full year after it had officially opened, nearly a third of its apartments remained vacant, and the Bank of the United States which held its $5 million mortgage had collapsed, its officers charged with recklessly "gambling" on the San Remo. In an

 

effort to attract tenants rents were reduced, and some of the larger apartments were subdivided. But after a succession of owners and bankruptcies, in 1940 the San Remo was sold along with the Beresford, which was experiencing similar financial woes, for a mere $25,000 over existing mortgages.

 

In its near sixty-year history, the San Remo has had numerous well-known and famous tenants, among them David Nemerov and his wife, owners of Russeks Stores, and parents of Howard Nemerov, poet and critic, and Diane Arbus, photographer, Eddie Cantor, the singer and comedian, and more recently, singer Barry Manilow, and actors Dustin Hoffman, Diane Keaton, Tony Randall and Mary Tyler Moore.

 

Architectural Sources and Style

 

The San Remo is a skyscraper which, in the conservative early twentieth-century tradition, applies an historical style to a contemporary form. Roth, who had a lifelong predilection for classicizing styles , here turned to the Late Italian Renaissance for inspiration,,. Broken pediments, both curved and triangular, cartouches, and boldly scaled pilasters and columns with composite capitals, and overlapping architectural elements—all hallmarks of the Late Italian Renaissance—are the components of the San Remo's detailing. Ruttenbaum has noted similarities in the crowning temples of the San Remo with the ancient Greek choragic monument of Lysicrates, which Roth had studied in his youth at the Chicago exposition. Certainly, there are parallels, especially in the proportions, but perhaps equally important are such Late Renaissance structures as Bramante's celebrated Tempietto in Rome, or—in terms of placement as much as form—Michelangelo's lantern atop St. Peter's dome.

 

Much closer to home are such general prototypes as McKim, Mead & White's Municipal Building of 1909-13, a skyscraper topped by a temple and designed in a neo-classical style.

 

Truly tall skyscrapers, rather than the "skyscratchers" of Roth's terminology, up until the 1920s had been almost exclusively erected as commercial structures. Roth's first very tall apartment building, the 41-story Ritz Tower of 1926, had been erected as an apartment hotel, for which less stringent building code requirements applied than for apartment houses. The Ritz Tower was exactly what the name implied—one preliminary scheme even called for a lantern clearly derived from the tower of the Florentine Palazzo Vecchio. In residential terms, this was a new building type, one which reached a fuller expression in the San Remo.

 

In early 1929, a new Multiple Dwelling Act was passed, allowing apartment houses of large ground area greater height and the use of towers. The San Remo, the first of the vast twin-towered West Side apartments, was designed in response to these new stipulations. An innovative design, based on Roth's experience with single-towered structures, it was quickly emulated: yet the sheer size and height of the San Remo apparently struck others as fundamentally "modern." The Century Apartments and the Majestic Apartments are exercises in the contemporary Art Deco style. Even the Normandy, Roth's own last great building combines elements of the Style Moderne with neo-Italian Renaissance motifs. Yet, as the architectural critic, Paul Goldberger has remarked, "Roth's greatest gift was his ability to adapt Renaissance and classical details to modern building forms." 21

 

Description

 

The San Remo Apartments occupy the Central Park West blockfront from 74th to 75th Streets. A residential skyscraper, the main block of the building is 17 stories in height, with terraced setbacks from the 14th to 17th stories. Two symmetrical towers, each ten stories in height surmounted by elaborate suprastructures culminating in circular temples with lanterns give the building its dramatic profile. The building is executed in light brick. The first three stories are in rusticated limestone, lightly vermiculated at the first two stories, with smooth lower relief at the third. The facade is 26 bays wide, with two main entryways. The southern elevation is 19 bays wide, and the northern is 16. {The southern elevation is 180 feet in length, the northern, 150.) Each has a single main entrance.

 

Detailing

 

Fenestration:

 

The windows are uniformly treated on the designed elevations, with metal casements featuring movable transoms above and below the principal windows. The upper transom swings out, the lower transom swings in. The central large windows open outward in the conventional manner. The windows have six panes . This innovative design was intended to facilitate the regulation of temperature and air circulation. There are some variations in width which reflect interior spaces but the basic configuration remains the same, except in the second-story windows above the Central Park West entrances, and at the uppermost stories of the facade central pavilion, which are tripartite with nine panes of glass . On the rear elevation the windows are more varied in their treatment, with single double, triple and double leaf casement windows, some of which do not have the lower transom. A few windows have been altered, most notably on the rear tower elevations.

 

Main Entrances:

 

Facade [Central Park West] .

 

A broken triangular pediment surmounts the double doors , executed in bronze and glass with paneled, solid bronze transoms. The doors are each divided into three parts, with square panels ornamented by bronze medallions and bordering acanthus leaver set in a rectilinear bronze grillework. Metal and glass lanterns flank the doorway. A double-height limestone enframement surrounds the doorway and second-story tripartite window, and is composed of flanking pilasters with composite capitals , with reliefs depicting classical urns above, and supporting a dentiled curved, broken pediment. At the center of the pediment is a large scrolled cartouche draped by a garland which is looped over a rosette at each side. The doorways have sheltering canopies on bronze supports.

 

North [75 St.] and south [74th St.] elevations .

 

Both have deep reveals and limestone enframements with a surmounting console table on console-like supports with a central scrolled cartouche. The single bronze and glass doors follow the same design as those on the facade and have transoms with an octagonal panel with central medallion and acanthus leaves. Lanterns flank the doorways.

 

Office Entrances:

 

Facade [Central Park West] .

 

These have limestone enframements and surmounting entablatures with scrolled ornamental keystones. The single doors are of bronze with a glazed upper panel and transom.

 

North elevation [75th St.] .

 

These are detailed like those on the facade.

 

South elevation [74th St.] .

 

Set within deep reveals and enframed by the rusticated walls, each has a bronze door with a glazed upper panel and transom.

 

Service Entrances:

 

North [75th St.] and south [74th St.] elevations, .

 

A rusticated wall which follows the design of the building walls and extends to the second story contains an arched doorway with a large keystone and is surmounted by a paneled overdoor. A decorative metal gate with a panel reading "Service" fills the archway. At the south elevation, a metal railing atop a brick wall extends westward along the property line.

 

Third Story Window Enframements:

 

Facade [Central Park West], north [75th St. ] and south [74th St.] elevations, .

 

The windows have limestone relief enframements with side elements in the shape of a console in profile, and rosettes. .. . .

 

Fourth Story Window Enframements:

 

Facade [Central Park West] .

 

A balustraded balcony set upon four large ornamented console brackets extends for four bays. The central two bays have a limestone enframement and are separated by a smooth limestone panel. Flanking pilasters support an entablature upon which a triangular broken pediment is superimposed. At the center is a scrolled escutcheon with a garland and ornamental tablet.

 

Facade [Central Park West], north [75th St.] and south [74th St.] elevations, .

 

Each has an entablature with a superimposed triangular pediment, both dentil led, and a central ornamented keystone flanked by plain stones. Pilasters and enframements surround the windows which also have a balustrade executed in high relief.

 

Fourth Story Cartouche:

 

Facade [Central Park West] .

 

A large scrolled cartouche, placed at the center of the facade, it has the completion date of the building 19—30 placed to each side.

 

Eleventh-Twelfth Story Window Enframements:

 

Facade [Central Park West] .

 

A balustrade on Four console brackets, which visually echoes the fourth-story treatment below, extends across four bays. A double-height, two-bay wide central section is recessed, with flanking brick pilasters, in which the capitals are seemingly "overlapped" by the outer wall surface. Two embossed rosettes appear in the panel which is enframed by bandcourses between the 11th and 12th stories. Two additional embossed rosettes appear in the outer bays. A scrolled cartouche with garlands draped over rosettes, similar to those of the facade main entrances, surmount the composition.

 

Thirteenth to Fifteenth Story Window Enframements:

 

Facade .

 

Placed similarly to the window enframement of the fourth story, these three-story compositions also serve to accentuate and anchor the Central Park West corners of the building. In each,, ornamented console brackets at the 13th story level support a balustered balcony one bay wide. At the 13th story and balcony level, are bandcourses which continue along the walls, articulating the designed elevations. The 14th-story windows are surmounted by curved broken pediments and ornamented at the center by escutcheons. Garlands and floral motifs appear below the pediments, upon the window frames. The 15th-story windows are surmounted by a scrolled escutcheon. Double height brick pilasters with rosettes flank the windows and support a broken triangular pediment. Cartouches appear at the center. The band courses of the pilasters and broken pediments also continue along the wall surfaces and here help to define the three-bay wide corner pavilions. These pavilions are further defined by flanking brick pilasters with rosettes.

 

Thirteenth to Seventeenth Story Window Enframements:

 

Facade [Central Park West] .

