View allAll Photos Tagged its_dramatic

Krasnoyarsk Pillars (also known as Stolby) (Russian: Национа́льный парк «Красноя́рские Столбы́») is a Russian national park located 10 km south of the city of Krasnoyarsk, on the northwestern spurs of the Eastern Sayan Mountains. The site is known for its dramatic rock formations. Over 200,000 climbers, hikers, and other visitors are recorded annually. The park covers 47,219 hectares.

 

Topography

The park's natural borders are the Bazaikha River, a right tributary of the Yenisei River, in the northeast; the Mana River in the south; and the Bolshaya Slizneva River in the southwest. To the northeast, the park borders the city of Krasnoyarsk. The park is divided into two regions. The first is straight Stolby, which is open to tourists. The second is "Wild Stolby", which is located deeper the park, and where access is restricted.

 

Ecoregion and climate

Stolby is located in the East Siberian taiga ecoregion, in the heart of Siberia.

 

The climate is subarctic, without dry season (Köppen climate classification, Dfc). This climate is characterized by mild summers and cold, snowy winters.

 

Flora and fauna

Flora of the national park includes about 740 vascular plants and 260 kinds of mosses. Fir taiga, which is typical for the midlands of the Eastern Sayan, prevails. 290 species of vertebrates are found in the territory of the park, including many with a taiga habitat, (red-backed mouse, sable, Siberian musk deer, hazel grouse and others), as well as some forest-steppe animals (Siberian roe deer, steppe polecat, long-tailed ground squirrel and others).

 

Also, there are species from The Red Book of Russia:

 

Plants: calypso bulbosa, cypripedium calceolus, dactylorhiza majalis, orchis militaris, stipa pennata et al.

Birds: osprey, golden eagle, saker falcon, peregrine falcon and others.

Ecotourism and access

Visitors are able to get to the boundary of the park by city bus. The main attraction of the park is the rocks; the collective name of the rocks is Stolby, although all of the large formations, and even some smaller stones, have their own names. Inhabitants of Krasnoyarsk have been visiting Stolby for more than 150 years for sport and adventure holidays.

 

Three districts are accessible to tourists:

Takmakovsky district is situated in a valley of the Bazaikha River, at the foot of the Takmak rock. Rocks in this area include: Kitayskaya Stenka, Yermak and a group of small rocks: Vorobushki, Tsypa, Zhaba.

Central pillars is a district 7 kilometers from the boundary of the reserve, occupying an area of about 5x10 kilometers. Unique rocks such as Ded ("Grandfather"), Perja ("Plumage"), and Lvinnyj vorota ("Lions Gate"), as well as a group of pillars, are located here. The most popular routes to the top of rocks are Golubye Katushki ("Blue Coils") and Dymokhod ("Stovepipe"). Stolbists say that Bolsheviks wrote the word "Svoboda" (en. Freedom) on the biggest pillar before the October Revolution. Nowadays enthusiasts renew the writing intermittently, and because of difficulty of the ascent, law enforcement cannot erase the inscription.

Wild pillars include the rocks Manskaya Stenka and Manskaya Baba, which are situated in a buffer zone (closed for free visit).

History of exploration

 

Hikers climbing a rock (known locally as the First Pillar). A suburb of Krasnoyarsk is seen in the background.

Daniel Gottlieb Messerschmidt explored the Stolby between 1720 and 1727. He visited Krasnoyarsk three times during his 7-year exploration of Siberia. Vitus Bering visited it in 1733–1734.

 

In 1735 the Pillars were seen by the members of the Second Kamchatka Expedition, including naturalists Johann Georg Gmelin and his assistant Stepan Krasheninnikov.

 

In 1771–1773, Peter Simon Pallas visited the Stolby. He lived about a year in Krasnoyarsk, working on such papers as "Journey in various provinces of the Russian Empire," "Description of plants of the Russian state," and "Russian-Asian zoogeography."

 

The gold rush started in Siberia in the 1830s. Gold was mined in the Stolby. "Royev Ruchey" (Eng. "Scooped Brook") was so named because of the activities of miners.

 

In 1833, furs of 67 sables, foxes and 43 to thousands of skins of other animals were obtained in the Stolby region.

 

In 1870 and 1880s, a Krasnoyarsk teacher named Ivan Savenkov organized school trips to the "Pillars". In 1886, Savenkov published a topographical description of the suburbs of Krasnoyarsk.

 

From the late 1940s to the beginning of the 21st century, 16 collections of scientific papers about the Pillars were published. The effect of air pollution and recreational using on taiga ecosystems was investigated. Ivan Belyak has authored several books about the area.

 

History of protection

The core of the area was declared a natural reserve (zapovednik) on June 30, 1925, by the Krasnoyarsk soviet in order to protect the picturesque Syenite Buttes and surrounding rocky landscape. About 3.5% of the territory was open to hikers seeking to visit and climb the rocks.

 

In 1947 a married couple (Yelena Krutovskaya and James Dulkeyt) set up a farm for wild animals injured by poachers. In 2000, it was expanded into a zoo named Royev Ruchey.

 

In 2007 Stolby was submitted to the list of UNESCO World Heritage Sites, but the inscription was deferred indefinitely.

 

On December 4, 2019, the legal status of the Stolby Nature Reserve was changed to that of a national park (IUCN category II).

 

Krasnoyarsk is the largest city and administrative center of Krasnoyarsk Krai, Russia. It is situated along the Yenisey River, and is the second-largest city in Siberia after Novosibirsk, with a population of over 1.1 million. Krasnoyarsk is an important junction of the renowned Trans-Siberian Railway, and is one of the largest producers of aluminium in the country. The city is known for its natural landscape; author Anton Chekhov judged Krasnoyarsk to be the most beautiful city in Siberia. The Stolby Nature Sanctuary is located 10 km south of the city. Krasnoyarsk is a major educational centre in Siberia, and hosts the Siberian Federal University. In 2019, Krasnoyarsk was the host city of the 2019 Winter Universiade, the third hosted in Russia.

 

Etymology

The fort was named Krasny Yar (Russian: Кра́сный Яр) after the Yarin (a dialect of Khakas) name of the place it was built, Kyzyl Char ('red steep-riverbank'), which was translated as Krasny Yar.

 

History

The city was founded on August 19, 1628[2] as a Russian border fort when a group of service class people from Yeniseysk led by Andrey Dubenskiy arrived at the confluence of the Kacha and Yenisei Rivers and constructed fortifications intended to protect the frontier from attacks of native peoples who lived along the Yenisei and its tributaries. Along with Kansk to the east, it represented the southern limit of Russian expansion in the Yenisei basin during the seventeenth century. In the letter to Tsar Michael I the Cossacks reported:

 

...The town of trunks (log buildings) we have constructed and around the place of fort, we the servants of thee, our Lord, have embedded posts and fastened them with double bindings and the place of fort have strengthened mightily...

The settlement was granted town status in 1690. An intensive growth of Krasnoyarsk began with the arrival of the Siberian Route (the road M53 nowadays) in 1735 to 1741 which connected the nearby towns of Achinsk and Kansk with Krasnoyarsk and with the rest of Russia.

 

In 1749, a meteorite with a mass of about 700 kg (1,500 lb) was found 230 km (140 mi) south of Krasnoyarsk. It was excavated by Peter Simon Pallas in 1772 and transported to Krasnoyarsk and subsequently to Saint Petersburg. The Krasnoyarsk meteorite is important because it was the first pallasite ever studied and the first meteorite ever etched.

 

In 1822 Krasnoyarsk became the administrative center of Yeniseysk Governorate. By the end of the 19th century, Krasnoyarsk had several manufacturing facilities and railroad workshops and an engine house. Growth continued with the discovery of gold and the arrival of a railroad in 1895.

 

In the Russian Empire, Krasnoyarsk was one of the places to which political exiles were banished. For example, eight Decembrists were deported from St. Petersburg to Krasnoyarsk after the failure of the revolt.

 

In the aftermath of the Russian Revolution of 1917, during the Russian Civil War, Siberia east of Omsk was controlled by white forces under Alexander Kolchak, who in December 1919 retreated east to Irkutsk and the Bolsheviks took control of the city. On a plateau 7 km outside of town was a prisoner of war camp with 13,000 German and Austrian troops. Elsa Brändström of the Swedish Red Cross spent almost a year there from July 1919 until May 1920.

 

During the periods of centralized planning (Five Year Plans) numerous large plants and factories were constructed in Krasnoyarsk: Sibtyazhmash, the dock yard, the paper factory, the hydroelectric power station (now the fifth largest in the world and the second in Russia), and the river port.

 

In 1934, Krasnoyarsk Krai was formed, with Krasnoyarsk as its administrative center.

 

During Stalinist times, Krasnoyarsk was a major center of the gulag system. The most important labor camp was the Kraslag or Krasnoyarsky ITL (1938-c. 1960) with the two units located in Kansk and Reshyoty. In the city of Krasnoyarsk itself, the Yeniseylag or Yeniseysky ITL labor camp was prominent as well during World War II (c. 1940–41).

 

During World War II, dozens of factories were evacuated from Ukraine and Western Russia to Krasnoyarsk and nearby towns, stimulating the industrial growth of the city. After the war additional large plants were constructed: the aluminum plant, the metallurgic plant, the plant of base metals and many others.

 

In the late 1970s, the Soviet Union began constructing a phased array radar station at Abalakova, near Krasnoyarsk, which violated the ABM Treaty. Beginning in 1983, the United States demanded its removal, until the Soviet Union admitted the radar station was a violation in 1989. Equipment was slowly removed from the site and by 1992 it was officially declared to be dismantled, though the equipment from the site was likely relocated to a new site near Komsomolsk-on-Amur.[citation needed] Krasnoyarsk was also a home to Krasnoyarsk Northeast air base, which was turned into living blocks after the dissolution of the Soviet Union.

 

After the dissolution of the Soviet Union and beginning of privatization, many large plants and factories, such as the Krasnoyarsk Aluminum Plant, became owned by alleged criminal authorities and oligarchs, while others were declared bankrupt. The economic transition resulted in a dramatic rise in unemployment and numerous strikes.

 

The best known financial scandal of the second half of the 1990s happened when ownership of the Krasnoyarsk Aluminum Plant by a known Krasnoyarsk businessman Anatoliy Bykov had been canceled after he was accused of murdering his partner, Vilor Struganov. The accusation eventually turned out to be false. The Krasnoyarsk plant's ownership problems continue through the early 21st century since nearly all of them are owned either by monopolistic financial groups or by oligarchs.

 

Since the election of Pyotr Pimashkov as the mayor of Krasnoyarsk in 1996, the appearance of the city gradually improved: the old historical buildings were restored, the asphalt walkways were replaced with paving-stone, and numerous squares and recreation areas with fountains were either restored or constructed from scratch. Now the majority of the city keeps only a few traces of its former, drab, post-collapse look.

 

Geography

The total area of the city, including suburbs and the river, is 348 km2 (134 sq mi).

 

The river Yenisei flows from west to east through the city. Due to the Krasnoyarsk hydroelectric dam 32 km (20 mi) upstream, the Yenisei never freezes in winter and never exceeds +14 °C (57 °F) in summer through the city. Near the city center, its elevation is 136 m (446 ft) above sea level. There are several islands in the river, the largest of which are Tatyshev and Otdyha Isles, used mainly for recreation.

 

To the south and west, Krasnoyarsk is surrounded by forested mountains averaging 410 m (1,350 ft) in height above river level. The most prominent of them are Nikolayevskaya Sopka (notable for its ski jumping tracks), Karaulnaya Gora, and Chornaya Sopka, the latter being an extinct volcano. The gigantic rock cliffs of the Stolby Nature Reserve rise from the mountains of the southern bank of the Yenisei, the western hills from the Gremyachaya Griva crest extending westwards up to the Sobakina River, the north is generally plain, except for the Drokinskaya Sopka hill, with forests to the northwest and agricultural fields to the north and east.

 

The major rivers in and near Krasnoyarsk are the Yenisei, Mana, Bazaikha, and Kacha Rivers, the latter flowing throughout the historical center of the city. Due to the nature of the terrain, a few natural lakes exist in the vicinity of Krasnoyarsk.

 

The forests close to the city are mostly pine and birch; further afield, aspen becomes dominant in many areas. The moss-covered fir and Siberian pine replaces other wood in the mountains westward of the Karaulnaya River, in about 15 km (9.3 mi) to the west from the city, the forests to the south are mostly pine, fir and aspen.

 

Administrative and municipal status

Krasnoyarsk is the administrative center of the krai. Within the framework of administrative divisions, it is, together with one rural locality (the village of Peschanka) incorporated as the krai city of Krasnoyarsk – an administrative unit with the status equal to that of the districts. As a municipal division, the krai city of Krasnoyarsk is incorporated as Krasnoyarsk Urban Okrug.

 

City divisions

For administrative purposes, Krasnoyarsk is divided into seven city districts:

 

Kirovsky

Leninsky

Oktyabrsky

Sovetsky

Sverdlovsky

Tsentralny

Zheleznodorozhny

Coat of arms

 

The Krasno-yarsk Lion

The first version was approved on March 12, 1804. The coat of arms was divided horizontally into two parts, the upper part containing the coat of arms of Tomsk Governorate, and the lower part picturing the Krasny Yar cliff on a silver background. A revised coat of arms, approved on November 23, 1851, had the golden figure of a lion placed on a red heraldic shield with a spade in the right fore paw and a sickle in the left fore paw, both made of the same metal. The shield was topped with the golden crown of the Russian Empire. The current coat of arms (as depicted here) was approved on November 28, 2004. It contains the same red shield as in 1851 but with a slightly changed figure of the lion in the officially approved image. The shield is topped with a form of the mural crown, which is the golden five-tower coronet of rank of a federal subject administrative center.

 

Climate

Krasnoyarsk experiences a humid continental climate (Köppen climate classification Dfb) bordering on a subarctic climate (Dfc). Its climate is very similar to that of Fort McMurray and Winnipeg in Canada, the latter of which is a good deal further south geographically. Compared to Thompson, Manitoba, or Labrador City at similar latitudes, Krasnoyarsk's winters are relatively mild. Compared to European cities on a similar latitude, Krasnoyarsk has much warmer summers, but much colder and longer winters (for example, Aalborg, Denmark). The summer is also on average warmer than similar inland latitudes of Scandinavia, owing to Siberia's greater continentality. Krasnoyarsk has high differentials between summer and winter temperatures.

 

Architecture

There are a number of historical buildings in Krasnoyarsk, the oldest of them being the Intercession Cathedral (Russian: Покровский собор, 1785 to 1795, restored in 1977 to 1978). Other locally significant samples of Russian Orthodox architecture are the Annunciation Cathedral (Russian: Благовещенский собор, 1802–12), the Holy Trinity Cathedral (Russian: Свято-Троицкий собор, 1802–12), John the Baptist Church (Russian: Церковь Иоанна Предтечи, 1899, former episcopal residence), and the new Michael the Archangel Church (Russian: Церковь Архистратига Михаила, 1998 to 2003).

 

On the top of the Karaulnaya Hill, originally a pagan shrine, later occupied by the Krasnoyarsk fort watchtower, the Paraskeva Pyatnitsa Chapel (1804, rebuilt 1854–55) still stands. The chapel, displayed on the 10-ruble note, is one of the iconic images of the city. The chapel was abandoned and fell into disrepair during the Soviet era and only when Perestroyka came was it regained by the Yenisei bishopric.

 

Another unofficial symbol of Krasnoyarsk is the incomplete 24-story tower located at Strelka. Construction of the tower had been started just before Perestroyka and then frozen due to the administrative crisis. The outline of the tower is clearly seen from many places in the city.

 

A bridge near Krasnoyarsk carries the Trans-Siberian Railway across the Yenisei. The original structure, one of the longest at the time, was constructed between 1893 and 1896 to an award-winning design by Lavr Proskuryakov. In 2003 it was rejected for emergency inscription on the World Heritage List. It was described at the time by ICOMOS "an early representation of a typical parabolic polygonal truss bridge in Russia" which became "a testing ground for the application of engineering theories and the development of new innovative solutions, which had numerous successors". The bridge was dismantled between 2002-2007.

 

Among other notable buildings are the mansions of the merchant Nikolay Gadalov (beginning of the 20th century), the Roman Catholic Transfiguration Chapel (Russian: Преображенский собор, 1911, also known as the Krasnoyarsk Organ Hall), the Krasnoyarsk Krai Museum stylized as an Ancient Egyptian temple, the Krasnoyarsk Cultural/Historical Center and the triumphal arch at the Spit (2003), the regional administration building flanked with two towers known as the "Donkey Ears".

 

There are a number of two-story wooden houses in the city built mostly in the middle of the 20th century as temporary habitations. Many urbanized villages located inside the city keep the remnants of the traditional Russian village architecture: wooden houses with backyards, many somewhat dilapidated now but still inhabited.

 

Culture

There are a number of local holidays celebrated annually in Krasnoyarsk. The most significant holiday is the Day of the City celebrated in June, usually with a carnival. Other holidays and cultural events are the Mana Festival (Russian: Манский фестиваль. The celebrations take place on the outside of town, on the bank of river Mana) usually held on the last weekend in June with the traditional bard contest, the International Museum Biennale traditionally held in the Krasnoyarsk Cultural/Historical Center, the avant-garde Museum Night festival dedicated to the International Museum Day (May 18), the Jazz on Yenisey festival, the Stolbist Day held many times a year celebrating the traditions of mountain climbing in the Stolby national reserve, and the Bikers' Rally.

 

Krasnoyarsk has a number of local television companies and the highly developed telecommunications, many districts of the city have LAN-based broadband Internet access.

 

The city is also home to the Krasnoyarsk Children's Choir, a world-renowned choir that tours in many countries as The Little Eagles of Siberia.

 

Education and science

Next to Novosibirsk, Krasnoyarsk is a prominent scientific and educational center of Siberia, with over 30 higher education facilities, many of which are the branches of the Russian Academy of Science, and about 200 high schools. The most notable higher education institutes are:

 

Siberian Federal University (Russian abbreviation is SFU), founded on November 4, 2006. The institution integrated four large higher education institutions (Krasnoyarsk State University, Krasnoyarsk State Academy of Architecture and Civil Construction, Krasnoyarsk State Technical University, State University of Non-Ferrous Metals and Gold)

Krasnoyarsk State Pedagogical University (Russian abbreviation is KGPU), founded in 1932

Siberian State Technological University (Russian abbreviation is SibGTU), the oldest in the city, founded in 1930 as the Siberian Institute of Forest

Siberian State Aerospace University (Russian abbreviation is SibGAU), founded in 1960

Krasnoyarsk State Medical University (Russian abbreviation is KrasGMU), founded in 1942

Krasnoyarsk State Agrarian University (Russian abbreviation is Krasnoyarsk GAU), founded in 1952

Like Novosibirsk, Krasnoyarsk has a special city district called Akademgorodok ("Academic Town"), where several scientific research institutes are located. Krasnoyarsk's Institute of Biophysics is known for a 1973–1985 experiment on ecological isolation of human beings (the "Bios Experiment"). Sukachev Institute of Forest, founded in 1944 at Moscow and relocated to Krasnoyarsk in 1959. There are several museums in Krasnoyarsk. One is the Krasnoyarsk Regional Museum, containing historical items and exhibits of the region, including ancient history, native Siberians, and woolly rhinos.