 

This composition, which signalizes the central six-bay wide pavilion, reiterates many of the elements of the four corner compositions just described, although it is two bays wide, rather than one. Ornamented consoles at the 13th story support the 14th story balustered balcony. Instead of two windows there are single tripartite windows. The 14th and 15th story windows are detailed like those at the corners, but here the broken pediment enframing the carouche is curved rather than triangular. The composition continues to the 16th and 17th stories, which are also flanked by brick pilasters. The tripartite window at the 16th story is richly enframed with a central garlanded tablet, and a broken triangular pediment. At the 17th story is a central garlanded cartouche. The central pavilion has terminating brick pilasters with embossed rosettes like those of the corner pavilions.

 

Twenty-third Story Window Enframements:

 

Facade [Central Park West], north [75th St.] and south [74th St.] elevations, .

 

These window, set mid way on the designed elevations of the towers, function as medallions on the relatively unadorned tower shafts. The windows have elaborate enframements with ornamental keystones and curved, broken pediments.

 

Twenty-sixth - Twenty-seventh Story Window Enframements:

 

Facade [Central Park West], north [75th St. ] and south [74th St. ] elevations, .

 

Set between bandcourses and balustrade and pediment level, which continue on the wall surfaces of the towers, are these three boldly scaled three-bay wide compositions. The central bay has a projecting balustrade and above, double-height engaged columns on brackets, with foliate capitals. These columns enframe the two windows and support a curved broken pediment. At the center of the pediment is a large cartouche. The side bays have balustrades and above, double-height pilasters on podia, with foliate capitals. These pilasters flank the two windows and support triangular broken pediments.

 

Suprastructure Window Enframements:

 

Facade [Central Park West], north [75th St.] and south [74th St.] elevations and the two inner faces of the towers .

 

These double-height compositions each include a framed window with flanking brick pilasters with embossed rosettes at capital-level. Above the window is a broken triangular pediment and a central escutcheon. Six small penthouses with semi-circular roofs have their facades placed above the pediments. The windows of these are curved at top and bottom and elaborately enframed and have metal grilles. They are each flanked by console brackets which support the curved pediment of the penthouse.

 

Temples:

 

North and south towers, .

 

Above the suprastructure each tower is surmounted by a circular temple of brick and terra cotta, set upon a base articulated by boldly scaled console brackets on eight buttressing pedestals. Large urns, draped with garlands, crown each pedestal and the intervening walls are ornamented with scrolled cartouches beneath balustrades. The temples, set on simple brick podia, are encircled by colonnades of smooth columns with foliate capitals. These support plain dentil led friezes beneath balustrades. Above on each tower is a circular base with copestones, which supports the crowing element — a fenestrated and electrified copper lantern, above elongated foliate scrolled consoles.

 

- From the 1987 NYCLPC Landmark Designation Report

The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble beach

Canyonlands National Park in southeastern Utah is known for its dramatic desert landscape carved by the Colorado River. Island in the Sky is a huge, flat-topped mesa with panoramic overlooks. Other notable areas include the towering rock pinnacles known as the Needles, the remote canyons of the Maze and the Native American rock paintings in Horseshoe Canyon. Whitewater rapids flow through Cataract Canyon.

Central Park, New York City, New York, United States

 

January 21, 2011 snow storm

 

If you want to know more about my walks and photos, check out my blog.

 

Soaring over Central Park, the profile of the San Remo is among the most important components of the magnificent skyline of Central Park West. The first of the twin-towered buildings which give Central Park West its distinctive silhouette, and one of the New York's last grand apartment houses built in the pre-Depression era, it was designed by Emery Roth, then at the pinnacle of his career as a specialist in apartment house architecture. A residential skyscraper in classical garb, the San Remo epitomizes Roth's ability to combine the traditional with the modern, an urbane amalgam of luxury and convenience, decorum and drama.

 

Development of Central Park West

 

Central Park West, the northern continuation of Eighth Avenue bordering on the park, is today one of New York's finest residential streets, but in the mid-nineteenth century it was a rural and inhospitable outpost, notable for its rocky terrain, browsing goats and ramshackle shanties. With the creation of Central Park in the 1860s, followed by Riverside Park (begun 1876), as well as a series of transportation improvements such as the Ninth Avenue Elevated Railroad (1879), the Upper West Side in general experienced a period of intense real estate speculation. The 1880were the first decade of major development, and set the pattern for the Upper West Side, where rowhouses line the side streets, and multiple dwellings, commercial and institutional structures are sited on the avenues.

 

Not surprisingly, those avenues closest to the parks. Central Park West and Riverside Drive, were immediately considered the most desirable. (Ninth Avenue, re-christened Columbus in 1890, Tenth Avenue, renamed Amsterdam in the same year, and Broadway—the Boulevard before 1899 — were all, in varying degrees marred by cable car and elevated railway lines.)

 

The potential of the parkside avenues for development as prime locations led to an anticipatory increase in land values; prices rose to such extravagant heights that many speculative builders shied away from row house and tenement construction, from which they would realize relatively meager returns, while the very wealthy, who could afford to build mansions, for the most part remained on the more fashionable East Side- As a result, the development of Central Park West lagged behind the general development of the Upper West Side. It was not until the turn of the century that Central Park West's construction boom began and it emerged as a- boulevard of elegant tall apartments punctuated by impressive institutional buildings—a kind of grand proscenium to the architectural variety show of the Upper West Side.

 

The stage had been set By two great monuments, the American Museum of Natural History between 77th and 81st Streets, (begun 1874, architects Vaux & Mould, and a designated New York City Landmark), and the Dakota, the pioneering luxury apartments at 72nd Street (1880-84. architect Henry Hardenbergh, and a designated New York City Landmark). Yet a survey of roughly a decade later revealed that more than half the block fronts along the park from 60th to 96th Streets remained vacant or contained only old, modest frame houses. A few rather unprepossessing apartment hotels (at

 

least, relative to the Dakota) were constructed in the early 1890s, among them the San Remo at 75th Street, designed in 1890 by architect Edward Angel 1.2 was described by Moses King in his Handbook as "an immense and imposing edifice, finely situated on the high ground of West 75th Street and facing on the lawns, woods and waters of Central Park. The rooms . . . are all in suites"; and more recently as "a ten-story, high Victorian pile, a mixture of Gothic and Romanesque details . . . unremarkable from an architectural standpoint except for the steep pyramidal towers at its corners."

 

Among the other apartment hotels on the avenue, were the Beresford at 81st Street, the Majestic (architect Alfred Zucker) just south of the Dakota, both erected in the early 1890s, and the El Dorado at 90th Street of 1901. These have all been replaced by their towered namesakes of the late 1920s and early '30s, but they had already been architecturally superceded by grand apartments houses of the early 1900s—such as the Prasada (1904) at 65th Street, the Langham (1905) at 73rd Street, the Kenilworth (1908) at 75th Street. This phase in Central Park West's development was interrupted by World War I, when construction ground to a halt. The second major phase of development began with the great prosperity of the '20s producing the Art Deco towered buildings, and Roth's Beresford and San Remo Apartments which now define the skyline.

 

The 1920s provided a generation of aspiring immigrants with the opportunity to move up in the world, both economically and geographically. Many Jewish immigrants, refugees from Csarist pogroms, had achieved prosperity in New York by the late 1920s, and looked from the Lower East Side and the Boroughs to the Upper West Side as a cultural and architectural haven. By the mid-1930s more than half the residents of the Upper West Side from 72nd to 96th Streets were Jewish, and more than a third of these families was headed by a parent born in Europe. Emery Roth was himself a Jewish immigrant of Horatio Algeresque stamina and optimism, a family man and Upper West Sider, although he arrived by a more circuitous route than most of his neighbors.

 

The Architect

 

Emery Roth was born in 1871 in the town or Galzecs, Hungary, then part of the Austro-Hungarian Empire. When he was thirteen the family's fortunes took a turn for the worse, and it was decided that young Emery, alone, would immigrate to America. Passing through Ellis Island, he continued on to Chicago where his success story began.

 

When still a teenager living a hand to mouth existence in Bloomington, Illinois, Roth determined to become an architect. He worked for both a local builder and a local architect. In 1889, having won a national-government sponsored contest, the Maize Competition—for which he drew a living room utilizing the corn plant as a decorative motif—Roth took his $100 prize money and set out for Kansas City. Apparently he could not find architectural employment there, but while he was still in Bloomington, had applied to join the office of Burnham & Root. Offered the job by mail. Roth moved on to Chicago and worked under Charles Atwood (who had succeeded John W. Root after his death in 1891.) Roth helped to prepare drawings for the celebrated Palace of Fine Arts. While at the fair, he met Richard Morris Hunt, the recognized dean of American architects, who offered to hire him if he ever came to New York. After the fair, with true to form optimism, Roth made his way to New York, where Hunt's casual offer was honored. Assigned to draft interior perspectives for The Breakers, the Newport mansion of Cornelius Vanderbilt, Roth came in contact with Ogden Codman, a noted architect, interior designer and socialite. In 1895 Roth went to work for Codman, where his decorative and planning abilities were sharpened.

 

By 1898 Roth believed himself ready for private practice. Two young architects, Theodore G. Stein and E. Yancy Cohen, after involved negotiations, sold Roth their architectural practice for $1000. As part of the agreement, Roth was entitled to represent himself as a partner in Stein, Cohen & Roth in order to capitalize on the good will of the existing firm. In fact, Roth was on his own.

 

Roth's first major commission was the Hotel Belleclaire of 1901-03 on upper Broadway, a designated New York City Landmark. While it was under construction Roth was approached by Leo and Alexander Bing, Manhattan real estate developers. The Bing brothers admired the Belleclaire and commissioned Roth to design a group of five-story apartment buildings in Washington Heights. This alliance inaugurated a lifelong association.

 

In the following years, Roth had several commissions, among them Bancroft Hall of 1910—a student housing facility for Columbia University, and a series of religious structures, including the Congregation Ahavith Achem of 1908 in Brooklyn and the First Reformed Hungarian Church of 1916 on East 69th Street in Manhattan.

 

The year 1918 was a traumatic one for Roth. He lost his vision in one eye, the result of glaucoma, and nearly died in the great influenza epidemic. But the prosperity of the 1920s was to carry him into a period of great achievement. After the hiatus in construction caused by the First World War, building was again undertaken. In New York City, a 1921 ordinance exempting new residential construction from real estate taxes for the next decade, opened the door to a building boom. The Bing brothers commissioned a series of apartment buildings and hotels from Roth, many of which Ruttenbaum aptly terras "fine background buildings," while two other developers, Samuel Minskoff and Harris H. Uris commissioned Roth to design a number of handsome medium height apartment houses which the architect dubbed "skyscratchers."

 

In 1926 Roth in association with Thomas Hastings, the surviving partner of the eminent firm of Carrere & Hastings, designed the Ritz Tower at Park Avenue and 57th Street, a 41-story apartment hotel In a neo-Renaissance style, its extreme height making it "a symbol of a new way to live for wealthy New Yorkers." After the Ritz Tower, Roth went on to design a host of luxury residential skyscrapers, among them the Oliver Cromwell Hotel on West 72nd Street (1928), the Beresford Apartments on Central Park West, and as a consultant to Margon & Holder, the Art Deco style El dorado Apartments also on Central Park West (1929-31, and a designated New York City Landmark). From the mid-1920s on, the signature of a major Roth apartment house was its tower(s). Initially designed to conceal water tanks, they evolved in the Beresford with its three towers into a major element of the design.

 

In the San Remo. among Roth's finest works, the towers are carried even further, becoming an integral component of this residential skyscraper. This fusing of the functional with the aesthetic was equally characteristic of his apartment plans. Roth's sons credit their father with the creation of the foyer plan, and if not the originator he was certainly a refiner of this type. Roth's best apartments seem effortlessly interlocked, wasteful corridor space reduced to a minimum, with spacious, well-lit rooms in their stead.

 

Roth's last great work was the Normandy Apartments on Riverside Drive of 1938-39 (a designated New York City Landmark), by which time his sons had joined the firm. The majority of his later buildings in concession to the Depression had smaller apartments and fewer amenities, while still maintaining high standards. Roth died in 1947, and his sons continued the firm, which has been prosperous and prolific.

 

The San Remo

 

In an advertisement of May 18, 1930, in the New York Times the San Remo was heralded as:

 

The Aristocrat of Central Park West Apartments Designed for You Built by the builders of the Beresford

 

Every detail of these sumptuous apartments has been carefully planned to make living in them the last word in luxury. Only private homes have ceilings as lofty as these and rooms as- spacious. Every chamber has its own colored tile bathroom and is well-supplied with deep closets. Many have dressing rooms too. The long galleries and living rooms with fireplaces offer splendid decorative possibilities. The kitchens have been fitted with the most modern appliances. Up in the towers are apartments such as New York has never before seen with windows on all four sides and views of Central Park, the Hudson, and Westchester. Other specially designed apartments have slate terraces overlooking the park.

 

Six to sixteen rooms, simplex and duplex apartments H.R.H. Construction Company 11

 

Contemporary writers essentially concurred with this euphoric description, and were impressed by the height of the building, the twin-towered silhouette, good plans and luxurious detailing. The New Yorker magazine (a publication which in 1930 seems, at least to modern eyes, to all but ignore the 1929 Crash) featured two articles on the San Remo, one by "Penthouse" [Marcia Clarke Davenport]. Davenport is impressed by the views, the size of the terraces and rooms, and "the remarkable sun and light everywhere." Perhaps a hint of the Depression can be detected in her interest in costs--"This is not one of the houses you use to illustrate that rents are lower on the West Side." An eighteen-room duplex was offered at $21,000 per year.

 

The second New Yorker contributor, "T-Square" [George S. Chappell] considers the San Remo in more strictly architectural terms and as a design by Roth "whose name must be inextricably associated with the development of this section" of Manhattan.

 

...the Italian baroque [is] skillfully adapted to modern conditions. Cornices are reduced to a minimum, becoming simply bandcourses, but such detail as is used is classic in derivation. The twin towers with their circular colonnades of Corinthian columns, crowned by bronze lanterns,

 

are fine in silhouette____ The proportions are

 

well-studied and the warm light brick used above the limestone substructure give a delightful effect.

 

Chappell also praises the watertank coverings and the innovative window design with upper and lower movable transoms.

 

Despite its popular success, the San Remo fell prey to the pervasive economic mayhem of the 1930s. A full year after it had officially opened, nearly a third of its apartments remained vacant, and the Bank of the United States which held its $5 million mortgage had collapsed, its officers charged with recklessly "gambling" on the San Remo. In an

 

effort to attract tenants rents were reduced, and some of the larger apartments were subdivided. But after a succession of owners and bankruptcies, in 1940 the San Remo was sold along with the Beresford, which was experiencing similar financial woes, for a mere $25,000 over existing mortgages.

 

In its near sixty-year history, the San Remo has had numerous well-known and famous tenants, among them David Nemerov and his wife, owners of Russeks Stores, and parents of Howard Nemerov, poet and critic, and Diane Arbus, photographer, Eddie Cantor, the singer and comedian, and more recently, singer Barry Manilow, and actors Dustin Hoffman, Diane Keaton, Tony Randall and Mary Tyler Moore.

 

Architectural Sources and Style

 

The San Remo is a skyscraper which, in the conservative early twentieth-century tradition, applies an historical style to a contemporary form. Roth, who had a lifelong predilection for classicizing styles (although he used others), here turned to the Late Italian Renaissance for inspiration,,. Broken pediments, both curved and triangular, cartouches, and boldly scaled pilasters and columns with composite capitals, and overlapping architectural elements—all hallmarks of the Late Italian Renaissance—are the components of the San Remo's detailing. Ruttenbaum has noted similarities in the crowning temples of the San Remo with the ancient Greek choragic monument of Lysicrates, which Roth had studied in his youth at the Chicago exposition. Certainly, there are parallels, especially in the proportions, but perhaps equally important are such Late Renaissance structures as Bramante's celebrated Tempietto in Rome, or—in terms of placement as much as form—Michelangelo's lantern atop St. Peter's dome.

 

Much closer to home are such general prototypes as McKim, Mead & White's Municipal Building of 1909-13, a skyscraper topped by a temple and designed in a neo-classical style.

 

Truly tall skyscrapers, rather than the "skyscratchers" of Roth's terminology, up until the 1920s had been almost exclusively erected as commercial structures. Roth's first very tall apartment building, the 41-story Ritz Tower of 1926, had been erected as an apartment hotel, for which less stringent building code requirements applied than for apartment houses. The Ritz Tower was exactly what the name implied—one preliminary scheme even called for a lantern clearly derived from the tower of the Florentine Palazzo Vecchio. In residential terms, this was a new building type, one which reached a fuller expression in the San Remo.

 

In early 1929, a new Multiple Dwelling Act was passed, allowing apartment houses of large ground area greater height and the use of towers. The San Remo, the first of the vast twin-towered West Side apartments, was designed in response to these new stipulations. An innovative design, based on Roth's experience with single-towered structures, it was quickly emulated: yet the sheer size and height of the San Remo apparently struck others as fundamentally "modern." The Century Apartments and the Majestic Apartments are exercises in the contemporary Art Deco style. Even the Normandy, Roth's own last great building combines elements of the Style Moderne with neo-Italian Renaissance motifs. Yet, as the architectural critic, Paul Goldberger (himself a resident of the San Remo) has remarked, "Roth's greatest gift was his ability to adapt Renaissance and classical details to modern building forms." 21

 

Description

 

The San Remo Apartments occupy the Central Park West blockfront from 74th to 75th Streets. A residential skyscraper, the main block of the building is 17 stories in height, with terraced setbacks from the 14th to 17th stories. Two symmetrical towers, each ten stories in height surmounted by elaborate suprastructures culminating in circular temples with lanterns give the building its dramatic profile. The building is executed in light brick. The first three stories are in rusticated limestone, lightly vermiculated at the first two stories, with smooth lower relief at the third. The facade is 26 bays wide, with two main entryways. The southern elevation is 19 bays wide, and the northern is 16. {The southern elevation is 180 feet in length, the northern, 150.) Each has a single main entrance. (There are four office entrances on the Central Park West facade, two on the south elevation, and three on the north. The towers are five bays wide on the facade and side elevations.