 

The Krasnoyarsk zoo is also a major attraction for residents and tourists.

 

Transportation

Metro

An underground system (three lines) has been in planning and construction phases in Krasnoyarsk for decades. Subway construction was terminated in 2008.

 

Public Transportation

The transit system is dominated by buses, but there also are several trolleybus and tram routes.

 

Railway

Krasnoyarsk lies on the Yenisei River and historically has been an important junction on the Trans-Siberian Railway. Krasnoyarsk-Passazhirsky (Russian: Красноярск-Пассажирский, lit. Krasnoyarsk-Passenger) is the main railway station of Krasnoyarsk. Long-range trains of the Trans-Siberian Railway stop at this station. There are some stations served by Elektrichka and there is Krasnoyarsk-East goods station 26.3 km east of Krasnoyarsk-Passazhirsky.

 

Airports

Krasnoyarsk was served by two airports: Yemelyanovo Airport is the main airport and handles both medium and long-haul domestic as well as international flights, and is 27 km (17 mi) northwest of the city. The secondary Cheremshanka Airport handled short-haul flights. Cheremshanka has lost its eminent role as the main base airport for an extensive network of local air services (MVL) in Krasnoyarsk Krai formerly served by the local Aeroflot Krasnoyarsk Directorate. In December 2011 a fire broke out at the Cheremshanka airport which destroyed the terminal building and the air traffic control tower.

 

Tourism

The most popular place of attraction for tourists visiting Krasnoyarsk is the huge national nature reserve Stolby ("pillars"), which covers an area of 470 km2 (180 sq mi) with numerous giant granite rocks formations up to 100 meters high, many of very extraordinary shapes. Stolby is also a major rock climbing location. Many local climbers intentionally do not use any belaying equipment and call their extreme sport stolbizm, known elsewhere as solo climbing.

 

Other popular showplaces include the Krasnoyarsk Hydroelectric Power Station dam, the Karaulnaya Gora hill with the Paraskeva Pyatnitsa Chapel, museums, theaters, etc.

 

Sports

Krasnoyarsk is a center of Siberian sports. Areas, where Krasnoyarsk excels compared to other Russian cities, include rugby union, bandy, and freestyle wrestling.

 

Yenisey was the Soviet bandy champions every year in the 1980s as well as in 1991. The first Russian title came in 2001. In 2014 they became champions of the Bandy Super League and had the highest average attendance, 5 747. In 2015 the league title was won again as well as in 2016. At the 2019 Winter Universiade, bandy will feature as a demonstration sport for the first time and tournaments for both men and women will be held. An indoor stadium will be built for the occasion. It is planned to be ready for use by the end of 2018. The complexity of the construction is considered unique.

 

The city is considered a stronghold of rugby union in Russia, to the extent that the Rugby Union of Russia was headquartered locally for many years. Two Krasnoyarsk clubs, Krasny Yar and Enisey-STM, participate in the national Professional Rugby League, and European Rugby Challenge Cup, the second-tier pan-European club competition. Matches take precedence in the local media, and the city derby match can attract crowds of about 3000–5000. Many players of the Russian national rugby team hail from the area. Some of Russia's international rugby matches are played at the Central Stadium.

 

Notable people

Mirra Andreeva, tennis player

Viktor Astafyev, writer

Vyacheslav Butusov, singer and songwriter

Caziel, artist

Walter Ciszek, Polish-American Jesuit priest held captive here on suspicion of espionage for the Vatican

Valentin Danilov, Russian scientist

Elena Abramovna Davidovich, numismatist and archaeologist

Yekaterina Duntsova, Russian politician, journalist and lawyer

Helene Fischer, German singer and actress

Iya Gavrilova, ice hockey player

Dmitri Hvorostovsky, operatic baritone

Evgeny Isakov, ice hockey player

Elena Khrustaleva, biathlete

Sergey Ivanovich Lomanov, bandy manager and former player

Sergey Sergeyevich Lomanov, bandy player

Andreï Makine, novelist

Yevgeni Popov, writer

Sofia Samodurova, figure skater

Alexander Semin, ice hockey player

Andrei Shepelenko, professional ice hockey player

Pyotr Slovtsov, opera singer

Vasily Surikov, historic painter

Viktoria Tereshkina, prima ballerina

Viktor Tretiakov, violinist

Evgeny Ustyugov, biathlete

 

Twin towns – sister cities

Krasnoyarsk is twinned with:

China Heihe, China (1999)

Tajikistan Istaravshan, Tajikistan (2000)

Canada Sault Ste. Marie, Canada (2002)

Mongolia Ulaanbaatar, Mongolia (2003)

Uzbekistan Samarkand, Uzbekistan (2003)

United States Oneonta, United States (2004)

Italy Cremona, Italy (2006)

Slovakia Žilina, Slovakia (2013)

China Changchun, China (2014)

China Manzhouli, China (2017)

The beautiful and now tranquil setting of Augustinian Lanercost Priory belies an often troubled history. Standing close to Hadrian's Wall, it suffered frequent attacks during the long Anglo-Scottish wars, once by Robert Bruce in person. The mortally sick King Edward I rested here for five months in 1306-7, shortly before his death on his final campaign.

 

The east end of the 13th-century church survives to its full height, housing within its dramatic triple tier of arches some fine monuments.

 

More photos of Lanercost Priory here: www.flickr.com/photos/davidambridge/albums/72157624989399623

Detail of the lower half of the west window depicting the Last Judgement. The Last Judgement is Fairford's most celebrated window for its dramatic composition and graphic depiction of the horrors of hell in the lower half. The window sadly suffered badly during the great storm of 1703 with the upper half depicting Christ in Judgement and the surrounding company of saints and angels the most seriously affected part.

 

The lower half depicts Archangel Michael at the centre with the elect entering Heaven to the left and the damned being condemned to Hell on the right. This depiction of Hell is renowned for its exotic demons dragging their victims to the red glow of hellfire, culminating in the monstrous soul-devouring figure of Satan seated in the bottom right hand corner.

 

St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.

 

The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.

 

One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.

 

Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.

 

The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.

 

The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.

 

It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.

 

Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.

en.wikipedia.org/wiki/St_Mary%27s_Church,_Fairford

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

Middle of North America waiting for a load The Sleeping Giant in the back ground

 

The Sleeping Giant is a formation of mesas and sills on Sibley Peninsula which resembles a giant lying on its back when viewed from the west to north-northwest section of Thunder Bay, Ontario, Canada. As one moves southward along the shoreline toward Squaw Bay the Sleeping Giant starts to separate into its various sections. Most distinctly in the view from the cliffs at Squaw Bay the Giant appears to have an Adam's Apple. The formation is part of Sleeping Giant Provincial Park. Its dramatic steep cliffs are among the highest in Ontario (250 m). The southernmost point is known as Thunder Cape, depicted by many early Canadian artists such as William Armstrong.

 

One Ojibway legend identifies the giant as Nanabijou, who was turned to stone when the secret location of a rich silver mine now known as Silver Islet was disclosed to white men.[3]

REFORD GARDENS | LES JARDINS DE MÉTIS

 

COUCHER DE SOLEIL - Sainte-Flavie

  

Visit : www.refordgardens.com/

 

Photo taken close to REFORD GARDENS. (Sainte-Flavie)

 

Mrs Elsie Reford loved those beautiful sunsets.

 

Reference: Elsie's Paradise, The Reford Gardens, Alexander Reford, 2004, ISBN 2-7619-1921-1, That book is a must for Reford Gardens lovers!

 

''I shall always, all my life, want to come back to those sunsets.'' Elsie Reford, July 20, 1913. (page 25)

 

" It is just after 8 o'clock and I am sitting in front of my big window with the gorgeous panorama of a glorious afterglow from a perfect sunset. There is every hue of blue on the water of 'the Blue Lagoon' while Pointe-aux-Cenelles is bathed in pink and crimson and the dark hills of the north shore seem no further than two or three miles distant. I don't think in the whole world at this moment there could be anything more beautiful." Elsie Reford, June 2, 1931. (page 81)

 

Beautiful flowers at Reford 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

 

© Copyright

This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.

Detail of the lower half of the west window depicting the Last Judgement. The Last Judgement is Fairford's most celebrated window for its dramatic composition and graphic depiction of the horrors of hell in the lower half. The window sadly suffered badly during the great storm of 1703 with the upper half depicting Christ in Judgement and the surrounding company of saints and angels the most seriously affected part.

 

The lower half depicts Archangel Michael at the centre with the elect entering Heaven to the left and the damned being condemned to Hell on the right. This depiction of Hell is renowned for its exotic demons dragging their victims to the red glow of hellfire, culminating in the monstrous soul-devouring figure of Satan seated in the bottom right hand corner.

 

St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.

 

The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.

 

One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.

 

Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.

 

The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.

 

The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.

 

It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.

 

Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.

en.wikipedia.org/wiki/St_Mary%27s_Church,_Fairford

REFORD GARDENS | LES JARDINS DE METIS

 

Our granddaughter taking some photos.

 

Visit : www.refordgardens.com/

  

Info 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

 

© Copyright

This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.

 

The Postcard

 

A postally unused postcard bearing no publisher's name. The card was printed in Germany.

 

The card was published prior to the summer of 1918 because it states on the back that a half-penny is required for inland postage. This rate was doubled to one penny on the 3rd. June 1918 in order to help pay for the Great War.

 

Piccadilly Circus

 

Piccadilly Circus is a road junction and public space in London's West End. It was built in order to connect Regent Street with Piccadilly. In this context, a circus, from the Latin word meaning "circle", is a round open space at a street junction.

 

The Circus now connects Piccadilly, Regent Street, Shaftesbury Avenue, the Haymarket, Coventry Street (onwards to Leicester Square) and Glasshouse Street.

 

Piccadilly Circus is close to major shopping and entertainment areas, and its status as a major traffic junction has made the Circus a busy meeting place and a tourist attraction in its own right.

 

Piccadilly Circus is particularly known for its video display and neon signs mounted on the corner building on the northern side, as well as the Shaftesbury Memorial Fountain and statue of Anteros (which is popularly, though mistakenly, believed to represent Eros).

 

Piccadilly Circus is surrounded by several notable buildings, including the London Pavilion and Criterion Theatre. Underneath the plaza is Piccadilly Circus Underground Station, part of the London Underground system.

 

History of Piccadilly Circus

 

Piccadilly Circus connects to Piccadilly, a thoroughfare whose name first appeared in 1626 as Piccadilly Hall, named after a house belonging to one Robert Baker, a tailor famous for selling piccadills, a term used for various kinds of collars.

 

The street was named Portugal Street in 1692 in honour of Catherine of Braganza, the queen consort of King Charles II, but by 1743 it was being referred to as Piccadilly.

 

Piccadilly Circus was created in 1819, at the junction with Regent Street, which was then being built under the planning of John Nash on the site of a house and garden belonging to a Lady Hutton. The intersection was then known as Regent Circus South (just as Oxford Circus was known as Regent Circus North), and it did not begin to be known as Piccadilly Circus until the mid 1880's, with the construction of Shaftesbury Avenue. In the same period, the Circus lost its circular form.

 

The junction has been a very busy traffic interchange since construction, as it lies at the centre of Theatreland, and handles exit traffic from Piccadilly, which Charles Dickens Jr. described as follows in 1879:

 

"Piccadilly, the great thoroughfare leading

from the Haymarket and Regent Street

westward to Hyde Park Corner, is the nearest

approach to the Parisian boulevard of which

London can boast."

 

Piccadilly Circus tube station was opened on the 10th. March 1906, on the Bakerloo line, and on the Piccadilly line in December of that year. In 1928, the station was extensively rebuilt to handle an increase in traffic.

 

Piccadilly Circus's first electric advertisements appeared in 1908, and, from 1923, electric billboards were set up on the façade of the London Pavilion. Electric street lamps, however, did not replace the gas ones until 1932.

 

The circus became a one-way roundabout on the 19th. July 1926, and traffic lights were first installed on the 3rd. August 1926.

 

During World War II many servicemen's clubs in the West End served American soldiers based in Britain. So many prostitutes roamed the area approaching the soldiers that they received the nickname "Piccadilly Commandos", and both Scotland Yard and the Foreign Office discussed possible damage to Anglo-American relations.

 

The Holford Plan for the Circus

 

At the start of the 1960's, it was determined that the Circus needed to be redeveloped to allow for greater traffic flow. In 1962, Lord Holford presented a plan which would have created a "double-decker" Piccadilly Circus; the upper deck would have been an elevated pedestrian concourse linking the buildings around the perimeter of the Circus, with the lower deck being solely for traffic, most of the ground-level pedestrian areas having been removed to allow for greater vehicle flow.

 

This concept was kept alive throughout the rest of the 1960's. A final scheme in 1972 proposed three octagonal towers (the highest 240 feet (73 m) tall) to replace the Trocadero, the Criterion and the "Monico" buildings.

 

Fortunately the plans were permanently rejected by Sir Keith Joseph and Ernest Marples; the key reason given was that Holford's scheme only allowed for a 20% increase in traffic, and the Government required 50%.

 

The Holford plan is referenced in the documentary film "Goodbye, Piccadilly", produced by the Rank Organisation in 1967 as part of their Look at Life series when it was still seriously expected that Holford's recommendations would be acted upon. Piccadilly Circus has since escaped major redevelopment, apart from extensive ground-level pedestrianisation around its south side in the 1980's.

 

Terrorist Bombs

 

Piccadilly Circus has been targeted by Irish republican terrorists multiple times. On the 24th. June 1939 an explosion occurred, although no injuries were caused, and on the 25th. November 1974 a bomb injured 16 people. A 2lb bomb also exploded on the 6th. October 1992, injuring five people.

 

The Shaftesbury Memorial Fountain

 

The Shaftesbury Memorial Fountain in Piccadilly Circus was erected in 1893 to commemorate Anthony Ashley Cooper, 7th. Earl of Shaftesbury. Lord Shaftesbury was a Victorian politician, philanthropist and social reformer.

 

It was removed from the Circus twice and moved from the centre once.

 

The first time was in 1922, so that Charles Holden's new tube station could be built directly below it. The fountain returned in 1931. During the Second World War, the fountain was removed for the second time and replaced by advertising hoardings. It was returned again in 1948.

 

When the Circus underwent reconstruction work in the late 1980's, the entire fountain was moved from the centre of the junction at the beginning of Shaftesbury Avenue to its present position at the southwestern corner.

 

The subject of the Memorial is the Greek god Anteros, and was officially given the name The Angel of Christian Charity, but it is generally mistakenly believed to be his brother Eros.

 

Location and Sights

 

Piccadilly Circus is surrounded by tourist attractions, including the Criterion Theatre, London Pavilion and retail stores. Nightclubs, restaurants and bars are located in the area and neighbouring Soho, including the former Chinawhite Club.

 

Illuminated Signs

 

Piccadilly Circus was surrounded by illuminated advertising hoardings on buildings, starting in 1908 with a Perrier sign, but only one building now carries them, the one in the northwestern corner between Shaftesbury Avenue and Glasshouse Street. The site is unnamed (usually referred to as "Monico" after the Café Monico, which used to be on the site); it has been owned by property investor Land Securities Group since the 1970's.

 

The earliest signs used incandescent light bulbs; these were replaced with neon lights and with moving signs (there was a large Guinness clock at one time). The first Neon sign was for the British meat extract Bovril.

 

From December 1998, digital projectors were used for the Coke sign, the square's first digital billboard, while in the 2000's there was a gradual move to LED displays, which by 2011 had completely replaced neon lamps.

 

The number of signs has reduced over the years as the rental costs have increased, and in January 2017 the six remaining advertising screens were switched off as part of their combination into one large ultra-high definition curved Daktronics display, turning the signs off during renovation for the longest time since the 1940's. On the 26th. October 2017, the new screen was switched on for the first time.

 

Until the 2017 refurbishment, the site had six LED advertising screens above three large retail units facing Piccadilly Circus on the north side, occupied by Boots, Gap and a mix of smaller retail, restaurant and office premises fronting the other streets.

 

A Burger King located under the Samsung advert, which had been a Wimpy Bar until 1989, closed in 2008, and was converted into a Barclays Bank.

 

Coca-Cola has had a sign at Piccadilly Circus since 1954. In September 2003, the previous digital projector board and the site that had been occupied by Nescafé was replaced with a state-of-the-art LED video display that curves round with the building.

 

From 1978 to 1987 the spot had been used by Philips Electronics, and a neon advertisement for Foster's used the location from 1987 until 1999.

 

For several months in 2002, the Nescafé sign was replaced by a sign featuring the quote "Imagine all the people living life in peace" by Beatle John Lennon. This was paid for by his widow Yoko Ono, who spent an estimated £150,000 to display an advert at this location. Coca-Cola, Diet Coke, Coca-Cola Zero, Fanta, Sprite and Vitamin Water have all been advertised in the space.

 

The Hyundai Motors sign launched on the 29th. September 2011. It replaced a sign for Sanyo which had occupied the space since 1988, the last to be run using neon lights rather than Hyundai's computerised LED screen.

 

Earlier Sanyo signs with older logos had occupied the position since 1978, although these were only half the size of the later space.

 

McDonald's added its sign in 1987, replacing one for BASF. The sign was changed from neon to LED in 2001. A bigger, brighter screen was installed by Daktronics in 2008.

 

Samsung added its sign in November 1994, the space having been previously occupied by Canon Inc. (1978–84) and Panasonic (1984–94). The sign was changed from neon to LED in summer 2005, and the screen was upgraded and improved in autumn 2011.

 

L'Oreal, Hunter Original and eBay had signs in the Piccadilly Circus billboards since October 2017. One Piccadilly, the highest resolution of all the LED displays was installed by Daktronics in late 2013, underneath the Samsung and McDonald's signs. It allowed other companies to advertise for both short- and long-term leases, increasing the amount of advertising space but using the same screen for multiple brands.

 

The Curve, a similar space to One Piccadilly, was added in 2015, replacing a space previously occupied by Schweppes (1920–61), BP (1961–67), Cinzano (1967–78), Fujifilm (1978–86), Kodak (1986–90) and TDK (1990–2015).

 

On special occasions the lights are switched off, such as the deaths of Winston Churchill in 1965 and Diana, Princess of Wales in 1997. On the 21st. June 2007, they were switched off for one hour as part of the Lights Out London campaign.

 

Other companies and brands that have had signs on the site include Bovril, Volkswagen, Max Factor, Wrigley's Spearmint, Skol, Air India and Will's Gold Flake Cigarettes.