 

The rear, western elevation...which owing to its height above the side street rowhouses, is largely visible is executed in the same light brick, and is ranged around a T-shaped courtyard. The towers have terraced rear extensions. A large chimney abuts the north tower.

 

The facade and side elevations are articulated above the three-story base by shallow brick pilasters and slight projections signalized as pavilions by the Renaissance detailing at the upper stories. The facade of the main block of the building has a basic vertical arrangement of bays as: 1-1-1-6-1-6-1-6-1-1-1. At the terrace levels the central six bays and outermost three bays function as true pavilions between the setbacks. The towers have massive, pier-like enframements at the corners. Cornices are effectively and sparingly used to accentuate the upper stories of the main block of the building, the upper stories of the towers, and the suprastructures.

 

Architectural detailing, executed in stone, terra cotta and metal, is Late Italian Renaissance in character, and highlights entrances and window configurations at the upper stories. Balustrades, pilasters, engaged columns, broken pediments, both circular and triangular, garlands, urns, cartouches, scrolls, consoles and roundels are employed. The detail is executed in limestone up to the fourth story and in terra cotta above. The terraces have either terra-cotta balustrades or metal railings. The lantern is of copper. (All such detailing is described below.)

 

Detailing

 

Fenestration:

 

The windows are uniformly treated on the designed elevations, with metal casements featuring movable transoms above and below the principal windows. The upper transom swings out, the lower transom (or hopper) swings in. The central large windows open outward in the conventional manner. The windows have six panes (2 over 2 over 2). This innovative design was intended to facilitate the regulation of temperature and air circulation. There are some variations in width which reflect interior spaces (living rooms, bedrooms etc.) but the basic configuration remains the same, except in the second-story windows above the Central Park West entrances, and at the uppermost stories of the facade central pavilion, which are tripartite with nine panes of glass (3 over 3 over 3). On the rear elevation the windows are more varied in their treatment, with single double, triple and double leaf casement windows, some of which do not have the lower transom. A few windows have been altered, most notably on the rear tower elevations.

 

Main Entrances:

 

Facade [Central Park West] (two, symmetrically located at the 6-7th bays and 20-21st bays).

 

A broken triangular pediment surmounts the double doors , executed in bronze and glass with paneled, solid bronze transoms. The doors are each divided into three parts, with square panels ornamented by bronze medallions and bordering acanthus leaver set in a rectilinear bronze grillework. Metal and glass lanterns flank the doorway. A double-height limestone enframement surrounds the doorway and second-story tripartite window, and is composed of flanking pilasters with composite capitals , with reliefs depicting classical urns above, and supporting a dentiled curved, broken pediment. At the center of the pediment is a large scrolled cartouche draped by a garland which is looped over a rosette at each side. The doorways have sheltering canopies on bronze supports.

 

North [75 St.] and south [74th St.] elevations (one, located in the 13th bay, north side, and in the 11th bay, south side).

 

Both have deep reveals and limestone enframements with a surmounting console table on console-like supports with a central scrolled cartouche. The single bronze and glass doors follow the same design as those on the facade and have transoms with an octagonal panel with central medallion and acanthus leaves. Lanterns flank the doorways.

 

Office Entrances:

 

Facade [Central Park West] (four, symmetrically located at the 3rd, 10th, 17th and 24th bays).

 

These have limestone enframements and surmounting entablatures with scrolled ornamental keystones. The single doors are of bronze with a glazed upper panel and transom.

 

North elevation [75th St.] (three, at the 4th, 8th, and 15th bays).

 

These are detailed like those on the facade.

 

South elevation [74th St.] (two, at the 6th and 14th bays).

 

Set within deep reveals and enframed by the rusticated walls, each has a bronze door with a glazed upper panel and transom.

 

Service Entrances:

 

North [75th St.] and south [74th St.] elevations, (two, located at the rear of each elevation).

 

A rusticated wall which follows the design of the building walls and extends to the second story contains an arched doorway with a large keystone and is surmounted by a paneled overdoor. A decorative metal gate with a panel reading "Service" fills the archway. At the south elevation, a metal railing atop a brick wall extends westward along the property line.

 

Third Story Window Enframements:

 

Facade [Central Park West], north [75th St. ] and south [74th St.] elevations, (four, each set at the second bay from the Central Park West corners).

 

The windows have limestone relief enframements with side elements in the shape of a console in profile, and rosettes. .. . .

 

Fourth Story Window Enframements:

 

Facade [Central Park West] (two, symmetrically placed, 5-8th bays and 19-22nd bays).

 

A balustraded balcony set upon four large ornamented console brackets extends for four bays. The central two bays have a limestone enframement and are separated by a smooth limestone panel. Flanking pilasters support an entablature upon which a triangular broken pediment is superimposed. At the center is a scrolled escutcheon with a garland and ornamental tablet.

 

Facade [Central Park West], north [75th St.] and south [74th St.] elevations, (four, each set at the second bay from the Central Park West corners).

 

Each has an entablature with a superimposed triangular pediment, both dentil led, and a central ornamented keystone flanked by plain stones. Pilasters and enframements surround the windows which also have a balustrade executed in high relief.

 

Fourth Story Cartouche:

 

Facade [Central Park West] (one, between the 13th and 14th bays).

 

A large scrolled cartouche, placed at the center of the facade, it has the completion date of the building 19—30 placed to each side.

 

Eleventh-Twelfth Story Window Enframements:

 

Facade [Central Park West] (two, symmetrically located at the 5-8th and 19-22nd bays).

 

A balustrade on Four console brackets, which visually echoes the fourth-story treatment below, extends across four bays. A double-height, two-bay wide central section is recessed, with flanking brick pilasters, in which the capitals are seemingly "overlapped" by the outer wall surface. Two embossed rosettes appear in the panel which is enframed by bandcourses between the 11th and 12th stories. Two additional embossed rosettes appear in the outer bays. A scrolled cartouche with garlands draped over rosettes, similar to those of the facade main entrances, surmount the composition.

 

Thirteenth to Fifteenth Story Window Enframements:

 

Facade (Central Park West], north [75 th St. ] and south [74 th St.] elevations, (four, each set at the second bay from the Central Park West corners).

 

Placed similarly to the window enframement of the fourth story, these three-story compositions also serve to accentuate and anchor the Central Park West corners of the building. In each,, ornamented console brackets at the 13th story level support a balustered balcony one bay wide. At the 13th story and balcony level, are bandcourses which continue along the walls, articulating the designed elevations. The 14th-story windows are surmounted by curved broken pediments and ornamented at the center by escutcheons. Garlands and floral motifs appear below the pediments, upon the window frames. The 15th-story windows are surmounted by a scrolled escutcheon. Double height brick pilasters with rosettes flank the windows and support a broken triangular pediment. Cartouches appear at the center. The band courses of the pilasters and broken pediments also continue along the wall surfaces and here help to define the three-bay wide corner pavilions. These pavilions are further defined by flanking brick pilasters with rosettes.

 

Thirteenth to Seventeenth Story Window Enframements:

 

Facade [Central Park West] (one, at the 12-13th bays).

 

This composition, which signalizes the central six-bay wide pavilion, reiterates many of the elements of the four corner compositions just described, although it is two bays wide, rather than one. Ornamented consoles at the 13th story support the 14th story balustered balcony. Instead of two windows there are single tripartite windows. The 14th and 15th story windows are detailed like those at the corners, but here the broken pediment enframing the carouche is curved rather than triangular. The composition continues to the 16th and 17th stories, which are also flanked by brick pilasters. The tripartite window at the 16th story is richly enframed with a central garlanded tablet, and a broken triangular pediment. At the 17th story is a central garlanded cartouche. The central pavilion has terminating brick pilasters with embossed rosettes like those of the corner pavilions.

 

Twenty-third Story Window Enframements:

 

Facade [Central Park West], north [75th St.] and south [74th St.] elevations, (four, set in the central bays).

 

These window, set mid way on the designed elevations of the towers, function as medallions on the relatively unadorned tower shafts. The windows have elaborate enframements with ornamental keystones and curved, broken pediments.

 

Twenty-sixth - Twenty-seventh Story Window Enframements:

 

Facade [Central Park West], north [75th St. ] and south [74th St. ] elevations, (four, set in the 2-4th bays).

 

Set between bandcourses and balustrade and pediment level, which continue on the wall surfaces of the towers, are these three boldly scaled three-bay wide compositions. The central bay has a projecting balustrade and above, double-height engaged columns on brackets, with foliate capitals. These columns enframe the two windows and support a curved broken pediment. At the center of the pediment is a large cartouche. The side bays have balustrades and above, double-height pilasters on podia, with foliate capitals. These pilasters flank the two windows and support triangular broken pediments.

 

Suprastructure Window Enframements:

 

Facade [Central Park West], north [75th St.] and south [74th St.] elevations and the two inner faces of the towers (six, set at the second story of the suprastructure and in the penthouses).

 

These double-height compositions each include a framed window with flanking brick pilasters with embossed rosettes at capital-level. Above the window is a broken triangular pediment and a central escutcheon. Six small penthouses with semi-circular roofs have their facades placed above the pediments. The windows of these are curved at top and bottom and elaborately enframed and have metal grilles. They are each flanked by console brackets which support the curved pediment of the penthouse.

 

Temples:

 

North and south towers, (two, located at the top of the building).

 

Above the suprastructure each tower is surmounted by a circular temple of brick and terra cotta, set upon a base articulated by boldly scaled console brackets on eight buttressing pedestals. Large urns, draped with garlands, crown each pedestal and the intervening walls are ornamented with scrolled cartouches beneath balustrades. The temples, set on simple brick podia, are encircled by colonnades of smooth columns with foliate capitals. These support plain dentil led friezes beneath balustrades. Above on each tower is a circular base with copestones, which supports the crowing element — a fenestrated and electrified copper lantern, above elongated foliate scrolled consoles. (The temples and lanterns have recently been restored.)

 

- From the 1987 NYCLPC Landmark Designation Report

White Sands National Monument is in the northern Chihuahuan Desert in the U.S. state of New Mexico. It's known for its dramatic landscape of rare white gypsum sand dunes.

Saint-Gervais-Saint-Protais

 

Saint-Gervais-Saint-Protais is a Roman Catholic parish church located in the 4th arrondissement of Paris, on Place Saint-Gervais in the Marais district, east of City Hall (Hôtel de Ville). The current church was built between 1494 and 1657, on the site of two earlier churches; the facade, completed last, was the first example of the French baroque style in Paris. The organists of the church included Louis Couperin and his nephew François Couperin, two of the most celebrated composers and musicians of the Baroque period; the organ they used can still be seen today. The church contains remarkable examples of medieval carved choir stalls, stained glass from the 16th century, 17th century sculpture, and modern stained glass by Sylvie Gaudin and Claude Courageux. Saint-Gervais was a parish church until 1975, when it became the headquarters of the Monastic Fraternities of Jerusalem.

 

History

 

A church dedicated to Saints Gervasius and Protasius, two Christian martyrs from Milan, is recorded as existing on the site in the 7th century, making it one of the first parish churches on the right bank in Paris. It was attended mostly by boatmen and fishermen, because it was close to the river port at the Place de Grève. It was built on a slight hill, the Monceau Saint-Gervais, to be safe from the floods of the Seine. After the completion of the wall of Philippe-Auguste, built between 1190 and 1209, the neighborhood was protected against attack and the population began to grow. The church had come under the sponsorship of several of the important confreries or guilds of Paris, including the wine-merchants. With their financial help, a larger church was built on the site in the early 13th century. .[1]

 

Construction of the present church began in 1494, but was delayed by the Wars of religion and by a shortage of funds. It was begun in the Gothic style; the chapels of the apse were finished in 1530 and the transept in 1578.[2] While the interior of the church was largely Gothic, the facade was built in an original new style, the French Baroque, on a plan by architect Salomon de Brosse (1571–1626). The first stone of the facade was placed by the young King Louis XIII in 1616. Between 1600 and 1628, a second row of chapels was built on the north side including the golden chapel ornamented with painted woodwork.[3]

 

During the 17th and 18th century the church was attended by many members of the aristocratic families who lived in the Marais, including Marie de Rabutin-Chantal, marquise de Sévigné, and the Chancellor of Louis XIV, Michel Le Tellier, whose funeral monument is found in the church.

 

Beginning in 1653, the church employed and sheltered the Couperin family, one of the most famous dynasties of French musicians, for more than two centuries. On one side of the church, the home of the celebrated harpsichordists, organists, and composers still stands, with a plaque commemorating the Couperins' tenure. The organ used by Louis and François Couperin still exists today inside the church; it was built by the most famous organ builders of the time, François-Henri Clicquot, Louis-Alexandre Clicquot, and Robert Clicquot.

 

In the 18th century, the facade of the church was greatly admired, though it was nearly blocked from view by a row of houses. Voltaire wrote, "It is a masterpiece which is lacking nothing except a place from which to see it." The houses blocking the view were finally demolished in 1854, opening up the view of the facade. .[4]

 

During the French Revolution, the church was emptied of many of its treasures and turned into a Temple of Reason and Youth, before being returned to the Church in 1802.

 

On 29 March 1918, a German shell, fired by the long-range "Paris Gun", fell on the church, killing 91 people and wounding 68 others; the explosion collapsed the roof when a Good Friday service was in progress. This was the worst single incident involving a loss of civilian lives during the German bombardment of Paris in 1918.[5] Among those killed was Rose-Marie Ormond Andre-Michel, the niece and a favorite model of John Singer Sargent.[6]

 

In 1975 the church became the headquarters of the Monastic Fraternities of Jerusalem, founded in that same year by Père Pierre-Marie Delfieu with the authorisation of the then Archbishop of Paris, François Marty. The order is devoted to carrying on monastic life in an urban context; most of its members work part-time in civil occupations. The church is known for its distinctive and ecumenical liturgy; for example, adopting Lutheran hymn music and Orthodox troparia. The order has founded several other communities in France, at Mont St. Michel, Vezelay, and Magdala Sologne and elsewhere in Europe, in Florence, Brussels, Cologne, Warsaw, and Montreal.

 

Five new stained glass windows by Sylvie Gaudin were added to the southwest chevet of the church in 1993–95. Another series of six windows by Claude Courageux was added in the early 2000s in the upper level of the church, in the south nave, the transept and the choir, replacing those destroyed over the centuries.[7]

 

Facade

 

The facade of the church was begun in 1616, well after the nave of the church, with the cornerstone laid by Louis XIII. The design was by Salomon de Brosse (1571–1626), whose other major Paris work was the Luxembourg Palace. While the nave of the church was late or flamboyant gothic, the facade introduced an entirely new classical style, which opened the way for the French Baroque. The facade placed the three classical orders of architecture one atop the other. The ground floor featured three bays with pairs of columns with capitals of the simplest Doric order, with a classical pediment. Above this is a level of three bays with columns of the ionic order, and above that is a single bay with paired columns of the Corinthian order, holding up a curved pediment. In order to attach the new facade to the gothic portion of the church, de Brosse designed a traverse and two semicircular chapels on either side of the facade. The facade served as model for other churches in France and Europe, most notably the church of Saint-Paul-Saint-Louis, the church of the Jesuits, not far away in the Marais, which was the first church in Paris built entirely in the new style. [8]

 

Since the Middle Ages, an elm tree has been planted in front of the church; it served as a meeting place, and a place where disputes were sometimes settled by judges. The trees were replanted regularly over the centuries. Carvings of the trees from earlier centuries are found on the walls of some of the neighboring buildings.

 

Nave

 

The nave of the church (1600–1620) is notable for its dramatic height and the simplicity and purity of its lines. While the lower level of the nave is late gothic, the upper level of the nave shows the influence of the Renaissance, with large semi-circular arches containing a series of large stained glass windows, filling the church with light. The upper windows are 21st-century, by Claude Courageux, illustrating the story of Adam and Eve, Noah's ark, and the patriarchs and their spouses. The ceiling of the nave, where the arches of the walls come together in an elaborate embroidery, symbolizes the vaults of heaven.

 

Choir stalls

 

The wooden choir stalls (16th–17th century), from the reigns of François I and Henri II, are richly carved with scenes of daily life, the different professions, and grotesque animals. Out of sight from those attending mass, they were designed as a place where the Canons of the church could relax during the service. Some of the figures were too intimate for more puritanical later centuries, and had to be censored, including a carved image of a man and woman bathing together.[8]

 

Chapel of the Virgin

 

The chapel of the Virgin, at the back of the church, has a dramatic late gothic vaulted ceiling, featuring a hanging crown of stone 2.5 meters in diameter, and abstract designs resembling flames. The room is often used for silent meditation by church visitors. The chapel has some of the oldest stained glass windows in the flamboyant gothic style, made by Jean Chastellain in 1517, illustrating the life of the Virgin Mary. [8] Another remarkable window by Chastellain, "The Judgement of Solomon", made in 1533 in the colorful Renaissance style, is found in a side chapel.

 

Painting and sculpture

 

The church contains a number of notable works of art.

 

- A painting by the Venetian artist Sebastiano Ricci (1659–1734), Saint Gregory the Great and Saint Vital intercede for the souls in Pugatory, located in the Chapel of Saint Philomene. This was brought from Venice to Paris by Napoleon after his Italian campaign.