 

By way of a summary, and to aid the dating of other photographs of Piccadilly Circus, major brands and dates are as follows:

 

-- BASF up to 1987

-- Bovril from 1923

-- BP 1961 to 1967

-- Canon 1978 to 1984

-- Cinzano 1967 to 1978

-- Coca Cola from 1954

-- eBay from 2017

-- Fosters 1987 to 1999

-- Guinness from 1930 - see below

-- Fujifilm 1978 to 1986

-- Hyundai from 2011

-- Kodak 1986 to 1990

-- l'Oréal from 2017

-- McDonald's from 1987

-- Nescafé from 1999

-- Panasonic 1984 to 1994

-- Perrier from 1908

-- Philips 1978 to 1987

-- Samsung from 1994

-- Sanyo 1978 to 2011

-- Schweppes 1920 to 1961

-- TDK 1990 to 2015

 

Guinness

 

-- From 1930 to 1932, a Guinness ad showed a pint of Guinness and stated that 'Guinness is Good For You.'

-- From 1932 to 1953 the Guinness ad featured a clock and stated 'Guinness Time' as well as 'Guinness is Good For You.'

-- From 1954 to 1959 the Guinness clock had two sealions under it.

-- From 1959 to 1972 the Guinness ad featured a cuckoo clock with a swinging pendulum featuring two back-to-back toucans.

 

The Criterion Theatre

 

The Criterion Theatre, which is a Grade II* listed building, stands on the south side of Piccadilly Circus. Apart from the box office area, the entire theatre, with nearly 600 seats, is underground, and is reached by descending a tiled stairway. Columns are used to support both the dress circle and the upper circle, restricting the views of many of the seats inside.

 

The theatre was designed by Thomas Verity, and opened as a theatre on the 21st. March 1874, although original plans were for it to become a concert hall.

 

In 1883, the Criterion was forced to close in order to improve ventilation and to replace gaslights with electric lights, and was re-opened the following year. The theatre closed in 1989 and was extensively renovated, re-opening in October 1992.

 

The London Pavilion

 

On the northeastern side of Piccadilly Circus is the London Pavilion. The first building bearing the name was built in 1859, and was a music hall. In 1885, Shaftesbury Avenue was built through the former site of the Pavilion, and a new London Pavilion was constructed, which also served as a music hall. In 1924 electric billboards were erected on the side of the building.

 

In 1934, the building underwent significant structural alteration and was converted into a cinema. In 1986, the building was rebuilt, preserving the 1885 façade, and converted into a shopping arcade.

 

In 2000, the building was connected to the neighbouring Trocadero Centre, and signage on the building was altered in 2003 to read "London Trocadero". The basement of the building connects with the Underground station.

 

Major Shops

 

The former Swan & Edgar department store on the west side of the Circus was built in 1928–29 to a design by Reginald Blomfield. Since the closure of the department store in the early 1980's, the building has been successively the flagship London store of music chains Tower Records, Virgin Megastore and Zavvi. The current occupier is clothing brand The Sting.

 

Lillywhites is a major retailer of sporting goods located on the corner of the circus and Lower Regent Street, next to the Shaftesbury fountain. It moved to its present site in 1925. Lillywhites is popular with tourists, and they regularly offer sale items, including international football jerseys at up to 90% off.

 

Nearby Fortnum & Mason is often considered to be part of the Piccadilly Circus shopping area, and is known for its expansive food hall.

 

The County Fire Office

 

Dominating the north side of the Circus, on the corner of Glasshouse Street, is the County Fire Office building, with a statue of Britannia on the roof. The original building was designed by John Nash as the extreme southern end of his Regent Street Quadrant.

 

Its dramatic façade was clearly influenced by Inigo Jones's old Somerset House. Although Robert Abraham was the County Fire Insurance Company's architect, it was probably Nash who was instrumental in choosing the design.

 

In 1924 the old County Fire Office was demolished and replaced with a similar but much coarser building designed by Reginald Blomfield, but retaining the statue of Britannia. During the London Blitz it was the only building in the Circus to be damaged, although only a few window panes were blown out. The building is Grade II listed.

 

Piccadilly Circus Underground Station

 

Piccadilly Circus station on the London Underground is located directly beneath Piccadilly Circus itself, with entrances at every corner. It is one of the few stations to have no associated buildings above ground, and is fully underground. The below-ground concourse and subway entrances are Grade II listed.

 

The station is on the Piccadilly line between Green Park and Leicester Square, and the Bakerloo line between Charing Cross and Oxford Circus.

 

Demonstrations at Piccadilly Circus

 

The Circus' status as a high-profile public space has made it the location for numerous political demonstrations, including the 15th. February 2003 anti-war protest and the "Carnival Against Capitalism" protest against the 39th. G8 summit in 2013.

 

Piccadilly Circus in Popular Culture

 

The phrase 'It's like Piccadilly Circus' is commonly used in the UK to refer to a place or situation which is extremely busy with people. It has been said that a person who stays long enough at Piccadilly Circus will eventually bump into everyone they know.

 

Probably because of this connection, during World War II, "Piccadilly Circus" was the code name given to the Allies' D-Day invasion fleet's assembly location in the English Channel.

 

Piccadilly Circus has inspired both artists and musicians. Piccadilly Circus (1912) is the name and subject of a painting by British artist Charles Ginner, part of the Tate Britain collection.

 

Sculptor Paul McCarthy produced a 320-page two-volume edition of video stills by the name of Piccadilly Circus.

 

In the lyrics of their song "Mother Goose", on the Aqualung album from 1971, the band Jethro Tull tells:

 

"And a foreign student said to me:

'Was it really true there were

elephants, lions too, in Piccadilly

Circus?'".

 

Bob Marley mentioned Piccadilly Circus in his song "Kinky Reggae", on the Catch a Fire album in 1973.

 

L. S. Lowry's painting Piccadilly Circus, London (1960), part of Lord Charles Forte's collection for almost three decades, sold for £5,641,250 when auctioned for the first time at Christie's on the 16th. November 2011.

 

Contemporary British painter Carl Randall's painting 'Piccadilly Circus' (2017) is a large monochrome canvas depicting the area at night with crowds, the making of which involved painting over 70 portraits from life.

 

In Call of Duty: Modern Warfare (2019), the second campaign mission takes place at Piccadilly Circus, where the game has the player intervene during a terrorist attack by the fictional terrorist group Al-Qatala. There is also a multi-player map called Piccadilly, which appears to take place in the aftermath of the terrorist attack.

 

Circa

 

Circa is an art platform based at London's Piccadilly Circus. They commission and stream a monthly programme of art and culture, every evening at 20:21, across a global network of billboards in London, Tokyo and Seoul.

 

Established in October 2020 by British-Irish artist Josef O'Connor, the daily and free public art programme pauses the world famous advertisements in Piccadilly Circus and across a global network of screens for three minutes every evening.

 

They commission new work to fill the space that considers the world in response to the present year. It is the largest digital art exhibition in Europe. O'Connor recalls:

 

‘I first had the idea when I was 19, but it was only

about three years ago that I acted on it and reached

out to the screen owner, Landsec, via Twitter.

I was inspired by Piccadilly’s kinetic architecture -

how it morphed and changed with time to reflect

the world - from neon lights in 1908 to the iconic

red and white Sanyo sign in the 1990's, etc.

You could accurately guess the decade by just

looking at a photo or postcard of the landmark.

This inspired the concept for Circa, to pause time

and commission artists to create new work that

considers the world around them, circa 2020/21, etc.’

 

The first artist to fill the three-minute daily slot was Ai Weiwei, who is quoted as saying in an interview with The Art Newspaper that:

 

"Circa 2020 offers a very important platform

for artists to exercise their practice and to

reach out to a greater public”.

 

Other notable artists and curators whose works have been exhibited as part of the Circa programme include Cauleen Smith, Eddie Peake, Patti Smith, James Barnor curated by Hans Ulrich Obrist, Vivienne Westwood, David Hockney, Alvaro Barrington and Anne Imhof.

 

Each commission for the project is approved by an independent council chaired by the British independent curator and ex-director of The Royal Academy, Norman Rosenthal.

 

On the 1st. January 2021, Circa commissioned two live performances from Patti Smith to help put an end to 2020 and beckon in the New Year. The New Year's Eve screening in Piccadilly Circus was eventually cancelled due to Covid restrictions, but the performance was still broadcast for free via the Circa YouTube Channel on the 31st. December to an audience of over 1.5million people around the world.

 

Circa and Serpentine Galleries' collaborative presentation of James Barnor’s work in April 2021 completed a journey that began more than half a century ago, when Barnor photographed BBC Africa Service presenter Mike Eghan against the backdrop of Piccadilly Circus’s neon signs in 1967.

 

The iconic image is held within the Tate collection, and was the inspiration behind Ferdinando Verderi’s Italian Vogue cover, with Barnor remote-shooting model Adwoa Aboah standing in the exact same location to create a present reflection on the past.

 

To celebrate her 80th. Birthday, British fashion designer Vivienne Westwood was commissioned by Circa to present a new video work in Piccadilly Circus created with her brother entitled 'Don't Buy a Bomb,' an anti-war message presented for ten minutes on the Piccadilly Lights screen.

 

In the ten-minute film, the punk icon performed a re-written rendition of ‘Without You’ from My Fair Lady to offer a stark warning of societal indifference to looming environmental catastrophes, a cry against the arms trade, and its link to climate change.

 

In May 2021, British artist David Hockney's 2.5 minute iPad drawing of a sunrise entitled “Remember you cannot look at the sun or death for very long,” was broadcast by Circa across digital billboard screens in London's Piccadilly Circus, New York's Times Square and prominent locations in Los Angeles, Tokyo and the largest outdoor screen in Seoul.

REFORD GARDENS | LES JARDINS DE METIS

 

COUCHER DE SOLEIL - Sainte-Flavie

 

Visit : www.refordgardens.com/

 

Photo taken close to REFORD GARDENS. (Sainte-Flavie)

 

Mrs Elsie Reford loved those beautiful sunsets.

 

Reference: Elsie's Paradise, The Reford Gardens, Alexander Reford, 2004, ISBN 2-7619-1921-1, That book is a must for Reford Gardens lovers!

 

''I shall always, all my life, want to come back to those sunsets.'' Elsie Reford, July 20, 1913. (page 25)

 

" It is just after 8 o'clock and I am sitting in front of my big window with the gorgeous panorama of a glorious afterglow from a perfect sunset. There is every hue of blue on the water of 'the Blue Lagoon' while Pointe-aux-Cenelles is bathed in pink and crimson and the dark hills of the north shore seem no further than two or three miles distant. I don't think in the whole world at this moment there could be anything more beautiful." Elsie Reford, June 2, 1931. (page 81)

 

Beautiful flowers at Reford 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

 

© Copyright

This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.

View from Gantry Plaza State Park

 

East 42nd Street, Midtown Manhattan

 

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 (1875-1940), 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 (which had absorbed Buick) 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 (1882-1954) 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

On the narrow streets of East Rampura, Dhaka, there are numerous street shops like this one.

 

People coming back from office works often need to buy vegetables, flours, fish, meat for home.

 

This is one of the vegetable shops from there. The main reason I shot this is,I have an extreme fascination towards this specific light called KUPI (কুপি) because of its dramatic of rendering the ambience ...

REFORD GARDENS | LES JARDINS DE METIS

 

LEVER DE SOLEIL

 

Visit : www.refordgardens.com/

 

Photo taken close to REFORD GARDENS. (Sainte-Flavie)

 

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

 

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

 

© Copyright

This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.

 

Arnarstapi or Stapi is a small fishing village at the foot of Mt. Stapafell between Hellnar village and Breiðavík farms on the southern side of Snæfellsnes, Iceland

 

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 Djúpalónssandur Beach. In Stykkishólmur fishing village, the 19th-century wood-frame Norwegian House is a regional museum with a craft shop.

 

EOS R - Canon RF 16mm f/2.8 STM

This stunning Delahaye was one of French coachbuilders Joseph Figoni and Ovidio Falaschi’s first aerodynamic coupe designs. With its dramatic enclosed fenders and hand-crafted aluminum body, it was built on one of the fifty short chassis designed by the Delahaye Company for sporty two-seater models. It was equipped with a four-speed competition-style manual transmission, appropriate to a sporty coupe intended for rally competition. The dashboard included a Jaeger rally clock, and the trunk had only enough room to carry a spare tire. The engine was a highly reliable 4-liter Delahaye six with three downdraft Solex carburetors.

 

The coupe’s striking design emphasized flowing lines with teardrop-shaped chrome accents on the hood and the front and rear fenders. The door handles and headlights were flush with the body. The dashboard was made of rich, golden wood, a Figoni &Falaschi signature. A sliding metal sunroof and a windshield that opened outward at the bottom afforded ventilation.

 

A French racing driver named Albert Perrot commissioned this coupe. The Comtesse de la Saint Amour de Chanaz displayed it at a concours d’elegance in Cannes. It was successfully hidden from the Germans during World War II. After the war, it reportedly belonged to actress Dolores del Rio, a well-known owner of exotic cars who lived in Mexico City and Los Angeles.

 

After several more owners, Don Williams, of the Blackhawk Collection, purchased the coupe in the late 1990s. Some time earlier, the Delahaye’s original engine had broken down; it was replaced with a postwar model, and the old engine was retained. In 2004, the Delahaye became the property of Mr. James Patterson, who re-installed the original engine and had the car beautifully restored.

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.

Pedestrian bridge is part of the Calvin S. Hamilton Pedway:

 

"The Calvin S. Hamilton Pedway, as the system is formally known, is a network of elevated walkways that was first presented in the 1970 Concept Los Angeles: The Concept for the Los Angeles General Plan. Hamilton was the city planning director at the time, having taken the position in 1964. The plan, adopted by the city in 1974, promoted dense commercial developments connected to one another by a rapid transit system. The plan was abandoned in 1981 when federal funding for the project was eliminated. Hamilton stepped down from his position in 1985 after a criminal investigation."

www.kcet.org/socal/departures/landofsunshine/block-by-blo...

 

"The pedways fall within the Downtown Center Business Improvement District, but the organization's CEO says its strained resources can only cover maintenance crews on the pedways about once a week."

articles.latimes.com/2013/may/23/opinion/la-ed-pedways-20...

 

----

 

Westin Bonaventure:

404 South Figueroa Street

Built: 1974–76.

Architect: John Portman

 

ZIMAS data:

Central City Community Plan Area, Los Angeles State Enterprise Zone, Freeway Adjacent Advisory Notice for Sensitive Uses, Greater Downtown Housing Incentive Area, General Plan Land Use ="Regional Center Commercial", Downtown Adaptive Reuse Incentive Area, Bunker Hill Redevelopment Project, w/in 500 feet of USC Hybrid High, Downtown Center Business Improvement District, Central City Revitalization Zone

 

Assessment:

Assessed Land Val.: $31,878,705

Assessed Improvement Val.: $20,033,803

Last Owner Change: 12/18/95

Last Sale Amount: $260,002

...

Year Built: 1976

 

Famous for the elevators, the revolving cocktail lounge, the mirror glass exterior, et cetera et cetera, and for being the star of a famous essay by Fredric Jameson on postmodernism.

 

Before I get into that, let me just say that what I currently find interesting about the Westin Bonaventure and the urbanism of this section of Figueroa and Bunker Hill in general are the really complex histories about what was happening with and against modernism from the 1950s through the 1980s, especially in Los Angeles, especially with regards to Bunker Hill, housing, car culture, et cetera.

 

But with the Westin Bonaventure in particular, I'm also interested in visual/formal comparisons with both Prentice Women's Hospital in Chicago (1975), the BMW headquarters in Munich (1968–73), and LaForet Harajuku (1975–80).

www.nytimes.com/2012/10/18/arts/design/adapting-prentice-...

en.wikipedia.org/wiki/BMW_Headquarters

www.mori.co.jp/en/img/article/en081121.pdf

 

Or in terms of textures and materials, there's the more local Samuel Goldwyn Theater:

www.flickr.com/photos/jannon/4653822940/

(There used to be a lot more examples in Los Angeles of mirror glass facades combined with concrete, but I feel like a lot have been torn down.)

 

Because of its dramatic qualities and because of how Jameson explicated them, people don't really talk about this building in the context of Brutalism, even though that style arguably was just as interested in dramatic effects and complexity. (There's also the totally different social uses of the "main" buildings of each style as well, of course.)

 

Of course, I'm probably just massively ignorant and there are a ton of good books already out there that are full of chapters that explicitly talk about connections between architecture and urban planning in Los Angeles and the UK, with lovely details about Victor Gruen Associates and Milton Keynes and the Barbican and the Glendale Galleria. Even better if they also bring in Metabolism and connections with what was going on in Japan. Particularly since Mori Yoshiko seems a lot more important and successful at building the massive city-in-a-city projects than John Portman, on the whole. Anyway, if so, let me know what they are?

 

Jameson's essay (or at least the beginning of it):

newleftreview.org/I/146/fredric-jameson-postmodernism-or-... (original version, 1984, sub required)

books.google.com/books?id=oRJ9fh9BK8wC&lpg=PA39&v... (book version, first few pages of the part on the Westin Bonaventure)

books.google.com/books?id=wfd-c0blcb0C&lpg=PA103&... (another book version, w/ an intro by Asa Berger, again the first few pages about the Westin Bonaventure)

 

More of other people quoting Jameson:

" In Frederick Jameson’s essay on the utterly bizarre Westin Bonaventure in Los Angeles, he describes a 'postmodern hyperspace,' an emblem of the 80s trend in which building design hoped to create hermetically sealed miniature cities. At the Bonaventure, human activity is directed in a space threaded with fitness centers, plants that thrive without any natural light and functionless open spaces offering the blank hyperreality of grandeur and respite contained in concrete."

www.newmediacaucus.org/wp/a-room-to-view/

 

"Citing the example of the Westin Bonaventure hotel in Los Angeles, Jameson argues that 'this latest mutation in space -- postmodern hyperspace -- has finally succeeded in transcending the capacities of the individual human body to locate itself, to organize its immediate surroundings perceptually, and cognitively to map its position in a mappable external world'. The effect on cultural politics, according to Jameson, is that the subject 'submerged' by this postmodern hyperspace is deprived of the 'critical distance' that makes possible the 'positioning of the cultural act outside of the massive Being of capital.'"

muse.jhu.edu/journals/dia/summary/v029/29.3reynolds.html

 

"Its reflective glass façades seemed to disappear into their surroundings. Behind them (for those who could afford it) there opened up a city within a city. Portman’s Hotels—where client, financier, and architect were all one and the same—are for Jameson the epitome of late-capitalist space. He writes of the lobby: 'I am tempted to say that such space makes it impossible for us to use the language of volume or volumes any longer, since these are impossible to seize. ... A constant busyness gives the feeling that emptiness is here absolutely packed, that it is an element within which you yourself are immersed, without any of that distance that formerly enabled the perception of perspective or volume. You are in this hyperspace up to your eyes and your body.'"

www.olafureliasson.net/studio/pdf/Ursprung_Taschen_S.pdf

 

Or drawing on Jameson:

"In his book Postmodern Geographies: the reassertion of space in critical social theory (1989), Edward W. Soja describes the hotel as 'a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles' (p. 243-44)."

en.wikipedia.org/wiki/Westin_Bonaventure_Hotel

See also Soja on Jameson on the Westin Bonaventure for the BBC: www.youtube.com/watch?v=oWlu3OlvL58

 

"Writing from California, Jameson imagined the whole new era was summed up in the alienating 'disorientation' one felt in hotels like John Portman's Westin Bonaventure in Los Angeles. Lost in its lobby, without any 'cognitive map,' Jameson found an allegory of a supposedly late phase in capitalism (coming before what?), which explained the kind of space to which French theory had unwittingly been leading us. For architecture, the art closest to capitalism, was the one best able to point out late capitalism's 'totality.' Frank Gehry, for one, was not pleased; more generally, at the very moment Jameson was confidently offering his allegory, architects like Gehry were departing from so-called po-mo (quotationalist, historicist) architecture, often to rediscover modernist strategies. Indeed, the architects that the Museum of Modern Art would group together in a 1988 exhibition as 'deconstructivists' (e.g., Gehry, Rem Koolhaas, and Peter Eisenman) were linked less by any sustained interest in Derrida than by their contempt for postmodernism. Jameson, though, was unable or unwilling to give up the 'totality-allegory' view of works, and in the face of this and other difficulties, he was gradually forced to admit that he no longer knew what to do with the categories modernity and postmodernity. In the absence of new works or ideas to 'totalize,' he tried to look back and reassert the Marxist sources of critical theory, now itself in a late or disappointed state."