 

- The paintings The Beheading of John the Baptist and The Adoration of the Magi by Claude Vignon (1593–1670), located in the Chapel of the Virgin.

 

- A statue of Christ carved in oak by Antoine-Augustin Préault (1809-1879) in the Chapel of the Virgin.

 

- Statues from the funeral monument of Michel Tellier (1603–1685) the Chancellor of Louis XIV, by Pierre Mazeline (1632–1685) and Simon Hurtelle (1648–1724). The figures include the Chancellor, in prayer; a weeping 'genie' praying at his feet; and two draped figures representing Faith and Religion. Two other figures from the group, Justice and Prudence, are found in the Louvre.

 

en.wikipedia.org/wiki/St-Gervais-et-St-Protais

 

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St Gervais et St Protais has 21 mid 16th century misericords and 21 early 17th century misericords.

 

More information can be found here:-

 

www.misericords.co.uk/stgervaisandstprotais.html

 

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Saint Gervais Saint Protais Church - Paris

 

A church dedicated to the twin martyrs Gervais and Protais

 

Saint Gervais Saint Protais Church is located on the eastern side of the Hôtel-de-Ville.

 

It stands on a hillock known as Monceau Saint-Gervais and replaced the Chapelle Saint-Gervais-Saint-Protais.

 

This chapel served the fishing village that developed on the small mound during the 5th century. This community was one of the few on the Rive Droite, which then was a vast marsh today known as Marais.

 

The chapel was dedicated to the twin Roman officers who were martyred under the reign of Nero (1st century AD).

 

Place Saint-Gervais, the church square was initially called Carrefour de l'Orme. It was named after the huge elm that marked its centre and was felled at the French Revolution.

 

It was enlarged and renamed during Haussmann's renovation of Paris of the mid 19th century.

 

The cemetery was decommissioned in 1765 to give way to Place Baudoyer, the square that serves the town hall of the 4th district.

 

Sarcophagi and burial artifacts dating back to the 1st century AD were discovered during construction works.

 

Saint Gervais Saint Protais Church ,is a fine illustration of French architecture.

 

The Hôtel-de-Ville district developed in the 13th century and gave rise to a thriving community. The little Saint Gervais Saint Protais Chapel became obsolete, a larger church was much needed!

 

However, the construction of the new church dragged on from 1494 to 1660 due to the lack of funds.

 

Amazingly, this slow progress turned Saint Gervais Saint Protais Church into a perfect illustration of the evolution of French architecture.

 

Salomon de Brosse designed the French Baroque (Jesuit Style) facade with the three classical orders, the first of its style in Paris.

 

The 25m high Gothic Flamboyant nave and the 16th and 17th century stained glass windows are equally impressive.

 

Francois-Henri Clicquot built the organ in 1601. The wind-chests, reeds and two-thirds of its stops are original and turn the instrument into one of the oldest organs in Paris.

 

The composer François Couperin is among the prestigious organists who played in Saint Gervais Saint Protais Church, which is to this day a major centre of Sacred Music.

 

The church has two other, but smaller, organs which are located in the side chapels

 

www.travelfranceonline.com/saint-gervais-saint-protais-ch...

 

See also:-

 

www.spottinghistory.com/view/4397/st-gervais-et-st-protai...

 

en.wikipedia.org/wiki/St-Gervais-et-St-Protais

Mystery & Magic of Ladakh

 

Full of centuries old treasures and a rich vibrant culture, the landscape stretching from the green fertile lands of Kargil in the West to the highest desert in the world in the East, Ladakh is a land of mystique and magic. Watered by rivers Indus, Zanskar and Suru, and inhabited by the Changpas, Drogpas and Dards, Ladakh continues to fascinate visitors from across the world.

 

Mystery & Magic of Ladakh. (2018). [museum sign]. Leh, Ladakh, India: Hall of Fame.

 

As if to match its dramatic geography, Ladakh's history is one of tumult, intrigue, invasions, betrayal, plunder, internal strife, uneasy alliances and a half-blood prince who became its best-known ruler.

 

The first inhabitants of Ladakh were probably the Changpa-nomadic herdsmen from the Tibetan Plateau, who arrived in search of greener pastures. The Mons and Aryans moved into its valleys, while the Dards followed the Indus upstream from Gilgit. Later migrants were drawn by the strategic position of Ladakh, as a gateway to Central Asia. Following the disintegration of the Tibetan Empire these scattered tribes of Ladakh were overwhelmed by a large Tibetan migration sometime in 842 AD. Thus, Nyima-Gon, of Tibetan royalty, installed himself as the first ruler of Ladakh.

 

Around the 15th century, Islam arrived in Ladakh, brought by traders, mystics and warriors from Kashmir, Central Asia and Baltistan. In the years that followed, the religion wove itself into the fabric of this society. In some instances, it was the decision of the King that steered Ladakh in the direction of being a cradle for diverse cultures. Of note is the alliance of King Jamyang Namgyal with Gyal Khutun, daughter of the Balti King, Amir Mir. His son, Senggye Namgyal, half Buddhist, half Muslim, ascended the throne in 1616 and went on to become the most famous of Ladakh's kings, reclaiming lost land and building several monasteries.

 

Ladakh's next great transformative political experience came with the annexation of the region by the Dogra Empire in 1834. The advent of British imperialism and King Gulab Singh's pact with the East India company in March 1846 ensured that Ladakh remained under the control of the Dogras until India's independence, when finally, it became part of the State of Jammu and Kashmir. The Ladakh Autonomous Hill Council came into being in 1995.

 

History of Ladakh. (2018). [museum display board]. Leh, Ladakh, India: Hall of Fame.

 

EPB_0711

Djupalonssandur is a beautiful pebbled beach, with a series of rocks of mysterious form emerging from the ocean.

 

It is one of the few areas that lead down to the sea along this coast with its high dramatic cliffs. Watch out for the famous ghosts roaming the place!

 

The rests of a shipwreck can be seen on the beach. On the beach there are also big stones which people tried to lift and test their strength in the days of the fishing stations: Fully Strong 154 kg, Half-Strong 100 kg, Weakling 54 kg and Bungler 23 kg. Weakling marked the frontier of wimphood, any man who couldn't lift it was deemed unsuitable for a life as a fisherman. (west.is)

 

The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble beach

 

Canon EOS R7 - Canon RF 35mm F1.8 MACRO IS STM

There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.

 

There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).

 

The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).

 

There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.

 

To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).

beverleyminster.org.uk/visit-us-2/a-brief-history/

Soribashi Bridge of Itsukushima Shrine / Itsukushima (厳島) a/k/a Miyajima (宮島), which in Japanese means "Shrine Island”, is an island in the western part of the Inland Sea of Japan, located in the northwest of Hiroshima Bay. Frequent ferry services operates to carry traffic between the island and the mainland. The trip takes about ten minutes. There is also an hourly express passenger ferry to Hiroshima Harbor. The island is one of Hayashi Gahō 's “Three Views of Japan” specified in 1643. Itsukushima is part of the city of Hatsukaichi in Hiroshima Prefecture. The island was part of the former town of Miyajima before the 2005 merger with Hatsukaichi. Itsukushima is famous for the Itsukushima Shrine, a UNESCO World Heritage Site. According to records, the shrine was established in the time of Empress Suiko. The warrior-courtier Taira no Kiyomori gave the shrine its present form. In 1555, Mōri Motonari defeated Sue Harukata at the Battle of Miyajima. Toyotomi Hideyoshi built a large building, the Senjō-kaku, on a hill above the shrine. Itsukushima has a number of shrines and temples [in Japan, the term "shrine" implies a Shinto religious structure and "temple" implies a Buddhist one], including Toyokuni Shrine with a five-storied pagoda and Daiganji Temple - one of the three most famous Benzaiten temples of Japan. The island is also famous for its upper hill side cherry blossoms and maple leaf autumn foliage. The island, including the waters around it (part of the Seto Inland Sea), are within Setonaikai National Park. This sea is affected by strong tides. At low tide, the bottom of the sea is exposed past the island's torii – [a traditional Japanese gate most commonly found at the entrance of or within a Shinto shrine, where it symbolically marks the transition from the mundane to the sacred]. At high tide, the sea covers all the previously exposed seabed mud and fills areas underneath the shrine boardwalk. Miyajima's maple trees are renowned throughout Japan and blanket the island in crimson in the autumn. Momiji manjū, pastries filled with azuki jam or custard, are popular souvenirs and carry maple-leaf emblems. Many other varieties such as chocolate and cheese are available. Because the island is seen as sacred, trees may not be cut for lumber and Deer roam freely. Deer are thought of as sacred in the native Shinto religion because they are considered messengers of the gods. They walk the streets of the city, not afraid of the tourists / Itsukushima Shrine (厳島神社 Itsukushima-jinja) is a Shinto shrine best known for its "floating" torii gate. The Itsukushima shrine is one of Japan's most popular tourist attractions. It is most famous for its dramatic gate, or torii on the outskirts of the shrine , the sacred peaks of Mount Misen, extensive forests, and its aesthetic ocean view. The shrine complex itself consists of two main buildings: the Honsha shrine and the Sessha Marodo-jinja, as well as 17 other different buildings and structures that help to distinguish it. The complex is also listed as a UNESCO World Heritage Site, and six of its buildings and possessions have been designated by the Japanese government as National Treasures. Five-Tiered Pagoda (Gojunoto) at Itsukushima Shrine was constructed in 1407 (thus predating Senjokaku) enshrined Yakushi Nyorai Zazo, the Buddha of Medicine said to have been made by Kobo Daishi himself, accompanied by Fugen Bosatsu (Mercy Buddha) and Monju Bosatsu (Wisdom Buddha). The three images were moved to the Daiganji Temple during the Meiji reformation. Daiganji Temple, next to the Itsukushima Shrine is dedicated to Goddess Benzaiten as well as three Buddhas important to Shingon Buddhism. Benzaiten Goddess in Japan has been traced to Goddess Saraswati of Hinduism in India. She is the Goddess of eloquence, music, arts, wealth and knowledge. The three Buddha in the temple are Gautama Buddha, Wisdom Buddha and Mercy Buddha. Daiganji Temple is one the three most famous Benzaiten Temples in Japan, along with Enoshima Benzaiten (Kanagawa) and Chikubujima Benzaiten (Shiga). The Benzaiten is opened to the public only once every year on June 17. On this day, Miyajima holds a big festival, and people of the region visit the temple to offer their prayers. The construction date of Itsukushima-jinja and Daiganji temple is estimated to be 6th century or later, and the existence of Itsukushima-jinja is confirmed by ancient Japanese texts from the early 9th century. The Nihon Koki confirms the sacredness of these Miyajama structures during the Heian Period (794-1184).