—John Rajchman, "Unhappy Returns: John Rajchman on the Po-Mo Decade. (Writing the '80s)," Artforum International, Vol. 41 (2003), No. 8

www.questia.com/library/1G1-101938549/unhappy-returns-joh...

 

"The programmed music of the Westin Bonaventure Hotel in Los Angeles follows patterns of use typical to that of most programmed music. In the large open expanse of the lobby/atrium, music is always playing in the background. During the mornings and early afternoon typical small jazz group arrangements are played, never with vocals, and as the day progresses and the bar opens for the evening the music slowly shifts towards a more upbeat genre, signaling to the guests that the objectified content of the contemporary nightlife experience is beginning. Speaking to the maître d’ at the reception desk, however, he informed me that the neither the amplitude of the music nor its aesthetic intensity ever crosses above a consciousness level threshold where any guest would be forced to acknowledge its presence."

music.columbia.edu/~alec/page2/assets/Muzak%20as%20the%20...

 

"Downtown Los Angeles is notoriously quiet in the evening; the streets develop an abandoned, out-of-season feel, and the BonaVista Lounge shared some of this atmosphere. At first we were the only customers. Two people drinking alone in a revolving restaurant -- now there's an existential image for you. . . . It had been a clear, sunny day and now the sky was coalescing into a spectacular sunset. Because we were downtown we had a close-up view of some very untypical Los Angeles features: the few skyscrapers in this essentially low-rise city, shiny corporate blocks; then beyond them were the more familiar Los Angeles sights -- mountains, interweaving freeways, the vast ground-hugging grids of street lights, all bathed in a deep orange light. I wasn't so naïve, or so easily satisfied, as to think that I'd really found the perfect revolving restaurant; but for an hour or so, with the city far below, with a Cloud Buster in my hand, I found it hard to imagine anything better."

www.nytimes.com/2003/07/13/travel/done-to-a-turn-at-360-d...

 

"The Westin Bonaventure Hotel looks like something out of Robocop. Typical of architect John C. Portman Junior's style, at its heart is a large atrium and multi-story labyrinth of walkways, shops, and mostly empty seating pods. The building's inward orientation and imposing exterior make it feel, if not as impregnable as a fortress ideally is, something like an arcology, biosphere or space station. It's designed to provide everything one would need for tourists and business travelers within its walls, although most of it shuts down after lunch. I just managed to grab a bánh mì from Mr. Baguette before its closing time of 3:00 pm. Forced to order my food to-go, after wandering around the building I ventured back out into the lawless outlands."

www.kcet.org/socal/departures/landofsunshine/block-by-blo...

 

www.thebonaventure.com

www.thebonaventure.com/history/

www.starwoodhotels.com/westin/property/overview/index.htm...

www.bartlett.ucl.ac.uk/architecture/events/kreider-oleary...

www.nytimes.com/2006/06/22/travel/22iht-hotdesign.html?pa...

www.artslant.com/ny/articles/show/11785

memory.loc.gov/phpdata/pageturner.php?type=contactminor&a...

 

John Portman:

en.wikipedia.org/wiki/John_C._Portman,_Jr.

www.nytimes.com/2011/10/20/garden/john-portman-symphonic-...

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

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

Chīori: Talk by Alex Kerr

 

www.japanhouselondon.uk/whats-on/2020/chiori-talk-by-alex...

 

Iya Valley, a secluded mountainous region in Tokushima Prefecture is often referred to as Togenkyō (lit. utopia) thanks to its dramatic landscapes and lush nature, which boasts precipitous gorges and hundreds of old thatched houses perched on its hillsides.

 

In this event, Japan House London dedicates an evening to explore regional revitalization and preservation of cultural traditions which have been carried over throughout centuries to the present day.

 

With contributions from members of Tokushima Prefecture and author Alex Kerr, this panel discussion chaired by Japan House London Programming Director Simon Wright discusses various aspects of culture in Tokushima, such as the awa-odori dance, and investigates Alex Kerr’s approach towards the renovation of Chīori (‘House of the Flute’), a wooden house with thatched roof, to help preserve the local lifestyle and the hundreds of kominka (lit. ‘old house’) in the area.

 

The book ‘Lost Japan’ by Alex Kerr will be available to purchase in The Shop at the Ground Floor on the day. Guests who purchase the book in The Shop have the opportunity to have their copy signed by the author during the drinks reception following this event, which features a selection of sake from Tokushima Prefecture.

 

About the Speaker

 

Alex Kerr came to Yokohama with his family as a child in 1964 and has lived in Kameoka (near Kyoto) since 1977. Alex writes in both English and Japanese, and is author of numerous books on Japan, including Lost Japan (1993), Dogs and Demons (2001), Nippon Keikanron ‘Theory of Japanese Landscape’ (2014), Another Kyoto (2016) and Kanko Bokokuron (2019).

 

In addition to his involvement in Japanese arts in Kyoto, Alex worked as Japan representative of American real estate developer Trammell Crow in the 1980s. He is known for his work on restoration of old houses, having restored over forty houses in towns around Japan. Alex speaks to groups across Japan about ways to revive their local economies by preserving cultural heritage and developing sustainable tourism.

"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. Trails through the dunes include the raised Interdune Boardwalk and the Dune Life Nature Trail, dotted with interpretive exhibits on wildlife and other features. " A popular activity here is sledding on the dunes using plastic discs or elongated sleds.

 

[There are 11 images in this set] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.

 

The Capehart Crocker House (apparently most commonly called Capehart House) is a fine example of Queen Anne-style architecture, constructed in 1898 for Lucy Catherine Capehart and her second husband, B. A. Capehart, who died in 1899 shortly after moving in. Mrs. Capehart died in 1908. The house eventually was the home of sheriff H. G. Crocker. In 1947 it was turned into apartments and then used as offices for state government in 1971. In 1979 when much of the neighborhood was being torn down, the house was moved from Wilmington Street to Blount Street, an area associated with the well-to-do. A sign in front indicates it’s now the offices of the North Carolina State Ethics Commission.

 

From virtually any angle, the roofline is a wonderland of shapes and lines. The National Register website states “Its dramatic massing of towers, turrets, dormers and pediments is complemented by a rich combination of colors and textures, including pressed tan brick, rough stone, patterned slate shingles, stained glass and elaborate wood ornamentation.”

 

The architect is Adolphus G. Bauer (1858-1898), a local architect, whose life could form the basis of a fascinating book (fiction or non-fiction); it even has enough dramatic possibilities for a movie. He committed suicide before the home was completed. Mostly demolished, his structures showed a flair for the elaborate asymmetrical design of that period. Perhaps his most notable achievement was the Baptist Female Seminary of Raleigh, which later evolved into Meredith College. Another standing example is the North Carolina School for the Deaf at Morganton.

 

It was added to the National Register of Historic Places 17 January 1975, NRHP Reference #75001293

 

Major sources of information:

www.nps.gov/nr/travel/raleigh/cpe.htm

ncarchitects.lib.ncsu.edu/people/P000040

 

A beautiful sunny day image of the home donated to public domain is at

en.wikipedia.org/wiki/File:Capehart-House-20080321.jpeg

 

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

  

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

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

Architect: Klas Anshelm

Built in: 1957

Client: The City of Lund

 

Prehistory

Lund Konsthall is the result of a donation from the Old Savings’ Bank (today’s Finn Savings’ Bank) to the City of Lund. In 1953 the City Council decided to accept the gift and invited six architects for a competition to design the new art gallery. In 1954 the jury unanimously decided that Klas Anshelm’s proposal should be realized.

 

Architecture

Klas Anshelm (1914–1980) was a well-known and busy architect in Lund. With its monolithic brick façade Lunds Konsthall became one of Sweden’s finest exhibition venues. Its dramatic and yet restrained form is well adapted to contemporary art, and also blends in with the medieval architecture of Lund.

 

Renovations

Lunds Konsthall has not fully retained its original architectural expression, but it has escaped thorough reconstruction. In 1997 the building was renovated with support from the Finn Savings’ Bank and in 2004 it underwent a lighter renovation, aiming at restoring as much as possible of the original architecture.

 

History

‘I have tried to achieve an environment, tried to achieve a spatial frame for objects, and also to facilitate the changing of light bulbs.’

Klas Anshelm, Architect

 

Source: Lunds Konsthall - History.

 

The images from Lunds Konsthall was taken during the exhibition - The Opposite of Me Is I by the artist Miriam Bäckström.

 

More pictures from Lunds Konsthall here.

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

Slowenien - Strunjan Roje

 

Strunjan Nature Park is a protected gem of Slovenia's coastline, celebrated for its dramatic flysch cliffs, traditional salt pans, diverse wildlife, and lush landscapes shaped by both nature and human hands over centuries. It is a haven for nature enthusiasts and those seeking to explore the harmony between cultural heritage and natural beauty.

 

What makes Strunjan Nature Park special

 

Spectacular cliffs and coastal views: The park’s northern boundary features an 80-meter-high flysch cliff, offering breathtaking views over the Gulf of Trieste and the shimmering Adriatic Sea.

 

Traditional salt pans and lagoon: Strunjan’s still-operating salt pans and coastal lagoon are a living testament to traditional salt-making practices and provide habitats for many bird species.

 

Rich biodiversity: The park is home to a wide variety of plants and animals, making it an excellent spot for bird-watching and nature exploration.

 

(portoroz.si)

 

Der Landschaftspark Strunjan ist ein geschütztes Juwel der slowenischen Küste, bekannt für seine beeindruckenden Flyschklippen, traditionellen Salinen, vielfältige Tierwelt und üppige Landschaften, die im Laufe der Jahrhunderte von der Natur und vom Menschen geprägt wurden. Er ist ein Paradies für Naturliebhaber und all jene, die die Harmonie zwischen kulturellem Erbe und natürlicher Schönheit entdecken möchten.

 

Was macht den Landschaftspark Strunjan besonders?

 

Spektakuläre Klippen und Küstenausblicke: Die nördliche Grenze des Parks wird von einer 80 Meter hohen Flyschklippe geprägt, die atemberaubende Ausblicke auf den Golf von Triest und das schimmernde Adriatische Meer bietet.

 

Traditionelle Salinen und Lagune: Die noch immer aktiven Salinen und die Küstenlagune von Strunjan sind ein lebendiges Zeugnis traditioneller Salzgewinnungsmethoden und bieten Lebensräume für zahlreiche Vogelarten.

 

Reiche Biodiversität: Der Park beherbergt eine große Vielfalt an Pflanzen und Tieren, was ihn zu einem ausgezeichneten Ort für Vogelbeobachtungen und die Erkundung der Natur macht.

 

(portoroz.si)

Details best viewed in Original Size.

 

Giovanni Pisano worked between 1302 and 1310 at the new pulpit for the Cathedral of Pisa and it shows his distinct preference for animation in his characters and moved even further away his father's style. This pulpit with its dramatic scenes has become his masterwork. It shows nine scenes from the New Testament, carved in white marble with a light and dark effect. It contains even a bold, naturalistic depiction of a naked Hercules. After the fire of 1595 the pulpit was packed away during the redecoration and was not rediscovered and re-erected until 1926.

The Cathedral of Pisa or Cattedrale Metropolitana Primaziale di Santa Maria Assunta or Duomo di Pisa is a medieval Roman Catholic cathedral dedicated to the Assumption of the Virgin Mary, in the Piazza dei Miracoli in Pisa, Italy. It is a notable example of Romanesque architecture, in particular the style known as Pisan Romanesque. It is the seat of the Archbishop of Pisa. Construction on the cathedral began in 1063 by the architect Buscheto, and expenses were paid using the spoils received fighting against the Muslims in Sicily in 1063. It includes various stylistic elements: classical, Lombard-Emilian, Byzantine, and Islamic, drawing upon the international presence of Pisan merchants at that time. In the same year, St. Mark's Basilica began its reconstruction in Venice, evidence of a strong rivalry between the two maritime republics to see which could create the most beautiful and luxurious place of worship. The chosen site had already been used in the Lombard era as a necropolis and at the beginning of the 11th century a church had been erected here, but never finished, that was to be named Santa Maria. Buscheto's grand new church was initially called Santa Maria Maggiore until it was officially named Santa Maria Assunta. In 1092 the cathedral was declared a primatial church, archbishop Dagobert having been given the title of Primate by Pope Urban II. The cathedral was consecrated in 1118 by Pope Gelasius II, who belonged to the Caetani family which was powerful both in Pisa and in Rome. In the early 12th century, the cathedral was enlarged under the direction of architect Rainaldo, who increased the length of the nave by adding three bays consistent with the original style of Buscheto, enlarged the transept, and planned a new façade which was completed by workers under the direction of the sculptors Guglielmo and Biduino. The exact date of the work is unclear: according to some, the work was done right after the death of Buscheto about the year 1100, though others say it was done closer to 1140. In any case, work was finished in 1180, as documented by the date written on the bronze knockers made by Bonanno Pisano found on the main door. The structure's present appearance is the result of numerous restoration campaigns that were carried out in different eras. The first radical interventions occurred after the fire of 1595, following which the roof was replaced and sculptors from the workshop of Giambologna, among whom were Gasparo Mola and Pietro Tacca, created the three bronze doors of the façade. In the early 18th century began the redecoration of the inside walls of the cathedral with large paintings, the "quadroni", depicting stories of the blesseds and saints of Pisa. These works were made by the principal artists of the era, and a group of citizens arranged for the special financing of the project. Successive interventions occurred in the 19th century and included both internal and external modifications; among the latter was the removal of the original façade statues (presently in the cathedral museum) and their replacement with copies. Other notable interventions include: the dismantling of Giovanni Pisano's pulpit between 1599 and 1601 that only in 1926 was reassembled and returned to the cathedral (with some original pieces missing, including the staircase.

Additional information may be obtained at Wikipedia.

I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.

 

Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.

 

The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.

 

The castle was restored in the 20th century and is now open to the public.

 

The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.

 

The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.

 

History

Early Middle Ages

A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.

 

The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.

 

The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.

 

Later Middle Ages

During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.

 

In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.

 

In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.

 

Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.

 

In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.

 

William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.

 

16th century rebuilding

Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".

 

Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.

 

James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.

 

During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.

 

In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.

 

A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.

 

An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.

 

Civil wars

Further information: Scotland in the Wars of the Three Kingdoms

In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.

 

Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.

 

Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.

 

The Honours of Scotland

Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.

 

They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.

 

In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.

 

Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.

 

Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.

 

Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.

 

At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.

  

Whigs and Jacobites

Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.

 

The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.

 

The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.

 

The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".

 

Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.

 

Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.

 

In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.

 

Later history

The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.

 

In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.

 

Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.

 

It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.

 

Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.

 

Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.

 

Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.

 

The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.

 

Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.

  

Description

Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.

 

The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).

 

The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".

 

Defences

The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.

 

The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.

 

Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.

 

Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.

 

The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.

 

A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.

 

Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.

 

Tower house and surrounding buildings

The tower house of Dunnottar, viewed from the west

The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.

 

Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.

 

Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.

 

This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.

 

The palace

The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.

 

It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.

 

Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.

 

At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.

 

The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.

 

The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.

 

Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.

 

At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.

🇬🇧 English

 

Lao Shan (Laoshan) is a sacred mountain on China’s eastern coast, near Qingdao, famous for its dramatic granite peaks, clear springs, and strong Taoist heritage.

It is considered one of the birthplaces of Taoism, with temples dating back over 2,000 years. Laoshan is renowned for its pure mountain water, believed to have exceptional quality, and for its rare combination of mountain landscapes and direct sea views, which is unusual in China.

The mountain has long inspired poets, philosophers, and martial artists, symbolizing harmony between nature, spirit, and the Dao.

 

🇨🇳 中文(简体)

 

崂山(Lao Shan) 位于中国山东省青岛市东部,是中国著名的道教名山之一。

崂山以奇峰怪石、清泉瀑布和临海山景而闻名,是中国少有的“海上第一名山”。这里被认为是道教的重要发源地之一,至今仍保留着大量古老的道观。

崂山的山泉水极为著名,被认为清澈甘甜,富含灵气,长期被用于茶叶和传统养生文化中。

 

🇭🇷 Hrvatski

 

Lao Shan (Laoshan) je sveta planina na istočnoj obali Kine, u blizini Qingdaoa, poznata po strmim granitnim vrhovima, čistim izvorima i snažnoj daoističkoj tradiciji.

Smatra se jednim od najvažnijih povijesnih središta taoizma, s hramovima starima više od dvije tisuće godina. Posebnost Lao Shana je rijetka kombinacija planine i mora, gdje se s vrhova pruža pogled izravno na Žuto more.

Planina simbolizira sklad prirode, duhovnosti i dugovječnosti te ima važno mjesto u kineskoj filozofiji i kulturi.

Rembrandt Harmensz. van Rijn, Leiden 1606 - Amsterdam 1669

Landschaft mit einer Steinbrücke / Landscape with a Stone Bridge (ca. 1638)

Rijksmuseum, Amsterdam

 

Rembrandt painted only a few landscapes, mostly imaginary mountain scenes. Although The Stone Bridge is composed of elements studied from reality, it probably does not represent a specific place. The painting’s magical quality derives from its dramatic illumination: a beam of sunlight breaks through the clouds, making the approaching storm seem twice as menacing.

 

Source: Rijksmuseum

A different take on the workers' club concept, by Melnikov's friend Ilya Golosov. Like Melnikov, Golosov had a pre-revolutionary, Classical education, which he fused with avant-garde influences in the early Twenties; unlike Melnikov, he would later be able to successfully make the transition back to state-sanctioned Classicism in the early Thirties. Here we see his most famous building, the Zuev Club - or perhaps you know it better as Terragni's riff on the concept?

 

Melnikov's entry for this project was a string of five partial cylinders, strung in a line and overlapping each other. As Catherine Cooke points out, while Golosov's building was sometimes mislabeled as the work of Melnikov, there can be no mistaking the two:

 

Despite its dramatically glazed circular stairtower on the corner, Golosov's famous building is so much a piece of the cubic space-matrix of the street and the city that it could never, to the well familiarised eye, be by Melnikov. Melnikov's own scheme for that site (from which he claimed Golosov stole the circular motif), comprised four cylinders, freestanding from the party walls along this linear site. Where Golosov plugged in awkwardly to the cubic matrix of the city fabric, Melnikov would have stood free of it.

 

This is maybe a little unfair to Golosov's building; "awkward" thought it may be in some ways, it presents an exciting play between the solid, deeply-punched mass of the main volumes, and the dramatic transparency of the stair. Admittedly, the play of horizontal and vertical masses is a little clunky. One wishes the big horizontal band cantilevered out a little further or otherwise asserted its presence a little more cleanly. This was maybe a little less true in the original building; unfortunately, we're looking at a badly altered version, with balconies yanked off, windows sealed up, voids glazed over, and a Moscow-ready but unexciting pastel color scheme. Compare to the Thirties image partway down this page.

 

Anyway, quibbling about compositional niceties sort of misses the point. This is a fine bit of Constructivism with a couple of remarkable spaces (mainly the interior of the stair, though it's also suffered some unsympathetic renovations in my eyes). The promise was that the materials and forms of the factory could be repurposed to give the factory worker the kind of amenities previously only known to the upper classes - and with a bonus of light and air that the stuffy old bourgeois clubhouses could only dream of.

 

This building was completed in 1929 and could hold, what, five or six Villa Savoyes? Considering where Russian architecture was just before the Great War, it's remarkable to imagine, at this date, a building of this scale and budget being executed in such a stripped, abstract, elemental style. And there was a lot of this going on, as we'll see in the next few uploads...

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

Wrapping up my Southern Arizona Adventure 2024 with a visit to Amerind Foundation and Texas Canyon. This is stage 9 of 9.

This is typical of the trail through the rocks.

 

www.amerind.org/texascanyonnaturepreserve/

Chat GPT

Texas Canyon is a striking natural area located in Cochise County, southeastern Arizona, along Interstate 10 between Benson and Willcox. It is renowned for its dramatic landscape, characterized by massive granite boulders scattered across the desert terrain, creating a rugged and picturesque environment.

The granite boulders in Texas Canyon were formed through millions of years of erosion and weathering. These formations, often precariously balanced, provide a unique and photogenic sight, making the canyon a popular stop for travelers and photographers.

The area is surrounded by the Chiricahua Mountains to the south and other nearby ranges, offering expansive views of the Sonoran Desert with its mix of desert vegetation, including cacti and mesquite trees. The light, especially at sunrise and sunset, enhances the golden hues of the rocks, adding to the area's charm.

Texas Canyon has a rich history tied to the Chiricahua Apache people, who once roamed these lands. Later, it became home to early settlers.

 

en.wikipedia.org/wiki/Texas_Canyon

Texas Canyon is a valley in Cochise County, Arizona,[1] about 20 miles east of Benson on Interstate 10. Lying between the Little Dragoon Mountains to the north and the Dragoon Mountains to the south and known for its giant granite boulders, the canyon attracts rockhounds and photographers.

 

www.arizonahighways.com/article/texas-canyon-nature-preserve

The giant granite boulders along Interstate 10 in Southeastern Arizona have been gracing postcards for decades, but that otherworldly landscape was always off-limits to the general public. Not anymore. Thanks to the Amerind Foundation, 6 miles of trails in the brand-new Texas Canyon Nature Preserve are now available to those who want a closer look.

 

By Suzanne Wright

Zipping past Texas Canyon, an hour southeast of Tucson, it’s impossible not to notice the boulders — giant, eye-catching piles of granite, like something out of The Flintstones. But other than providing scenery along Interstate 10 — particularly at a rest area just down the highway from the kitschy attraction known as The Thing — the area has long been off-limits to curious travelers who wanted to stretch their legs and get a closer look.

There are several private landowners in Texas Canyon, including Triangle T Guest Ranch, which has some trails for its guests. But none had opened its trails to the public until this past October, when the portion of the area owned and managed by the Amerind Foundation had its ribbon-cutting. After a multi-year campaign that raised $250,000, the Texas Canyon Nature Preserve — on land previously closed to the public for 85 years, and where the organization’s founding family raised quarter horses until 1968 — is open to all.

“The idea had been percolating with the Amerind Foundation board and management for years,” says Eric Kaldahl, the president, CEO and chief curator of the foundation. “The response from the surrounding community has been very enthusiastic. We welcomed more visitors last October than we’ve seen for the past 10 years.”

The preserve, located just off I-10 between Benson and Willcox, is part of a 1,900-acre campus that includes the Amerind Museum. More than 6 miles of trails wind past balanced rocks, fantastical shapes and rocky spires in open, sun-warmed high-desert grasslands studded with cactuses, wildflowers and trees. The trail is self-guided, although Kaldahl hopes to offer guided sunrise and sunset hikes in the next year. Visitors can pay a $12 admission fee for just the trails or $20 to visit both the trails and the museum.

Trail designer Sirena Rana knows the landscape can look intimidating, but she purposely designed the trails to be “perfect little morsels.” Rana didn’t grow up hiking, so she aimed to make the trails a comfortable experience for all ages and abilities. There are no steep elevation gains, and dirt, rather than gravel, makes for more stability. And Rana recalls walking for miles and miles over several months to understand the land and ensure the trails were constructed to shed water, limit erosion and provide firebreaks.

 

“Texas Canyon is one of the most unique landscapes in the Southwest, formed by millions of years of wind and rain weathering the granite,” she says, likening it to Joshua Tree National Park and the Wilderness of Rock on Mount Lemmon. “It’s very unusual that it’s right off a major interstate and just an hour from a major metropolitan area,” she adds. “This is one of the greatest outdoor sculpture gardens in the world designed by Mother Nature. I’m so pleased with how it turned out.”

Elsewhere along the trail, signage reflects the Amerind Museum’s mission of fostering knowledge and understanding of Indigenous peoples. Acknowledging that these are ancestral lands, the signs feature O’odham, English and Spanish text, in that order — and Kaldahl hopes to add Apache, too.

Additionally, Indigenous people have collected basket-weaving materials from these lands for generations, and they remain free to access the grounds.

 

Haiku Thoughts:

Stone giants whisper,

Texas Canyon's quiet grace,

Time's hand carves the sky.

 

Southern Arizona Adventure 2024

Union Square, Manhattan, New York City, New York

 

The Century Building is a rare surviving Queen Anne style commercial building in New York City. Designed by William Schickel and built in 1880-81, it has been a major presence in Union Square for over a century.

 

Schickel, a German-born architect who practiced in New York, rose to prominence as a leading late-19th century designer of churches and institutional buildings in the United States. He designed the Century Building as a speculative venture for his major clients, the owners of the Arnold Constable department stores.

 

Schickel designed the Century Building in the Queen Anne style, an English import defined by a picturesque use of 17th- and 18th-century motifs. More usually associated in this country with residential architecture, the Queen Anne was also used in commercial buildings, but few of these survive in New York City.

 

The Century is an unusually handsome example of the Queen Anne, notable particularly for its richly carved stonework, its two-story oriel window, its gairforel roof framed by massive chimney stacks, and its terra-cotta details including sunflowers, the trademark of the style.

 

For over three decades the building housed the Century Publ ishing Company, publishers of the Century and St. Nicholas magazines. The Century was considered by many critics to be one of the finest general periodicals in the world during the last two decades of the 19th century.

 

Today, the Century Building survives as one of the most picturesque structures in New York, and is a physical reminder of one of New York's 19th-century literary giants.

 

The Development of Union Square

 

At the beginning of the 19th century as New York entered a period of expansion that would lead to its emergence as the largest and richest city in the country, it was realized that some means was needed to control growth and clearly establish property boundaries so that titles could be transferred.

 

Accordingly in 1807, the New York State Legislature appointed a commission to survey the city north of present-day Houston Street and to lay out streets, roads, and public squares.

 

Although the new streets were generally planned in a rectangular grid, certain established roads were allowed to retain their traditional orientation. John Randall, Jr., chief surveyor for the Commission, recalled that at the time of the survey, the Bowery met Broadway at 16th Street forming an acute angle "which when further intersected by the streets crossing it left so small an amount of ground for building purposes that the commissioners instructed me to lay out the ground, at the Union of those streets and roads, for a public square, which from that circumstance they named Union Place."

 

Initially Union Place extended from 10th to 17th Streets. However, city officials soon objected to keeping so much potentially valuable real estate undeveloped and untaxed and in 1812 recommended that Union Place be "discountinued."

 

The state legislature did not go so far, but did reduce the size of the area in 1814. Then, as the city expanded northward and land use intensified, the need for open spaces became apparent. In 1831, at the urging of local residents, Union Place was set aside as a public space.

 

A year later, additional land was acquired to regularize the area into a "parallelogram something after the plan of the Rue de la Paix and the Place Vendome." Graded, paved, and fenced, Union Square Park opened to the public in July 1839. Three years later it received its first principal adornment, a fountain supplied by the waters of the newly opened Croton Aqueduct. Within ten years, the square was surrounded by fashionable residences including some of the most splendid mansions in the city.

 

On 17th Street, north of the Square, in the block where the Century Building now stands, were the homes of Henry Parish, Henry Young, Daniel Miller and Dr. William Moffat. All of these were four-story Italianate houses, built between 1847 and 1851 on lots at least 28 feet wide that extended through the block to 18th Street.

 

In 1853, the Everett House, an elegant hotel catering to a first-class clientele, was constructed on the northwest corner of 17th Street and Fourth Avenue (now Park Avenue South). Soon a number of hotels followed and these in turn brought shops and theaters. By the end of the Civil War, many of the mansions on the Square had been converted to first-class boarding houses or stores.

 

It was during this transitional period, in spring 1867, that Aaron Arnold, founder of the Arnold Constable Department Store, acquired the two properties west of the Everett House which were to become the site of the Century Building.

 

Arnold Constable & Company and Real Estate Development

 

When Aaron Arnold (1794-1876) purchased the Union Square properties in 1867, his company was one of the oldest and most prestigious drygoods firms in the city. ^ Born on the Isle of Wight in 1794, Arnold came to this country in 1823, landing in Philadelphia. After investigating the merits of several cities, he decided that New York, with its Atlantic port and access to the West via the soon to be completed Erie Canal, offered the best opportunity for success in the retail trade. In 1825 he opened a drygoods store at 91 Pine Street.

 

His business was a success from the start and the next year he moved to larger quarters at 156 Front Street. At this time commercial pressure was beginning to transform areas of lower Manhattan which had traditionally been residential neighborhoods or prime shopping areas into wholesale and warehouse districts. Many first-class shops were moving northward into residential areas and in 1827 when Arnold again felt the need to expand his operations he decided to move his store to 58 Canal Street on the edge of the Eighth Ward, then the fastest growing and most populous district in the City.

 

He was to remain in the same area for over forty years, establishing his firm on Howard Street near Mercer. During that period he formed a number of partnerships. His wife's cousins James and George Hearn joined the firm in 1828, remaining until 1842 when they formed their own extremely successful drygoods business.

 

After the Hearns' departure James Constable, Arnold's best salesman, bought an interest in the firm. Constable subsequently married Arnold's daughter, Henrietta, and became a full partner. Then in 1853 the firm was expanded once again to admit Arnold's son Richard. In 1856-57, Arnold Constable & Company, as the firm was now called, built an impressive new store at 305 Canal Street with entrances on Mercer and Howard Streets.

 

Known as the "Marble House" this Italianate palazzo was fitted up in the most elegant style with niceties such as horsehair-covered seats at all the counters. Offering lace parasol covers for $500 and imported lace at $1,000 a yard, the store attracted an elite clientele that included several Presidential wives and members of the Rhinelander, Van Rensselaer, de Peyster, Prince and Kips families.

 

After the war, Arnold recognized that fashionable New York was once again on the march uptown. Believing that it was best to be near his customers and that the retail trade would soon follow, he began looking for a suitable "uptown" site.

 

According to Moses King, the Union Square houses were purchased with this end in view. That Arnold intended to build on the site is confirmed by an agreement made in 1867 with the owners of the Everett House that ensured the preservation of a light court at the rear of the hotel and granted Arnold the right to have shutters from any building he might erect project over the court-

 

He soon seems to have changed his mind, however, for the Union Square houses remained standing and an alternative site at 19th Street and Broadway was purchased for the store in April 1868.

 

Having decided on this property Arnold took immediate steps to build. Within two months Griffith Thomas, a prominent designer of hotels and commercial buildings, filed plans for a cast-iron palazzo that was to be even grander and more ostentatious than the Canal Street store.

 

As soon as the foundations for the new building were laid, Aaron Arnold retired, leaving his business in the hands of his son-in-law James Constable and his son Richard.

 

Constable turned out to have a flair for merchandising and gradually assumed control of the store which continued to flourish.19 Richard Arnold, on the other hand, "was an expert in real estate." Using the store's considerable profits, he knew when and where to invest, and during the panicky years succeeding 1873 purchased a vast amount of Fifth Avenue property in the Eighties where he later erected a block of houses. Lots in the rear of Broadway and all along Nineteenth Street were purchased and an extension added for the use of the wholesale department....the entire establishment now filling the entire block from Broadway to Fifth Avenue.

 

These purchases together with others Richard made throughout the city and the property Aaron Arnold had amassed prior to his death in 1877 were held in common by Henrietta Constable and Richard Arnold. Following their deaths (in 1884 and 1886 respectively), later generations of Arnolds and Constables continued the families' real estate activities.

 

In 1897, the Arnold-Constable estate was ranked fifth in a list of New York City land owners compiled by the New York Herald.

 

It was the policy of the family to hold property for long periods of time, improving the lots with buildings that would provide rental income. For many years Griffith Thomas acted as the Arnold-Constable family designer, planning not only the additions to their department store, but also their private homes at 83rd and Fifth and 84th and Madison and speculative brownstones on 81st Street near Fifth (these last are located within the Metropolitan Museum Historic District.)

 

When Thomas became ill in 1878, the family transferred its business to a young architect, William Schickel, who had offices in the same building as Thomas at 346 Broadway. In 1879, the Constables turned their attention to the Union Square site which they had not used for the store, and retained Schickel to design a speculative commercial building.

 

William Schickel

 

During the last quarter of the 19th century, William Schickel (1850-1907) was one of the most successful architects practicing in New York. Born and educated in Germany he came to this country at the age of 20 in the summer of 1870. On the day after his arrival in New York, he was hired by Richard Morris Hunt, one of this country's most eminent and influential architects in the second half of the 19th century. Schickel worked for Hunt for about six months.

 

Schickel then went to work for Henry Fernbach, a German-born architect who practiced in New York between 1855 and 1883.

 

Schickel worked for Fernbach for about two and a half years, eventually becoming his foreman and establishing a close friendship which lasted until Fernbach's death in 1883. In January 1873, Schickel set up his own practice in the New York Life Insurance Company Building at 346 Broadway where Fernbach and Griffith Thomas also had offices.

 

His first commissions were from fellow Germans for tenement houses on the Lower East Side. Despite a decline in the building trades following the financial panic of 1873, his practice expanded rapidly. Throughout the 1870s he designed a number of tenements and private houses. In addition he worked extensively for Catholic institutions in New York, Brooklyn, and New Jersey, planning such buildings as Our Lady of Sorrows School, Pitt and Stanton Streets (1874); St. Benedict's Church, Fulton Street, Brooklyn (1874); and St. Catherine's Hospital, Bushwick Avenue, Brooklyn (1874-75). By 1875, he was well enough known as an ecclesiastical designer to secure a commission for a major church in Boston, Our Lady of Perpetual Help, which was illustrated in the American Architect and Building News in July 1877.

 

Aside from religious institutions, Schickel's most important client during this period was undoubtedly Oswald Ottendorfer, publisher of the German language paper, the New Yorker Staats-Zeitung. Presumably the two had met in 1871-72 when Schickel as Fernbach's foreman would have been involved in his employer's project for the Staats-Zeitung's new office building at Chatham Street and Tryon Row.

 

In the seventies, Schickel designed several buildings for Ottendorfer and his wife Anna including stables, a greenhouse, and a pavilion at their suburban retreat on 136th Street, west of Broadway (1878-79), and the Bella Apartment House at Fourth Avenue and 26th Street (1877), the latter project based in large part on Richard Morris Hunt's Stuyvesant Apartments.

 

In the 'eighties Schickel served as architect for three institutions that were founded by Ottendorfer and his wife Anna: the German Dispensary (now Stuyvesant Polyclinic), the Freie Bibliothek und Lesehalle (now the Ottendorfer Branch of the New York Public Library, 1883-84) and the Isabella Heimath at Tenth Avenue and 190th Street (1887-89).

 

The clinic and library constructed together on lower Second Avenue are today designated New York City Landmarks.

 

Schickel's first commission from the Arnold-Constable families came on November of 1878 and was for two brownstones on the west side of Madison Avenue near 83rd Street. The following year he received another commission for seven houses on 72nd Street west of Park Avenue. He may also have begun planning the Century Building late in that year since the tax records of 1879 indicate that the houses on the site had recently been torn down.

 

Plans for the Century Building were filed at the beginning of February 1880. This was Schickel's first commercial building and appears to be his only extant commercial work in the Queen Anne style.

 

Interestingly, the Century Building has a secondary facade an 18th Street where Queen Anne elements are combined with neo-Grec motifs. In Schickel's second commercial project, for a pair of store and loft buildings at 27-33 West 23rd Street, also built for the Arnold-Constable family in 1880-81, he created an entirely neo-Grec design.

 

He then began working with a mixture of historic styles, producing designs that became increasingly simpler and more articulative of structure. These culminated in the giant arched warehouse at 93-99 Prince Street of 1887-88, where the building's internal structure is expressed on the facade by piers of varying width — widest at the corners where there are bearing walls, narrower at the center where there is a party wall, and narrowest in the intermediate bays where the piers align with rows of cast-iron columns.

 

Then in 1889 and 1892 Schickel designed two richly ornamented cast-iron front department stores, Ehrich Brothers, at 363-371 Sixth Avenue, and Stern Brothers, at 32-46 West 23rd Street, the latter a massive addition to and reworking of Fernbach's 1878 design. Later Schickel commercial buildings tend to be less exuberant, but within the classicizing tradition of the period.

 

Notable examples include the powerful Lexington Cable Company Building of 1894-96 and the handsome neo-Renaissance Constable Building of 1894-95 at the corner of Fifth Avenue and 18th Street adjoining the Arnold Constable Department Store.