The Rathskeller in the Seelbach Hotel, Louisville, Kentucky

The 1907 addition to The Seelbach in Louisville, Kentucky, included a German rathskeller made of Rookwood Pottery created in nearby Cincinnati, Ohio, by workers hired from the Art Academy. Rookwood Pottery was founded by Maria Longworth Nichols (later Mrs. Bellamy Storer Jr.) in 1880.

 

According to "The Seelbach Hotel, A History of Louisville Tradition" by J. Theriot in August, 1988, "In making this expensive type of pottery, decorations were drawn by hand on the clay before firing, making the design part of the ware. After baking, various glazes were added in subsequent firings. The floors, columns and walls of the eighty-foot square room were made of the pottery. The ceiling is fine-tooled leather."

 

To complement the room, The Seelbach Realty Company's president, Charles C. Vogt, presented the hotel with a $10,000 gift, a Rookwood-faced clock. Such a collection of Rookwood was very rare and, today, The Rathskeller is one of only two surviving ensembles of this art form.

 

The Rathskeller (ratskellar, a German word meaning restaurant in the town-hall cellar) was built in Bavarian tradition. The Seelbach's Rathskeller menu offers this description: "As a matter of fact the Rathskeller in every essential, artistic detail, is a reproduction of the underground drinking and council hall of one of the famous castles on the Rhine."

 

The graceful arches supported by noble columns give a cathedral-like effect. The archway pillars are encircled with Rookwood pelican frescoes, a symbol of good luck, and the ceiling above the bar is covered with hand-painted 24K gold leaf leather detailing the signs of the zodiac.

 

The Rathskeller achieved immediate popularity. The July 1912 edition of Hotel Monthly describes it as having a "seating capacity from 300 to 400." Not only was it a beautiful nightspot, conveniently located for the after-theater crowds, but it was also one of the first air-conditioned rooms ever built. The Seelbachs vowed to keep the room at least 10 degrees cooler than the outside summer temperatures. To do so required 40 tons of steam-produced refrigeration every 24 hours.

 

When the hotel was sold to Abraham Liebling, one of the first improvements was for the managers to lease a corner of the first floor to Walgreen Drugs. The Seelbach welcomed this renovation. Since prohibition and the nationwide ban on alcohol sales, the first floor bar had closed and The Rathskeller was little more than an extension of a restaurant. With the drug store on the main floor, the restaurant simply found a home downstairs in the basement. Several years later after prohibition ended, management moved the restaurant back up to the renovated first floor and closed The Rathskeller for extensive changes. In April 1934, it re-opened with a 56-foot bar staffed by six bartenders. With these renovations, the basement bar moved into a new era. Instead of simply providing a stopping place for late-night theater patrons, The Rathskeller would now offer its own musical and dramatic entertainment featuring local bands and occasional first-run theater.

 

When Walgreen's lease expired in 1941, management opted to open a new nightclub, tentatively called The Seelbach Café-Bar. The club took away from The Rathskeller and in 1945, when the Legionaries offered to rent the basement, including The Rathskeller, for a members-only club, the managers agreed. Today, The Seelbach's most treasured heirloom, The Rathskeller, with its dramatic design, lighting, and hand-carved architectural details, is again operated by The Seelbach and is available for private events.

  

The RathskellerThe Rathskeller is the only surviving room in the world completely encrusted in Rookwood pottery. Rookwood pelicans pervade the area, and although the Hotel’s tourist information likes to cheerfully note that the pelicans are there “for good luck,” it’s also true that the pelican is regarded in some occult mythologies as a symbol of resurrecting one’s children after having killed them oneself, by anointing them with one’s own blood. The pelican has also long been synonymous with the Phoenix (the mythological bird of occult initiation, wherein one is reborn into a new awareness or gnosis) and with Henet (a pelican goddess from pyramid-era Egypt, who appears on walls of ancient tombs and in royal funerary texts).

 

The Seelbach Hotel was the dream of two German immigrants, and over the past century it has gained the reputation of one of the finest hotels in the area.

 

"They opened the doors in 1905, the original cost was approximately $990,000 dollars," says Larry Johnson, who is now the lobby concierge at Louisville's Seelbach Hotel.

 

"The poker room had the distinction of being where Al Capone came to play poker," Johnson says. "He probably would have stopped here on his way back to Chicago from being in eastern Kentucky, where he picked up his moonshine." It was the era of Prohibition and Al Capone played it safe at the hotel, always facing a mirror in the poker room to keep an eye on his competition ... and on his back. And Johnson says there were "lookouts" throughout the hotel. "Whenever the police came into the lobby, somebody would step on the button and the doors going into the poker room would automatically close and he would know to get out."

 

And secret passageways -- now sealed up -- allowed just that. "One of the doors went out and down to the street, and the other door went downstairs to the tunnels underneath the hotel. They would go down into the tunnels and he could go anywhere from a block to a mile away form the hotel without being seen."

 

Louisville police never caught up with Capone, whether he was escaping a card game or from another room he favored: the Rathskeller. Now a backdrop for corporate events and other parties, Johnson says the Rathskeller was a "big night club back in the 20s and 30s, it was a USO in World War I and World War II. During Prohibition, it was a dinner club."

 

Capone wasn't the only well-known character to frequent the Seelbach. An Army captain stationed at Camp Taylor also gained quite a reputation at the hotel. F. Scott Fitzgerald, he frequented the bar and supposedly he was kicked out on several occasions for being a booze hound and being a little rowdy," Johnson says. Despite his brushes with the law, Fitzgerald loved the opulent hotel. So much so he wrote about it years later in the Great Gatsby.

 

Saint-Gervais-Saint-Protais

 

Saint-Gervais-Saint-Protais is a Roman Catholic parish church located in the 4th arrondissement of Paris, on Place Saint-Gervais in the Marais district, east of City Hall (Hôtel de Ville). The current church was built between 1494 and 1657, on the site of two earlier churches; the facade, completed last, was the first example of the French baroque style in Paris. The organists of the church included Louis Couperin and his nephew François Couperin, two of the most celebrated composers and musicians of the Baroque period; the organ they used can still be seen today. The church contains remarkable examples of medieval carved choir stalls, stained glass from the 16th century, 17th century sculpture, and modern stained glass by Sylvie Gaudin and Claude Courageux. Saint-Gervais was a parish church until 1975, when it became the headquarters of the Monastic Fraternities of Jerusalem.

 

History

 

A church dedicated to Saints Gervasius and Protasius, two Christian martyrs from Milan, is recorded as existing on the site in the 7th century, making it one of the first parish churches on the right bank in Paris. It was attended mostly by boatmen and fishermen, because it was close to the river port at the Place de Grève. It was built on a slight hill, the Monceau Saint-Gervais, to be safe from the floods of the Seine. After the completion of the wall of Philippe-Auguste, built between 1190 and 1209, the neighborhood was protected against attack and the population began to grow. The church had come under the sponsorship of several of the important confreries or guilds of Paris, including the wine-merchants. With their financial help, a larger church was built on the site in the early 13th century. .[1]

 

Construction of the present church began in 1494, but was delayed by the Wars of religion and by a shortage of funds. It was begun in the Gothic style; the chapels of the apse were finished in 1530 and the transept in 1578.[2] While the interior of the church was largely Gothic, the facade was built in an original new style, the French Baroque, on a plan by architect Salomon de Brosse (1571–1626). The first stone of the facade was placed by the young King Louis XIII in 1616. Between 1600 and 1628, a second row of chapels was built on the north side including the golden chapel ornamented with painted woodwork.[3]

 

During the 17th and 18th century the church was attended by many members of the aristocratic families who lived in the Marais, including Marie de Rabutin-Chantal, marquise de Sévigné, and the Chancellor of Louis XIV, Michel Le Tellier, whose funeral monument is found in the church.