 

Here, Schickel moved his offices in 1895, symbolizing his close ties with the Arnold-Constable families for whom he would continue to act as architect until 1904, designing stores, office buildings, stables, summer homes and even Frederick A. Constable's vault at Wood lawn Cemetery.

 

Although Schickel made significant contributions to the field of commercial architecture, it is for his religious and institutional buildings that he is best known. In the 'eighties and 'nineties his firm was responsible for such major projects as the Convent of Sacred Heart in Manhattanville and St. Joseph's Seminary for the Archdiocese of New York in Yonkers, both done in severe Romanesque Style.

 

Also dating from this period are a nurtber of impressive churches, including several in Brooklyn and the neo-Renaissance style St. Ignatius Loyola, (1895-1900) on Park Avenue, a designated New York City Landmark.

 

Schickel seems also to have been a recognized authority in the field of hospital design. He was responsible for many of the buildings at the German Hospital (now Lenox Hill) and at St. Vincent's Hospital. In addition he did considerable work at Bellevue; St. Francis Hospital; St. Joseph's Hospital; the New York Foundling Hospital; Seton Hospital; St. John's Hospital, Long Island City; St. Elizabeth's Hospital, Dayton, Ohio; and East End Hospital, Pittsburgh, Pennsylvania.

 

According to Schickel's son Norbert, he also acted as consulting architect to Mount Sinai Hospital at Fifth Avenue and 100th Street.

 

The Century Building and the Queen Anne Style

 

In 1879 when Richard Arnold and Henrietta Constable decided to improve the property they had inherited on Union Square, there was every reason for optimism.

 

The period of stagnation following the Panic of 1873 had ended and according to A History of Real Estate Building and Architecture in New York City, "Prices were still low and money cheap and abundant, population had greatly increased and was pressing somewhat upon the domiciliary and mercantile accommodations of the city."

 

The Real Estate Record and Guide reported that in response to these favorable conditions, "Fourteenth Street, Union Square and Twenty-third Street are being crowded by the retail establishment of heavy firms and everywhere firms like Arnold Constable & Co., A. T. Stewart & Co., McCreery and the like, continue to build more Dalatial warehouses either for their accommodation or for investment."

 

Apparently the Arnold Constable Union Square building, constructed between April 1880 and March 1881 at a cost of almost $300,000, was a purely speculative investment made without a prime tenant in view.

 

As it turned out, the owners were able to lease the building on a floor-by-floor basis to a remarkably stable and in some cases prestigious group of tenants. One of the first tenants, the Century Company, publishers of the Century and St. Nicholas magazines, who moved to the building's fifth floor in September 1881, were attracted by "the advantages of a central location...united with the verdure and sunshine of a beautiful park," by the spaciousness of the offices which on one floor offered "an area...equal to an eight-story building covering an ordinary city lot," and by the excellence of the building's design which they considered "architecturally speaking...the finest on Union Squre."

 

Other tenants included Johnson & Faulkner, upholsterers, who moved to the building's ground floor in 1883 and were to remain for over forty-five years, and the noted architect

 

George Browne Post, who was a tenant from 1890 to 1905/06, during which time he designed the Manufacturers and Liberal Arts Building at the Chicago Exposition (1893), the Saint Paul Building (1897-99), the College of the City of New York (1897-1908) and the New York Stock Exchange (1904-07).

 

By November 1882, the Century Company's sign was prominently located just below the attic, a factor which probably led to the building's becoming popularly known as the Century Building.

 

Undoubtedly a significant factor in the success of this business building was William Schickel's Queen Anne design. Popular in this country in the late 1870s and early 1880s, the Queen Anne style came to the United States from England where it had begun to develop in the early 1850s.

 

In its first stages Queen Anne can be seen both as a rejection of the "massiveness" and "muscularity" of High Victorian Gothic and as an outgrowth of that style. Instead of employing Gothic details Queen Anne architects used elements derived mainly from seventeenth-and-eighteenth century domestic architecture in a way that showed their Gothic Revival training.

 

They abandoned symmetry whenever it was convenient to do so, and concentrated on features in which, as Morris later put it, 'some of the Gothic feeling was left'.

 

Their buildings were generally brick with stone trim and had high-pitched roofs often broken by such picturesque features as shaped-gables, dormers, or ribbed chimney stacks. The windows were frequently composed of small panes either leaded or held in place by wooden glazing muntins.

 

Favorite decorative motifs included ribbed and gauged brickwork, keystones, swags, grotesques, rondels, classical moldings, and inset frieze panels inspired by 17th-century pargetting. Sunflowers, adopted from Pre-Raphaelite painting, became an emblem of the style.

 

Initally, Queen Anne was used exclusively for domestic architecture, primarily country and suburban houses. In 1871, however, Norman Shaw's design for the New Zealand Chambers Building in London demonstrated that the style could be applied with equal success for a business building. The four-story New Zealand Chambers had a three-bay wide brick facade distinguished by a pedimented doorway, small-paned shopfronts, two-story oriels set between massive piers, and a pitched roof broken by gabled dormers. Two aspects of this facade are especially worthy of note — the pedimented oriel incorporating a Palladian motif (a device apparently borrowed from the 17th-century Sparrowe's House, Ipswich) and the interjection of an irregular element, the off-center entrance, into an otherwise symmetrical design.

 

Both motifs were to become hallmarks of urban Queen Anne, made famous in large part by the New Zealand Chambers, perhaps the most prestigious and widely published of all Queen Anne buildings.

 

Shaw's designs began being published in this country in several periodicals, notably The American Architect and Building News which made something of a specialty of the style.

 

Through its pages one can trace the dissemination of the style, first, as in England, in country and suburban house design, then starting about 1879 in urban design as well. However, even when Queen Anne was at the height of its popularity, it was used chiefly for domestic architecture. In New York, moreover, many of the most prominent commercial buildings in the style such as George Harney's office building at 14-18 Wall Street (1879) and Edward Kendall's Washington Building at Broadway and Battery Place (1882) have since been replaced by larger buildings.

 

Among the few important examples left in New York are William Schickel's Century 3uilding; N. G. Starkweather's Potter Building, 38 Park Row (1883); Edward Kendall's Gorham Building, 889-891 Broadway (1883-84); Henry Hardenbergh's Western Union Building, 186 Fifth Avenue (1884); and Sillijnan and Farnsworth's Temple Court Building, 125 Nassau Street (1889-90).

 

Of these, Schickel's Century Building stands out as a particularly distinguished design and as a rare example of the three-bay store and office building type that Norman Shaw had introduced in his New Zealand Chambers Building.

 

Specific features of the Century that relate to Shaw's design include the two-story oriel window, the asymmetrically placed entranceway, and the giant brick pilasters with floriated relief panel capitals. Other notable features of the facade include the richly carved stonework, featuring 17th-and 18th-century motifs including garlands, shells, grotesques, and an overdoor panel depicting feeding birds set amid tendril forms; the delicate ironwork cast by J. B. Cornell and Sons, and the handsome relief panels and moldings in terra cotta, a material that had only just come into use for large-scale commercial and public buildings.

 

Equally impressive is the fishscale-shingled gambrel roof framed by massive chimney stacks and punctuated by dormers, a brick and terra-cotta balustrade, and a cresting of terra-cotta sunflowers. Initially the dormers were crowned by pedimented tablets, a favorite Queen Anne motif; however, in 1913 S. Edison Gage added a second tier of dormers repeating the basic articulation of the original dormers, but substituting terra cotta for brick.

 

Aside from this change, the Union Square facade has remained largely intact and is something of a rarity in that it has retained its original cast-iron and plate-glass storefront. Unfortunately, many of the building's small-paned leaded-glass windows, so characteristic of the Queen Anne style, have been lost in recent years.

 

However, there are still leaded-glass transoms in the side bays of the oriel and in all but the westernmost window bay on the fifth floor and leaded-glass upper sashes in the eastern and western sixth floor dormers.

 

For the secondary facade on 18th Street, which also served as an entrance to the ground floor store, Schickel designed a simpler, more utilitarian version of his 17th Street facade incorporating some Queen Anne motifs, notable the terra-cotta sunflower panels, taken directly from the 17th Street front, into a neo-Grec design. Specific features of his design which may be considered neo-Grec include the treatment of the ground floor iron pilasters with their stylized cabled flutings and capitals in the form of consoles and the incised decorations on both the capitals of the lower set of giant pilasters and the attic piers.

 

In addition, the overall flatness of the facade and the gridlike treatment of the piers and the lintels are characteristic of the style. This concern with expressing the underlying structure was to become increasingly important for Schickel.

 

The Century Magaz ine and Richard Watson Gilder

 

The Century was considered by many critics to be "the best general periodical in the world" during the last two decades of the 19th century.^® First published as the Century in 1881, the magazine was in fact a continuation of Scribner's Illustrated Monthly, a general interest magazine founded in 1868 by a book publisher Charles Scribner, author/editor Josiah Holland, and businessman Roswell Smith.

 

During the late 1870s, the Scribner Company, a separate entity from Scribner Books, experienced tremendous growth due to the success of both Scribner's Magaz ine and its juvenile counterpart, Saint Nicholas Magazine, which had been established in 1873.

 

Seeking to take advantage of the company's reputation in religious and juvenile literature, Holland and Smith planned to introduce a line of books. This brought them into conflict with Charles Scribner II, who had inherited control of his father's forty percent interest in the Scribner (Magazine) Company as well as the presidency of the Scribner Book Company.

 

By no means enamored with the prospect of competing with himself, Scribner attempted to block the book-publishing venture. Failing to do so, he agreed to sell the family interest in the magazine company with the proviso that the Scribner name cease to be used for the company and its publications. It was assistant editor Richard Watson Gilder who proposed that the magazine take the name of the Century Club, then the foremost club in the city for artists and men-of-letters.

 

As the magazine's office had been located on the third floor of the Scribner Bookstore Building at 743 Broadway, new headquarters were also necessary, hence the move to Arnold Constable's new building on Union Square. Just as the first issue was off the press, editor Holland died, and Gilder, who had been gradually assuming greater control of the magazine took over as editor of the new Century.

 

Thus, in many ways, the magazine entered a new era with its move to Union Square.

 

Under Gilder's leadership, the Century "reached a pinnacle of prestige and influence unprecedented in American magazine history". A talented poet himself, Gilder was considered one of the most perceptive literary editors of his age. It is indicative of his standing in the literary community that three of the most prominent American writers of the 19th century — Mark Twain, William Dean Howells, and Henry James — contributed major works to the Century. In fact, one memorable issue in February 1885 carried sections of Howell's The Rise of Silas Lapham, Twain's Huckleberry Finn, and James' The Bostonians, making it, in the words of literary historian Herbert Smith "probably the greatest twenty-five cents worth of original American literature in the history of American periodicals.

 

In poetry, the Century featured the works of Walt Whitman, Edwin Arlington Robinson, and Herman Melville. It was largely due to Gilder that Scribner's became the first important American magazine to publish a serious appraisal of Whitman's work. Later, the Century was to carry Whitman's recollections of his years as a volunteer nurse for the Union Army and a number of poems.

 

While the Century is today best known for its contribution to American literature, the magazine was also an important forum for disseminating new idea on the arts, public affairs, history, and society. Undoubtedly the most prestigious of its achievements was the monumental "War Series".

 

This unbiased and thorough account of the Civil War, told through the recollections of former participants, was perhaps the most widely-read magazine series in America during the 19th century. Other notable series included "Abraham Lincoln: A History" by his former secretaries John Hay and John G. Nicolay, and John Kennan's "Siberia and the Exile System", an expose of tsarist prison administration.

 

Most articles were profusely illustrated with engravings by such artists as Joseph Pennell, Frederick Remington, Howard Pyle, and Charles Dana Gibson.

 

In addition, the Century published regular features on the arts by the foremost critics of the day including William Coffin on John Singer Sargent and Winslow Homer, Charles De Kay on Alfred Pinkham Ryder, and Royal Cortissoz on the muralists John La Farge and Edwin Austin Abbey. Coffin also wrote appreciations of the sculptors Daniel Chester French and Augustus Saint-Gaudens, Architecture was the province of Marianna Van Rensselaer, who wrote a monthly column for over two decades acquainting the Century's readers with "Recent Architecture in America" and the "Cathedral Churches of England and France."

 

For all its emphasis on the arts, the Century was also deeply committed to social and political reform. A vocal critic of corruption in government, Gilder used the editorial pages of the magazine to press continually for the establishment of a strong civil service system.

 

An advocate of housing reform, Gilder published articles on conditions of the Lower East Side by Jacob Riis and personally exposed the Trinity Church Corporation as the owner of some of the city's worst tenements having become aware of their involvement while serving as chairman of the New York State Tenement House Committee in 1894.

 

The evils of the Jim Crow System were brought out in a series of stories by George Washington Cable, and the horrors of the pogroms were described by Emma Lazarus, who used the Century as a vehicle to propose the creation of a national Jewish state. Thus, in 1890, The Journalist remarked that to the man or woman who moves among cultured people "the reading of the Century has practically become compulsory. Its articles form the subject of conversation, it is a reflex of the literary and social life of the world."

 

Description

 

The Century Building is constructed of red brick with Wyoming bluestone and terra-cotta trim. An L-shaped building it has a frontage of 71 feet 6 inches on 17th Street and 120 feet 7 inches on 18th Street. Although it occupies a midblock site, it is flanked to the west by a two-story building that leaves part of the western wall exposed.

 

The two street fronts have similar composition and share a number of decorative elements, but the Queen Anne style 17th Street elevation which faces out onto Union Square is considerably more ornate than the handsome but austere 18th Street facade.

 

On 17th Street the facade is divided into three bays and is articulated in three horizontal sections: a one-story commercial base, a four-story midsection, and a one and one half-story roof broken by a double tier of dormers. The ground story is faced with stone which has been painted white. The piers are treated as pilasters with high pedestals and impost blocks — the thicker corner piers are rusticated, the narrower inner piers decorated with grotesques.

 

In the westernmost corner of the facade is an arched entrance which leads to the upper stories. This portal is framed by pilasters and surmounted by a richly carved pedimented overdoor. The rest of the ground floor is given over to a plate-glass and cast-iron shopfront which survives intact except for a modern door and transom and metal covers over the grates beneath the show windows in the recessed central entranceway.

 

The shopwindows are supported by iron bars.Beneath these are iron grates which once lit now sealed basement windows. Thin iron colonettes with foliated shafts frame the central entrance and subdivide the eastern bay into three sections. Above the show windows are transoms which originally tilted open. Surmounting the ground floor is a composite entablature which breaks forward over the outer piers.

 

These projecting sections are decorated with swags and are capped by gable-shaped ornaments that provide a terminus for the ground floor cornice.

 

Above the ground floor the facade is faced in red brick with stone and terra-cotta trim (the stone has been painted white). Narrow piers have been introduced to subdivide the bays. These are treated as one-story pilasters with responds attached to the sides of the major supportive piers. These piers are slightly projected and are articulated as superimposed giant pilasters with stone bases and stylized capitals in which terra-cotta panels with floral reliefs are substituted for conventional foliage and volutes.

 

The lower set of pilasters are partially rusticated and have central terra-cotta panels decorated with sunflowers. These may be perceived as interruptions, but not as full breaks in the giant order. The upper pilasters are channeled and have terra-cotta panel capitals which have been painted white.

 

Above the windows the brick wall surfaces are articulated by stone string courses and sills which are underlined by terra-cotta moldings. In general these horizontal accents are contained within the bays; however, the courses continue across the piers above the third and fifth floors reinforcing the double-story articulation established by the giant orders.

 

A lively interplay is created between this double-story composition and the fenestration pattern which sets up a one-two-one story grouping while placing a marked emphasis on the center bay. On the second floor the windows are framed by pilasters with painted stone bases and capitals that support stone lintels with small imposts. In the outer bays the lintel soffits are decorated with an egg and dart moldings.

 

In the center bay the same molding is used to profile blind segmental arches cut into the face of the lintel. The pilaster which bisects the center bay is much wider than in the other bays and is distinguished by a richly carved stone Corinthian capital and by a terra-cotta panel depicting a potted sunflower in an arched surround. This pilaster serves as a base for the facade's most imposing feature, a two-story elliptical stone oriel which occupies the center bay on the third and fourth floors.

 

Richly ornamented with classical motifs, the oriel is divided into three bays by pilaster-faced piers and is crowned by a triangular pediment over the slightly projected center bay. The plate-glass one-over-one sash windows and leaded glass transoms in the narrow end bays curve to follow the line of the oriel.

 

The window treatment in the center bay on the third floor conforms to the pattern used for most windows on the upper stories of this facade: there are a pair of one-over-one sash windows separated with a thin iron mull ion, the iron crossbar supports a transom originally filled with small leaded lights which have since been lost. On the fourth floor, however, there are three windows in the central bay — a wide center window flanked by two narrow lights. These were originally surmounted by a transom with an arched muntin creating a Palladian motif similar to Shaw's Ipswich windows. The transom is now boarded over.

 

In the outer bays both the third and fourth floor windows have segmental-arched enframements decorated with stone keystones and skewbacks. On the fourth floor stone bases are also employed relating the articulation of the minor orders to that of the giant pilasters.

 

On the fifth floor the center bay has three segmental-arched window openings decorated with stone keystones and imposts. Each contains a single one-over-one sash window topped by a small paned leaded-glass transom. In the outer bays there are two flat-arched window openings per bay again decorated with stone keystones and imposts. Here the leaded-glass transoms have survived in all but the westernmost window bay.

 

Terminating this section of the facade is a Doric entablature. This is composed of a stone architrave, brick and terra-cotta frieze and stone and terra-cotta cornice. The entablature projects over the major elements. On the frieze the projecting areas are undecorated while the recessed sections contain molded brick triglyphs and terra-cotta relief panel metopes. In the outer bays these are decorated with sunbursts, in the center bay with wreaths and swags.

 

Crowning the building on 17th Street is a one-and-one- half story attic which reads as a gambrel roof from Union Square. This is lit by a double tier of dormers. The lower dormers are brick with stone and terracotta trim.

 

The center dormer has two equally-spaced openings, the lower wider outer dormers have three openings consisting of a regularly spaced central light and two narrower sidelights. The eastern dormer still retains its original clear leaded glass upper sash. The stained glass window in the western dormer probably dates from 1888 when there was a fire on this floor.

 

Framing the windows are brick pilasters with plain Tuscan stone capitals. These carry a Doric entablature with a stone architrave and cornice and frieze composed of brick triglyphs and terra-cotta metopes. In the outer bays the metopes are articulated with simple recessed panels; in the center bays they are enriched with swags and rosettes.

 

The second tier of terra-cotta-faced dormers dating from 1913 are considerably simpler in design. Divided by piers into a wide central light and narrower sidelights they are articulated with corner pilasters and entablatures.

 

Set between the dormers along the roofline is a brick balustrade with raised terra-cotta panels and a stone coping. This projects over the major supportive piers to form pedestals which carry terra-cotta orbs. Stylized volutes join the balustrade to the center dormer.