 

Beginning in 1653, the church employed and sheltered the Couperin family, one of the most famous dynasties of French musicians, for more than two centuries. On one side of the church, the home of the celebrated harpsichordists, organists, and composers still stands, with a plaque commemorating the Couperins' tenure. The organ used by Louis and François Couperin still exists today inside the church; it was built by the most famous organ builders of the time, François-Henri Clicquot, Louis-Alexandre Clicquot, and Robert Clicquot.

 

In the 18th century, the facade of the church was greatly admired, though it was nearly blocked from view by a row of houses. Voltaire wrote, "It is a masterpiece which is lacking nothing except a place from which to see it." The houses blocking the view were finally demolished in 1854, opening up the view of the facade. .[4]

 

During the French Revolution, the church was emptied of many of its treasures and turned into a Temple of Reason and Youth, before being returned to the Church in 1802.

 

On 29 March 1918, a German shell, fired by the long-range "Paris Gun", fell on the church, killing 91 people and wounding 68 others; the explosion collapsed the roof when a Good Friday service was in progress. This was the worst single incident involving a loss of civilian lives during the German bombardment of Paris in 1918.[5] Among those killed was Rose-Marie Ormond Andre-Michel, the niece and a favorite model of John Singer Sargent.[6]

 

In 1975 the church became the headquarters of the Monastic Fraternities of Jerusalem, founded in that same year by Père Pierre-Marie Delfieu with the authorisation of the then Archbishop of Paris, François Marty. The order is devoted to carrying on monastic life in an urban context; most of its members work part-time in civil occupations. The church is known for its distinctive and ecumenical liturgy; for example, adopting Lutheran hymn music and Orthodox troparia. The order has founded several other communities in France, at Mont St. Michel, Vezelay, and Magdala Sologne and elsewhere in Europe, in Florence, Brussels, Cologne, Warsaw, and Montreal.

 

Five new stained glass windows by Sylvie Gaudin were added to the southwest chevet of the church in 1993–95. Another series of six windows by Claude Courageux was added in the early 2000s in the upper level of the church, in the south nave, the transept and the choir, replacing those destroyed over the centuries.[7]

 

Facade

 

The facade of the church was begun in 1616, well after the nave of the church, with the cornerstone laid by Louis XIII. The design was by Salomon de Brosse (1571–1626), whose other major Paris work was the Luxembourg Palace. While the nave of the church was late or flamboyant gothic, the facade introduced an entirely new classical style, which opened the way for the French Baroque. The facade placed the three classical orders of architecture one atop the other. The ground floor featured three bays with pairs of columns with capitals of the simplest Doric order, with a classical pediment. Above this is a level of three bays with columns of the ionic order, and above that is a single bay with paired columns of the Corinthian order, holding up a curved pediment. In order to attach the new facade to the gothic portion of the church, de Brosse designed a traverse and two semicircular chapels on either side of the facade. The facade served as model for other churches in France and Europe, most notably the church of Saint-Paul-Saint-Louis, the church of the Jesuits, not far away in the Marais, which was the first church in Paris built entirely in the new style. [8]

 

Since the Middle Ages, an elm tree has been planted in front of the church; it served as a meeting place, and a place where disputes were sometimes settled by judges. The trees were replanted regularly over the centuries. Carvings of the trees from earlier centuries are found on the walls of some of the neighboring buildings.

 

Nave

 

The nave of the church (1600–1620) is notable for its dramatic height and the simplicity and purity of its lines. While the lower level of the nave is late gothic, the upper level of the nave shows the influence of the Renaissance, with large semi-circular arches containing a series of large stained glass windows, filling the church with light. The upper windows are 21st-century, by Claude Courageux, illustrating the story of Adam and Eve, Noah's ark, and the patriarchs and their spouses. The ceiling of the nave, where the arches of the walls come together in an elaborate embroidery, symbolizes the vaults of heaven.

 

Choir stalls

 

The wooden choir stalls (16th–17th century), from the reigns of François I and Henri II, are richly carved with scenes of daily life, the different professions, and grotesque animals. Out of sight from those attending mass, they were designed as a place where the Canons of the church could relax during the service. Some of the figures were too intimate for more puritanical later centuries, and had to be censored, including a carved image of a man and woman bathing together.[8]

 

Chapel of the Virgin

 

The chapel of the Virgin, at the back of the church, has a dramatic late gothic vaulted ceiling, featuring a hanging crown of stone 2.5 meters in diameter, and abstract designs resembling flames. The room is often used for silent meditation by church visitors. The chapel has some of the oldest stained glass windows in the flamboyant gothic style, made by Jean Chastellain in 1517, illustrating the life of the Virgin Mary. [8] Another remarkable window by Chastellain, "The Judgement of Solomon", made in 1533 in the colorful Renaissance style, is found in a side chapel.

 

Painting and sculpture

 

The church contains a number of notable works of art.

 

- A painting by the Venetian artist Sebastiano Ricci (1659–1734), Saint Gregory the Great and Saint Vital intercede for the souls in Pugatory, located in the Chapel of Saint Philomene. This was brought from Venice to Paris by Napoleon after his Italian campaign.

 

- The paintings The Beheading of John the Baptist and The Adoration of the Magi by Claude Vignon (1593–1670), located in the Chapel of the Virgin.

 

- A statue of Christ carved in oak by Antoine-Augustin Préault (1809-1879) in the Chapel of the Virgin.

 

- Statues from the funeral monument of Michel Tellier (1603–1685) the Chancellor of Louis XIV, by Pierre Mazeline (1632–1685) and Simon Hurtelle (1648–1724). The figures include the Chancellor, in prayer; a weeping 'genie' praying at his feet; and two draped figures representing Faith and Religion. Two other figures from the group, Justice and Prudence, are found in the Louvre.

 

en.wikipedia.org/wiki/St-Gervais-et-St-Protais

 

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St Gervais et St Protais has 21 mid 16th century misericords and 21 early 17th century misericords.

 

More information can be found here:-

 

www.misericords.co.uk/stgervaisandstprotais.html

 

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Saint Gervais Saint Protais Church - Paris

 

A church dedicated to the twin martyrs Gervais and Protais

 

Saint Gervais Saint Protais Church is located on the eastern side of the Hôtel-de-Ville.

 

It stands on a hillock known as Monceau Saint-Gervais and replaced the Chapelle Saint-Gervais-Saint-Protais.

 

This chapel served the fishing village that developed on the small mound during the 5th century. This community was one of the few on the Rive Droite, which then was a vast marsh today known as Marais.

 

The chapel was dedicated to the twin Roman officers who were martyred under the reign of Nero (1st century AD).

 

Place Saint-Gervais, the church square was initially called Carrefour de l'Orme. It was named after the huge elm that marked its centre and was felled at the French Revolution.

 

It was enlarged and renamed during Haussmann's renovation of Paris of the mid 19th century.

 

The cemetery was decommissioned in 1765 to give way to Place Baudoyer, the square that serves the town hall of the 4th district.

 

Sarcophagi and burial artifacts dating back to the 1st century AD were discovered during construction works.

 

Saint Gervais Saint Protais Church ,is a fine illustration of French architecture.

 

The Hôtel-de-Ville district developed in the 13th century and gave rise to a thriving community. The little Saint Gervais Saint Protais Chapel became obsolete, a larger church was much needed!

 

However, the construction of the new church dragged on from 1494 to 1660 due to the lack of funds.

 

Amazingly, this slow progress turned Saint Gervais Saint Protais Church into a perfect illustration of the evolution of French architecture.

 

Salomon de Brosse designed the French Baroque (Jesuit Style) facade with the three classical orders, the first of its style in Paris.

 

The 25m high Gothic Flamboyant nave and the 16th and 17th century stained glass windows are equally impressive.

 

Francois-Henri Clicquot built the organ in 1601. The wind-chests, reeds and two-thirds of its stops are original and turn the instrument into one of the oldest organs in Paris.

 

The composer François Couperin is among the prestigious organists who played in Saint Gervais Saint Protais Church, which is to this day a major centre of Sacred Music.

 

The church has two other, but smaller, organs which are located in the side chapels

 

www.travelfranceonline.com/saint-gervais-saint-protais-ch...

 

See also:-

 

www.spottinghistory.com/view/4397/st-gervais-et-st-protai...

 

en.wikipedia.org/wiki/St-Gervais-et-St-Protais