 

The roof is also ornamented with a stone coping which runs along the ends of the gambrel and has stone ornaments (skew corbels) which project at the foot of the upper slope. Joining the two pitches is a molded metal frieze which is enriched with an egg and dart molding.

 

At the ridge are terra-cotta coping tiles ornamented with leaves and terra-cotta finials in the form of sunflowers. Molded brick chimney stacks rise from the ridge of gable walls.

 

Aside from the addition of the second set of dormers, the only major alteration to the 17th Street attic was the construction of a sheet-metal-sided elevator shed next to the western gable chimney in 1905. It should be noted that while the upper slope of the gambrel has been covered with asphalt shingles, the lower slope retains its original fish-scale slate shingles.

 

On 18th Street, the facade is divided into five bays, each three windows wide. As on the 17th Street facade, there are three horizontal divisions: a one-story commercial base, a four-story midsection and an attic. Here, however, the attic is only one story high and has a flat roof.

 

On the ground floor the bays are separated by banded brick and stone piers. These have stone bases and stone Tuscan capitals which are enriched by egg and dart echinus moldings. Iron piers divide each bay into three openings. Like the colonnettes on 17th Street these are articulated with superimposed orders, in this case stylized pilasters with capitals in the form of consoles topped by small columns with their own bases and impost blocks. Set between the piers are cast-iron and glass shop fronts with door and window surrounds of wood. Like the storefronts on 17th Street these are divided into an iron base, large plate glass window, and transom. The bases are faced with wrought-iron grilles that conceal large basement windows, the weight of the windows above being carried by iron sills that form the top of the bases.

 

In the eastern corner of the facade there are a pair o£ folding paneled metal doors which are surmounted by a large rectangular wooden window frame (glass presently missing) and by a transom. Since there is a record of an alteration to this entrance facade in 1912, it is difficult to determine whether the doors are original, however it is likely that there was always a door in this location which fronts a stairhall.

 

Two other entrances into the ground floor store are no longer in use. The entrance in the center of bay two (reading east to west) seems to have been closed off for some time since there is a wooden dado which aligns with the bases of adjoining storefronts. In bay three there is a pair of wooden doors, which may be original, with long rectangular lights and raised panel decorations. Both these entrances are surmounted by square windows and transoms.

 

The western section of bay three and bays four and five have undergone considerable alteration. A metal gate extends across the entire width of bay four, and bay five has extensive brick infill and a new metal doorway and freight elevators. Crowning the ground floor is a simple iron entablature with a dentil led cornice.

 

On the upper stories, the composition of the 17th Street facade is also repeated though in a much simplified form. Once again the major piers are articulated by superimposed giant pilasters. Here the lower set of pilasters have stone bases and channeled brick capitals with stone abacus and echinus moldings. On the upper orders the capitals are articulated by a slight projection of the bricks and by stone echinus moldings. On both orders there are central terra-cotta sunflower panels identical to those on the 17th Street facade. Stone sills underlined by molded brick courses and projections in the surface of the brick create a series of horizontal accents on the wall surface above the windows comparable to those on 17th Street. As on the 17th Street facade, the courses are continued onto the piers only when they mark a break between the stories, the division between the third and fourth floors being established by a brick block modillion cornice.

 

The fenestration pattern of the 17th Street facade is also repeated on the 18th Street facade. Three are trabeated windows with stone lintels on the second floor, segmental-arched window openings with keystones on the third and fourth floors, flat-arched windows on the fifth floor. Only the small piers separating the windows on the second floor are distinguished by banding. Capping this section of the building is a brick and stone entablature ornamented with paired stone console brackets above the major supportive piers.

 

On the attic story the major piers are channeled and have stone bases and capitals. The brick piers between the windows have brick and stone capitals. These carry stone linels with small imposts. Crowning the building is a brick frieze and cast-iron cornice ornamented by iron brackets at the corners of the roof.

 

The major alterations to this facade above the ground floor have been the installation of an exterior fire escape over bay four and the construction of a brick elevator housing over the north-west corner of the building.

 

Conclusion

 

The Century Company moved to new quarters on Fourth Avenue in 1914/15 after almost thirty-five years in the Century Building. ^ Soon after. Baker and Taylor, publishers, also left the building. The long term tenants who remained into the 'twenties included Johnson and Faulkner, upholsterers, and Earl and Wilson, shirts and collarmakers, businesses that better accorded with the character of the neighborhood which was becoming increasingly a center for manufacturers and wholesalers. Photographs show that by the later 'thirties the building was being used by such businesses as Ferguson Brothers Manufacturing Company and William Shaland Toys and Novelties. The most recent ground floor tenant was the American Drapery and Carpet Company.

 

Although currently vacant, the Century Building survives as one of the finest commercial buildings in the Queen Anne style in New York. Its handsome details, including its two-story oriel window and its dramatic gambrel roof, make the building one of the most picturesque in the city. As home to the prestigious 19th-century Century Magazine, the Century Building also has a special place in the cultural history of New York.

 

- From the 1986 NYCLPC Landmark Designation Report

Series/Themes: International Oscar Contenders

 

Genre: Drama, International

 

Accessibility: Subtitles

 

Film Year: 2022

 

Locations: Iceland, Denmark, Sweden, Netherlands, Czech Republic

 

Film Length: 123 min

 

Languages: Icelandic

 

Subtitles: Yes

 

Director: Guðmundur Arnar Guðmundsson

 

Featuring: Birgir Dagur Bjarkason, Áskell Einar Pálmason, Viktor Benóný Benediktsson, Snorri Rafi Frímannsson, Anita Briem, Ísgerður Elfa Gunnarsdóttir, Ólafur Darri Ólafsson

 

2023 Oscar® Selection, Iceland

 

Addi, a teenage boy raised by a clairvoyant mother, is the nominal leader of a trio of misfits. Bored and aimless, the crew wander Reykjavik’s back streets, scale its dramatic heights, pick fights, and crash parties. When Addi recruits a bullied classmate into the tightknit group, the boys’ volatile dynamic is further destabilized—their small-time pranks escalate and become increasingly dangerous. Seeking a way out, Addi begins to tap into dream-like visions and a newfound intuition to guide his friends back to a safer path. Beautiful Beings explores the deep bonds of male adolescent friendships and how they are complicated in the face of aggression, violence, loyalty, and love.

 

“Finds tenderness in a cruel adolescent world” –Screen International, Wendy Ide

A Genuine Example of One of the Eleven 1971 Hemi ‘Cuda Convertibles

 

500+hp, 425hp rated, 426 cu. in. vee eight-cylinder engine, dual four-barrel carburetors, four-speed manual transmission, Hurst pistol grip shifter, independent front suspension with torsion bars, live axle rear suspension with semi-elliptical leaf springs, front disc, rear drum power assisted hydraulic brakes. Wheelbase: 108"

 

Three times Chrysler Corporation has relied upon the Hemi to transform its products and image from dull to sparkling, and three times the Hemi has delivered. In an American car market that has been characterized by glitz, fins and bulk, the technical sophistication of Chrysler’s hemispherical combustion chamber V8 engine has been a refreshing demonstration of the appeal of elegant, thoughtful engineering.

 

In the late 60’s and early 70’s it also acquired a bad boy image of politically incorrect power and performance, establishing a mythical presence that has made the Hemi a legend.

 

Hemi History

 

During development work on World War II aircraft engines, Chrysler’s engineers had seen firsthand the potential for hemispherical combustion chamber engines. In addition to the thermal efficiency of the hemi chamber’s low surface area and its low-restriction cross-flow porting, the angle between the valves ideally disposed the ports for efficient breathing in a

vee-layout engine.

 

Chrysler was the ideal company to pursue the hemispherical combustion chamber V8. It had a longstanding tradition of investigating, developing and perfecting advanced engineering ideas. Unlike its major competitors, Chrysler had neither overhead valve nor vee-configuration engine history, and thus no preconceived notions of how it should be done. Its engine designers could – and did – explore every conceivable engine idea. Their research showed that the hemispherical combustion chamber not only gave better performance than a comparable wedge-chamber head but also tolerated appreciably higher compression ratios.

 

The hemispherical head V8 was introduced in the Chrysler line in 1951. With 331 cubic inches displacement in a short stroke oversquare design, Chrysler’s FirePower V8 delivered 180 horsepower at 4,000 rpm and 312 lb-ft torque at 2,000 rpm. The performance potential of the Hemi was quickly recognized, most famously with the Chrysler C300 and its successors, which set the pace both on the highway and on NASCAR’s speedways. By 1958, however, manufacturing economics swung the pendulum in favor of the wedge-chamber V8s. The Hemi was phased out in 1959 … but not for long.

 

In the early 60s the 413 and 426 Wedge engines were dominant in drag racing but lacked the continuous high rpm performance needed on NASCAR’s speedways. Dodge and Plymouth were being trounced, a situation that couldn’t be allowed to stand. Faced with a need to develop a high performance, free-breathing engine quickly, Chrysler’s engineers turned to the solution they already knew worked, the Hemi. They stuck with the overall dimensions of the Raised Block 426 Wedge so existing fixturing and machining setups could be employed and maintained the original Hemi’s dual rocker shafts and 58° valve included angle. To adapt the Hemi head to the Raised Block engine, the ingenious Chrysler engineers rotated the combustion chamber toward the engine’s centerline about 8 1/2°.

 

Completed and delivered to the track just days before the 1964 Daytona 500’s green flag, the 426 Hemis proved to be invincible, sweeping the top three places in NASCAR’s most important race.

 

Production of the second generation Hemi ended after the 1971 model year as emission restrictions and insurance surcharges gave horsepower, which had never been entirely socially acceptable, a distinctly antisocial taint. Chrysler would twice more resurrect the Hemi, however, first as a crate engine program for hot rodders and later as a third generation production engine that brought DaimlerChrysler back to the forefront of performance at the beginning of the 21st century. Like some other forms of antisocial behavior, horsepower has proven to be addictive.

 

The Hemi ‘Cuda

 

Of all the Street Hemis built, the most famous, attractive and desirable are the 1970-1971 E-body Plymouth ‘Cudas, combining the visceral delight of the Hemi’s power and torque with the ‘Cuda’s lightweight, streamlined and refined 2+2 platform.

 

The first Barracuda was introduced in 1964 and in the late 60’s Chrysler engineering and Hurst performance shoehorned Race Hemi engines into the Barracuda’s engine compartment for NHRA drag racing. Seventy-five were built, sold and successfully campaigned around the country. When the Barracuda was redesigned for the 1970 model year the engine compartment was made large enough for the legendary 425 horsepower 426 cubic inch Street Hemi.

 

The Plymouth Barracuda was the cleanest, most refined and elegant of all the pony car designs. Distinguished by its wide grille, long, flat hood, short rear deck and ominously raised rear fenders – deliberately shaped like the haunches of an animal crouching before a leap – the appearance of the ‘Cuda left no doubt that this was a serious performance car.

 

Hemi-powered ‘Cudas are surpassingly rare. Built for only two years, 1970 and 1971, their low production numbers reflect the undeniable fact that the combination of the ‘Cuda platform and the Street Hemi engine was irrationally fast. It also was expensive: $871.45 in 1970 and $883.90 in 1971, a prohibitive 70% more than the 390 horsepower 440 Six Barrel.

 

A Hemi ‘Cuda was not for the faint of heart nor for the cautious of pocketbook. Buying one took serious commitment, backed up by an ample budget. In 1971 there were only 119 souls brave and prosperous enough to make the commitment to check off E74, the Street Hemi’s order code, on the ‘Cuda order form.

 

• 108 of them ordered hardtops

• Only eleven stepped up for the top-of-the-line ‘Cuda convertible powered by the 426 cubic inch, 425 horsepower dual quad Street Hemi.

• Only three of those were confident enough of their driving skills to opt for the Hurst pistol grip shifted four-speed manual transmission.

• Only two of those were delivered in the U.S.

• Both U.S.-delivered ’71 Hemi ‘Cuda convertibles were B5 Blue with

matching interiors.

 

That’s only three, in all the world, that combined the Street Hemi engine with the ‘Cuda convertible body and 4-speed transmission in 1971. One of them is the car offered here, BS27R1B269588, the only one with white soft top and elastomeric front bumper cover.

 

The “Mountain Mopar” Hemi ‘Cuda Convertible

 

Built in February of 1971, this Plymouth Hemi ‘Cuda convertible’s first owner, Ronald Ambach, lived in St. Louis, Missouri. He owned it only until the fall, accumulating the car’s only street miles, before selling it to its next owner, Nick Masciarelli, in Ohio. He decided to take the Hemi ‘Cuda Stock Eliminator drag racing and turned to renowned Detroit-area engine builder Tom Tignanelli for a hot Hemi V8. The new owner was in a hurry, and the quickest way to meet his request was to swap the original engine for a fresh race-prepared Tignanelli Hemi.

 

In May of 1973, the Hemi ‘Cuda convertible was sold to John Book and partner John Oliverio in West Virginia who raced it in East Coast and Mid-Atlantic events during 1973 and 1974. Its dramatic appearance, complete with gold-leaf “Mountain Mopar” identification, is documented in several period photos in the car’s documentation file.

 

Fortunately for today’s collectors, the “Mountain Mopar” Hemi ‘Cuda convertible was retired after 1974 and stored in a climate-controlled building in West Virginia. In 1989 it was sold to the Painter brothers. Two years later it was acquired by Milt Robson in Atlanta, Georgia, still in its as-raced condition. Robson commenced a comprehensive restoration using original or new-old-stock parts to its original, as-delivered condition in his shops, which was completed in the early 90’s. Stored inside for virtually its entire life, 269588 was never subjected to the vicissitudes of the elements which afflicted most of its siblings; its original sheet metal and interior are carefully restored and retained. The engine was rebuilt around a correct 1/19/1970 date-coded Chrysler NOS block.

 

In addition to the 426/425 horsepower dual quad Street Hemi and pistol grip Hurst shifted four-speed manual transmission, this unique 1971 Hemi ‘Cuda convertible is equipped with power steering, power brakes, Dana Super Track Pack and AM-FM radio. Importantly, it is the only ’71 Hemi ‘Cuda convertible known to have been delivered with the body-colored Elastomeric front bumper cover. Its original configuration is verified by two separate original build sheets; the ownership history is documented with a continuous sequence of titles. It has been personally viewed by Galen Govier and authenticated by him as one of the seven US-delivered ’71 Hemi ‘Cuda convertibles which have been included in the Chrysler Registry.

 

Finished in B5 Blue inside and out with a white vinyl top, it has been restored to better than showroom condition. Particular attention has been paid to the accuracy of its components and finishes and to the preservation of as much as possible of its almost unbelievable originality, including the carefully preserved original interior.

 

It has been shown only in local shows around Atlanta in the mid 90s, was featured a decade ago in a May 1995 Car Collector magazine article by Dennis Adler and has appeared in several books, copies of which come with the car.

 

Putting a free-breathing, high-rpm engine like the 426 Hemi in a lithe, frisky chassis like the ‘Cuda was exactly what the forces of political correctness inveighed against in the early 70s. In 1972 the Hemi was gone for the second time, its visceral appeal buried in a cascade of social responsibility, “net” horsepower and Highway Fuel Economy ratings. There is nothing politically correct, nothing socially responsible about a Hemi ‘Cuda. The 1971 Plymouth Hemi ‘Cuda convertible is wretched excess in a nearly unimaginably limited production package.

 

This is absolutely the most desirable, rare and handsome of all the American Muscle and Pony Cars. Combining the brute power and torque of the legendary dual quad Street Hemi engine with the sleek, aggressive lines of the ‘Cuda convertible, it is the ultimate combination of personal car style and Muscle Car performance, a singular example and the quintessential muscle car of all time.

 

[Text from RM Auctions]

 

www.rmauctions.com/lots/lot.cfm?lot_id=132126

 

This Lego miniland-scale Plymouth HEMI ' Cuda Convertible (1971), has been created for Flickr LUGNuts' 89th Build Challenge, - "Over a Million, Under a Thousand", - a challenge to build vehicles valued over one million (US) dollars, or under one thousand (US) dollars.

 

This particular vehicle was auctioned by the RM Auction house for US$2,420,000)

I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.

 

Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.

 

The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.

 

The castle was restored in the 20th century and is now open to the public.

 

The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.

 

The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.

 

History

Early Middle Ages

A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.

 

The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.

 

The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.

 

Later Middle Ages

During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.

 

In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.

 

In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.

 

Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.

 

In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.

 

William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.

 

16th century rebuilding

Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".

 

Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.

 

James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.

 

During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.

 

In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.

 

A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.

 

An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.

 

Civil wars

Further information: Scotland in the Wars of the Three Kingdoms

In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.

 

Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.

 

Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.

 

The Honours of Scotland

Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.

 

They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.

 

In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.

 

Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.

 

Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.

 

Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.

 

At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.

  

Whigs and Jacobites

Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.

 

The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.

 

The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.

 

The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".

 

Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.

 

Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.

 

In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.

 

Later history

The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.

 

In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.

 

Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.

 

It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.

 

Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.

 

Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.

 

Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.

 

The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.

 

Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.

  

Description

Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.

 

The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).

 

The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".

 

Defences

The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.

 

The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.

 

Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.

 

Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.

 

The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.

 

A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.

 

Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.

 

Tower house and surrounding buildings

The tower house of Dunnottar, viewed from the west

The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.

 

Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.

 

Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.

 

This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.

 

The palace

The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.

 

It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.

 

Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.

 

At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.

 

The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.

 

The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.

 

Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.

 

At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.

Copyright - All Rights Reserved - Black Diamond Images

 

Oltschibachfall is a stunning waterfall in Switzerland, located in the Bernese Oberland region. It plunges from a height of approximately 280 metres (920 feet), making it one of the tallest waterfalls in the country. The waterfall is fed by the Oltschibach stream, which originates from the slopes of the Brienzer Rothorn and cascades down into Lake Brienz.

 

Key Features:

Location: Near Brienz, in the canton of Bern.

Height: Around 280 metres.

Water Source: Oltschibach stream, which is primarily fed by snowmelt and rainfall.

Best Time to Visit: Late spring to early summer, when snowmelt increases the water flow.

Viewing Points:

The best views of Oltschibachfall can be seen from Lake Brienz, especially from boat cruises.

Hiking trails in the region offer different perspectives of the falls, especially from higher elevations.

Nearby Attractions:

Brienz: A picturesque lakeside village known for woodcarving and Swiss chalets.

Giessbach Falls: Another famous waterfall nearby, with a historic grand hotel.

Brienzer Rothorn: A scenic mountain that offers panoramic views of the Bernese Alps.

Oltschibachfall is less famous than some other Swiss waterfalls, but its dramatic drop and setting make it a fantastic spot for nature lovers and photographers.

 

Its possible to drive fairly close to Oltschibachfall. While there’s no direct road right up to the base of the waterfall, you can get quite near by car and then take a short walk to a good viewing spot.

 

Driving Directions:

Drive towards Brienz via the A8 highway.

From Brienz, head towards Axalp on the Axalpstrasse (the road leading up the mountain).

Look for a small parking area near Fluringen or along the road, where you can stop for a short walk to get a closer view of the falls.

The waterfall is visible from various points along the Axalp road, and you can get good roadside views without much hiking. However, to get the best views, a short walk may be needed. Chat GPT

  

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

 

View from Mt Difficulty winery and restaurant where we had lunch. March 6, 2014 South Island, New Zealand.

 

Mt Difficulty Wines is located in Bannockburn and the Cellar Door at Mt Difficulty Wines is known as much for its dramatic views of rugged rock and thyme landscapes as it is for its stylish wine and food.

 

All wines that carry the Mt Difficulty Bannockburn Estate label are subject to two strict criteria: they have to be sourced from vineyards situated in a very specific area – Bannockburn, south of the Kawarau River – and they are to be under the umbrella of the Mt Difficulty management team. The reasons for these self-imposed constraints are that we believe this to be an area with very special qualities for growing grapes, and that the management of the vineyard is reflected in the quality of the ultimate product.

For More Info: www.mtdifficulty.co.nz/vineyards/bannockburn-map.html

  

A Stellar Nursery in Orion's Sword, credit to my son who's new to astro photography and captured this with his iphone attached to a Celestron telescope.

  

Behold the Orion Nebula, also known as Messier 42 or simply M42 – one of the most breathtaking deep-sky objects in the night sky and the closest major star-forming region to Earth at about 1,350–1,500 light-years away.Hanging like a cosmic jewel in the "sword" of the constellation Orion (just below the famous Belt of three stars), this glowing cloud of gas and dust is visible to the naked eye as a fuzzy patch under dark skies. With an apparent magnitude of around 4.0, it's bright enough for binoculars or a small telescope to reveal its stunning details: swirling pink and red hydrogen gas excited by intense radiation from hot young stars, mixed with blue reflection nebulae and dark lanes of dust.At its heart lies the Trapezium Cluster – four massive, blazing stars that power the nebula's glow and sculpt its dramatic shapes. This is a true stellar nursery, only about 2 million years old (a baby in cosmic terms!), where thousands of new stars are being born from collapsing clouds of gas. Recent views from telescopes like Hubble and JWST have even captured planet-forming disks and intriguing features like rogue planet pairs.For astrophotographers, Orion season (winter in the Northern Hemisphere) is prime time – and right now in early 2026, Orion is riding high in the evening sky.

   

Scotland baked in the sun today 25/5/2018, with the sun beating down it felt like a day to get out and about, I decided to revisit one of my favourite sites

Dunnottar Castle as it is located

40 minutes drive from my home in Aberdeen,a piper played as visitors and tourists arrived , what a magnificent sight.

 

I wandered along the base of the castle and enjoyed the bay with its calm waters and great views, after an hour or so it was time to leave and climb the numerous stairs back up the hill to the car park.

 

Castles History.

 

Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.

 

The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.

 

The castle was restored in the 20th century and is now open to the public.

 

The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.

 

The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.

 

History

Early Middle Ages

A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.

 

The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.

 

The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.

 

Later Middle Ages

During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.

 

In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.

 

In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.

 

Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.

 

In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.

 

William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.

 

16th century rebuilding

Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".

 

Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.

 

James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.

 

During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.

 

In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.

 

A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.

 

An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.

 

Civil wars

Further information: Scotland in the Wars of the Three Kingdoms

In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.

 

Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.

 

Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.

 

The Honours of Scotland

Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.

 

They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.

 

In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.

 

Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.

 

Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.

 

Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.

 

At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.

  

Whigs and Jacobites

Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.

 

The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.

 

The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.

 

The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".

 

Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.

 

Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.

 

In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.

 

Later history

The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.

 

In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.

 

Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.

 

It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.

 

Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.

 

Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.

 

Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.

 

The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.

 

Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.

  

Description

Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.

 

The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).

 

The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".

 

Defences

The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.

 

The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.

 

Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.

 

Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.

 

The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.

 

A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.

 

Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.

 

Tower house and surrounding buildings

The tower house of Dunnottar, viewed from the west

The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.

 

Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.

 

Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.

 

This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.

 

The palace

The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.

 

It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.

 

Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.

 

At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.

 

The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.

 

The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.

 

Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.

 

At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.

Crarae Garden is a tranquil site, with its dramatic gorge, rippling burn, waterfalls and cliffs. The informal hillside layout of mature woody plants radiating out from the burn creates a wonderful natural effect.

 

Near the banks of Loch Fyne, on the west coast, immerse yourself in Britain's finest example of an exotic Himalayan-style woodland garden.

   

Details best viewed in Original Size.

 

The Mutianyu section of The Great Wall is situated 56 miles (90km) north of Beijing and is known for its dramatic mountainous setting, fewer visitors and its less intrusive tourist industry. With a series of watchtowers along its recently restored length, the wall you can see here dates from 1368 and was built upon the foundations of a wall built during the Northern Qi Dynasty (AD 550-577).

Mike and I arrived at Port Everglades in Fort Lauderdale around 11am. After parking and checking in at Cruise Terminal 4, we boarded the Celebrity Constellation and set off to explore the ship. I loved this airy vestibule on Deck 11, which features a stunning chandelier by glass artist Dale Chihuly. I took photos of the chandelier from several angles to show its dramatic size and detail.

A Genuine Example of One of the Eleven 1971 Hemi ‘Cuda Convertibles

 

500+hp, 425hp rated, 426 cu. in. vee eight-cylinder engine, dual four-barrel carburetors, four-speed manual transmission, Hurst pistol grip shifter, independent front suspension with torsion bars, live axle rear suspension with semi-elliptical leaf springs, front disc, rear drum power assisted hydraulic brakes. Wheelbase: 108"

 

Three times Chrysler Corporation has relied upon the Hemi to transform its products and image from dull to sparkling, and three times the Hemi has delivered. In an American car market that has been characterized by glitz, fins and bulk, the technical sophistication of Chrysler’s hemispherical combustion chamber V8 engine has been a refreshing demonstration of the appeal of elegant, thoughtful engineering.

 

In the late 60’s and early 70’s it also acquired a bad boy image of politically incorrect power and performance, establishing a mythical presence that has made the Hemi a legend.

 

Hemi History

 

During development work on World War II aircraft engines, Chrysler’s engineers had seen firsthand the potential for hemispherical combustion chamber engines. In addition to the thermal efficiency of the hemi chamber’s low surface area and its low-restriction cross-flow porting, the angle between the valves ideally disposed the ports for efficient breathing in a

vee-layout engine.

 

Chrysler was the ideal company to pursue the hemispherical combustion chamber V8. It had a longstanding tradition of investigating, developing and perfecting advanced engineering ideas. Unlike its major competitors, Chrysler had neither overhead valve nor vee-configuration engine history, and thus no preconceived notions of how it should be done. Its engine designers could – and did – explore every conceivable engine idea. Their research showed that the hemispherical combustion chamber not only gave better performance than a comparable wedge-chamber head but also tolerated appreciably higher compression ratios.

 

The hemispherical head V8 was introduced in the Chrysler line in 1951. With 331 cubic inches displacement in a short stroke oversquare design, Chrysler’s FirePower V8 delivered 180 horsepower at 4,000 rpm and 312 lb-ft torque at 2,000 rpm. The performance potential of the Hemi was quickly recognized, most famously with the Chrysler C300 and its successors, which set the pace both on the highway and on NASCAR’s speedways. By 1958, however, manufacturing economics swung the pendulum in favor of the wedge-chamber V8s. The Hemi was phased out in 1959 … but not for long.

 

In the early 60s the 413 and 426 Wedge engines were dominant in drag racing but lacked the continuous high rpm performance needed on NASCAR’s speedways. Dodge and Plymouth were being trounced, a situation that couldn’t be allowed to stand. Faced with a need to develop a high performance, free-breathing engine quickly, Chrysler’s engineers turned to the solution they already knew worked, the Hemi. They stuck with the overall dimensions of the Raised Block 426 Wedge so existing fixturing and machining setups could be employed and maintained the original Hemi’s dual rocker shafts and 58° valve included angle. To adapt the Hemi head to the Raised Block engine, the ingenious Chrysler engineers rotated the combustion chamber toward the engine’s centerline about 8 1/2°.

 

Completed and delivered to the track just days before the 1964 Daytona 500’s green flag, the 426 Hemis proved to be invincible, sweeping the top three places in NASCAR’s most important race.

 

Production of the second generation Hemi ended after the 1971 model year as emission restrictions and insurance surcharges gave horsepower, which had never been entirely socially acceptable, a distinctly antisocial taint. Chrysler would twice more resurrect the Hemi, however, first as a crate engine program for hot rodders and later as a third generation production engine that brought DaimlerChrysler back to the forefront of performance at the beginning of the 21st century. Like some other forms of antisocial behavior, horsepower has proven to be addictive.

 

The Hemi ‘Cuda

 

Of all the Street Hemis built, the most famous, attractive and desirable are the 1970-1971 E-body Plymouth ‘Cudas, combining the visceral delight of the Hemi’s power and torque with the ‘Cuda’s lightweight, streamlined and refined 2+2 platform.

 

The first Barracuda was introduced in 1964 and in the late 60’s Chrysler engineering and Hurst performance shoehorned Race Hemi engines into the Barracuda’s engine compartment for NHRA drag racing. Seventy-five were built, sold and successfully campaigned around the country. When the Barracuda was redesigned for the 1970 model year the engine compartment was made large enough for the legendary 425 horsepower 426 cubic inch Street Hemi.

 

The Plymouth Barracuda was the cleanest, most refined and elegant of all the pony car designs. Distinguished by its wide grille, long, flat hood, short rear deck and ominously raised rear fenders – deliberately shaped like the haunches of an animal crouching before a leap – the appearance of the ‘Cuda left no doubt that this was a serious performance car.

 

Hemi-powered ‘Cudas are surpassingly rare. Built for only two years, 1970 and 1971, their low production numbers reflect the undeniable fact that the combination of the ‘Cuda platform and the Street Hemi engine was irrationally fast. It also was expensive: $871.45 in 1970 and $883.90 in 1971, a prohibitive 70% more than the 390 horsepower 440 Six Barrel.

 

A Hemi ‘Cuda was not for the faint of heart nor for the cautious of pocketbook. Buying one took serious commitment, backed up by an ample budget. In 1971 there were only 119 souls brave and prosperous enough to make the commitment to check off E74, the Street Hemi’s order code, on the ‘Cuda order form.

 

• 108 of them ordered hardtops

• Only eleven stepped up for the top-of-the-line ‘Cuda convertible powered by the 426 cubic inch, 425 horsepower dual quad Street Hemi.

• Only three of those were confident enough of their driving skills to opt for the Hurst pistol grip shifted four-speed manual transmission.

• Only two of those were delivered in the U.S.

• Both U.S.-delivered ’71 Hemi ‘Cuda convertibles were B5 Blue with

matching interiors.

 

That’s only three, in all the world, that combined the Street Hemi engine with the ‘Cuda convertible body and 4-speed transmission in 1971. One of them is the car offered here, BS27R1B269588, the only one with white soft top and elastomeric front bumper cover.

 

The “Mountain Mopar” Hemi ‘Cuda Convertible

 

Built in February of 1971, this Plymouth Hemi ‘Cuda convertible’s first owner, Ronald Ambach, lived in St. Louis, Missouri. He owned it only until the fall, accumulating the car’s only street miles, before selling it to its next owner, Nick Masciarelli, in Ohio. He decided to take the Hemi ‘Cuda Stock Eliminator drag racing and turned to renowned Detroit-area engine builder Tom Tignanelli for a hot Hemi V8. The new owner was in a hurry, and the quickest way to meet his request was to swap the original engine for a fresh race-prepared Tignanelli Hemi.

 

In May of 1973, the Hemi ‘Cuda convertible was sold to John Book and partner John Oliverio in West Virginia who raced it in East Coast and Mid-Atlantic events during 1973 and 1974. Its dramatic appearance, complete with gold-leaf “Mountain Mopar” identification, is documented in several period photos in the car’s documentation file.

 

Fortunately for today’s collectors, the “Mountain Mopar” Hemi ‘Cuda convertible was retired after 1974 and stored in a climate-controlled building in West Virginia. In 1989 it was sold to the Painter brothers. Two years later it was acquired by Milt Robson in Atlanta, Georgia, still in its as-raced condition. Robson commenced a comprehensive restoration using original or new-old-stock parts to its original, as-delivered condition in his shops, which was completed in the early 90’s. Stored inside for virtually its entire life, 269588 was never subjected to the vicissitudes of the elements which afflicted most of its siblings; its original sheet metal and interior are carefully restored and retained. The engine was rebuilt around a correct 1/19/1970 date-coded Chrysler NOS block.

 

In addition to the 426/425 horsepower dual quad Street Hemi and pistol grip Hurst shifted four-speed manual transmission, this unique 1971 Hemi ‘Cuda convertible is equipped with power steering, power brakes, Dana Super Track Pack and AM-FM radio. Importantly, it is the only ’71 Hemi ‘Cuda convertible known to have been delivered with the body-colored Elastomeric front bumper cover. Its original configuration is verified by two separate original build sheets; the ownership history is documented with a continuous sequence of titles. It has been personally viewed by Galen Govier and authenticated by him as one of the seven US-delivered ’71 Hemi ‘Cuda convertibles which have been included in the Chrysler Registry.

 

Finished in B5 Blue inside and out with a white vinyl top, it has been restored to better than showroom condition. Particular attention has been paid to the accuracy of its components and finishes and to the preservation of as much as possible of its almost unbelievable originality, including the carefully preserved original interior.

 

It has been shown only in local shows around Atlanta in the mid 90s, was featured a decade ago in a May 1995 Car Collector magazine article by Dennis Adler and has appeared in several books, copies of which come with the car.

 

Putting a free-breathing, high-rpm engine like the 426 Hemi in a lithe, frisky chassis like the ‘Cuda was exactly what the forces of political correctness inveighed against in the early 70s. In 1972 the Hemi was gone for the second time, its visceral appeal buried in a cascade of social responsibility, “net” horsepower and Highway Fuel Economy ratings. There is nothing politically correct, nothing socially responsible about a Hemi ‘Cuda. The 1971 Plymouth Hemi ‘Cuda convertible is wretched excess in a nearly unimaginably limited production package.

 

This is absolutely the most desirable, rare and handsome of all the American Muscle and Pony Cars. Combining the brute power and torque of the legendary dual quad Street Hemi engine with the sleek, aggressive lines of the ‘Cuda convertible, it is the ultimate combination of personal car style and Muscle Car performance, a singular example and the quintessential muscle car of all time.

 

[Text from RM Auctions]

 

www.rmauctions.com/lots/lot.cfm?lot_id=132126

 

This Lego miniland-scale Plymouth HEMI ' Cuda Convertible (1971), has been created for Flickr LUGNuts' 89th Build Challenge, - "Over a Million, Under a Thousand", - a challenge to build vehicles valued over one million (US) dollars, or under one thousand (US) dollars.

 

This particular vehicle was auctioned by the RM Auction house for US$2,420,000)

The Sleeping Giant seen from the back side on the Sibley Peninsula across Lake Mary Lousie.

A reversal some say is the Female Version.

  

The Sleeping Giant is a formation of mesas and sills on Sibley Peninsula which resembles a giant lying on its back when viewed from the west to north-northwest section of Thunder Bay, Ontario, Canada. As one moves southward along the shoreline toward Squaw Bay the Sleeping Giant starts to separate into its various sections. Most distinctly in the view from the cliffs at Squaw Bay the Giant appears to have an Adam's Apple. The formation is part of Sleeping Giant Provincial Park. Its dramatic steep cliffs are among the highest in Ontario (250 m). The southernmost point is known as Thunder Cape, depicted by many early Canadian artists such as William Armstrong.

 

One Ojibway legend identifies the giant as Nanabijou, who was turned to stone when the secret location of a rich silver mine now known as Silver Islet was disclosed to white men

Explore Apr 10, 2011 #121

 

This Passion Vine (Passiflora vitifolia) grows along fences, over shrubs and garages here in South Florida. The leaves are glossy green and grape-leaf like. But what will simply knock your socks off are its dramatic, outrageous flowers! Surely they come from another planet! But no, they come from South America.

 

Legend and romance surround the passion flower... legend because of historical associations with Christianity. And romance because of its suggestion of romantic passion. Early explorers and missionaries to the Southern hemisphere named these dramatic vines Passiflora or Passion Flower to help in their conversion of native Americans to Christianity. They used the beautiful intricate flower parts to tell the story of the death of Jesus, making the story more memorable to listeners. The family name, Passifloraceae, means "Flower of the Passion" or "Flower of the Cross."

 

The color symbolized the blood shed on the cross; the 10 petals and sepals represented the 10 apostles present of the crucifixion; the 5 stamens, the 5 wounds, the 3 styles, the 3 nails ( or, in some versions, Christ and the 2 thieves crucified with him); the vine tendrils, the ropes and scourges; the 3 secondary leaf bracts, the holy trinity. The flower is usually open 3 days representing the 3 years of Christ's ministry on Earth. Source: "Florida's Fabulous Flowers, Their Stories" by Winston Williams.

 

See my sets Tantalizing Flowers and Blossoms and Passionate Passion Vines for more images of this amazing exotic, erotic flower.

Biscayne Park, FL

www.susanfordcollins.com

 

First visit of 2019 for me to this stunning castle today Thursday 28th March 2019.

 

Dunnottar Castle.

 

The rock the Castle sits upon was forced to the surface 440 million years ago during the Silurian period. A red rock conglomerate with boulders up to 1m across known as Pudding Stone is incredibly durable.

 

The ancient Highland rock pebbles and cementing matter is so tough that faults or cracks pass through the pebbles themselves.

 

I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.

 

Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.

 

The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.

 

The castle was restored in the 20th century and is now open to the public.

 

The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.

 

The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.

 

History

Early Middle Ages

A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.

 

The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.

 

The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.

 

Later Middle Ages

During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.

 

In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.

 

In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.

 

Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.

 

In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.

 

William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.

 

16th century rebuilding

Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".

 

Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.

 

James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.

 

During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.

 

In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.

 

A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.

 

An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.

 

Civil wars

Further information: Scotland in the Wars of the Three Kingdoms

In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.

 

Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.

 

Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.

 

The Honours of Scotland

Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.

 

They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.

 

In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.

 

Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.

 

Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.

 

Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.

 

At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.

  

Whigs and Jacobites

Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.

 

The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.

 

The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.

 

The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".

 

Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.

 

Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.

 

In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.

 

Later history

The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.

 

In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.

 

Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.

 

It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.

 

Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.

 

Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.

 

Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.

 

The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.

 

Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.

  

Description

Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.

 

The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).

 

The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".

 

Defences

The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.

 

The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.

 

Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.

 

Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.

 

The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.

 

A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.

 

Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.

 

Tower house and surrounding buildings

The tower house of Dunnottar, viewed from the west

The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.

 

Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.

 

Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.

 

This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.

 

The palace

The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.

 

It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.

 

Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.

 

At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.

 

The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.

 

The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.

 

Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.

 

At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.

1 2 ••• 37 38 40 42 43 ••• 79 80