First of July 2017 I made my way to Stonehaven, a small fishing town a few miles from Aberdeen, while there the sun shone high in the blue sky making it a perfect day to capture the scenery and landscape surrounding me, hence I packed my Nikon D750 and made full use of it, I left Stonehaven around 16pm and drove the few miles to this wonderful location Dunnottar Castle, absolutely breathtaking , I post a few of the photos I have taken along with a brief history of castles heritage .

 

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.

The Colorado River is the principal river of the Southwestern United States and northwest Mexico. The 1,450-mile (2,330 km) river drains an expansive, arid watershed that encompasses parts of seven U.S. and two Mexican states. Rising in the central Rocky Mountains in the U.S., the river flows generally southwest across the Colorado Plateau and through the Grand Canyon before reaching Lake Mead on the Arizona–Nevada line, where it turns south toward the international border. After entering Mexico, the Colorado approaches the large Colorado River Delta where it naturally emptied into the Gulf of California between Baja California and Sonora, though it no longer reaches its delta or the sea.

 

Known for its dramatic canyons and whitewater rapids, the Colorado is a vital source of water for agricultural and urban areas in the southwestern desert lands of North America. The river and its tributaries are controlled by an extensive system of dams, reservoirs, and aqueducts, which divert 90% of its water in the U.S. alone to furnish irrigation and municipal water supply for almost 40 million people both inside and outside the watershed. The Colorado's large flow and steep gradient are used for generating hydroelectric power, and its major dams regulate peaking power demands in much of the Intermountain West. Since the mid-20th century, intensive water consumption has dried the lower 100 miles (160 km) of the river such that it has not consistently reached the sea since the 1960s.

 

After the greater Colorado River basin became part of the U.S. in 1846, the bulk of the river's course was still largely the subject of myths and speculation. Several expeditions charted the Colorado in the mid-19th century, one of which, led by John Wesley Powell in 1869, was the first to run the rapids of the Grand Canyon. American explorers collected valuable information that would later be used to develop the river for navigation and water supply. Large-scale settlement of the lower basin began in the mid- to late-19th century, with steamboats providing transportation from the Gulf of California to landings along the Colorado River that linked to wagon roads into the interior of New Mexico Territory. Lesser numbers settled in the upper basin, which was the scene of major gold strikes in Arizona and Nevada in the 1860s and 1870s.

 

Major engineering of the river basin began around the start of the 20th century, with many guidelines established in a series of domestic and international treaties known as the "Law of the River". The U.S. federal government was the main driving force behind the construction of hydraulic engineering projects in the river system, although many state and local water agencies were also involved. Most of the major dams in the river basin were built between 1910 and 1970, and the system keystone, Hoover Dam, was completed in 1935. The Colorado is now considered among the most controlled and litigated rivers in the world, with every drop of its water fully allocated.

 

The damming and diversion of the Colorado River system have been flashpoint issues for the environmental movement in the American Southwest because of their impacts on the ecology and natural beauty of the river and its tributaries. During the construction of Glen Canyon Dam, environmental organizations vowed to block any further development of the river, and a number of later dam and aqueduct proposals were defeated by citizen opposition. As demands for Colorado River water continue to rise, the level of human development and control of the river continues to generate controversy.

 

en.wikipedia.org/wiki/Colorado_River

 

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

Mott Haven, The Bronx, New York City, New York, United States

 

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

 

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

 

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

 

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

 

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

 

The Industrial Development of Mott Haven

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The Estey Piano Company and Its Factory

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Description

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

- From the 2006 NYCLPC Landmark Designation Report

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

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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.

   

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

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

 

DESCRIPTION AND ANALYSIS

 

Summary

 

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

 

Development of Central Park West

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The Architect

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The San Remo

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

are fine in silhouette____ The proportions are

 

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

 

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

 

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

 

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

 

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

 

Architectural Sources and Style

 

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

 

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

 

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

 

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

 

Description

 

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

 

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

 

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

 

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

 

Detailing

 

Fenestration:

 

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

 

Main Entrances:

 

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

 

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

 

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

 

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

 

Office Entrances:

 

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

 

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

 

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

 

These are detailed like those on the facade.

 

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

 

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

 

Service Entrances:

 

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

 

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

 

Third Story Window Enframements:

 

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

 

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

 

Fourth Story Window Enframements:

 

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

 

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

 

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

 

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

 

Fourth Story Cartouche:

 

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

 

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

 

Eleventh-Twelfth Story Window Enframements:

 

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

 

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

 

Thirteenth to Fifteenth Story Window Enframements:

 

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

 

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

 

Thirteenth to Seventeenth Story Window Enframements:

 

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

 

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

 

Twenty-third Story Window Enframements:

 

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

 

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

 

Twenty-sixth - Twenty-seventh Story Window Enframements:

 

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

 

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

 

Suprastructure Window Enframements:

 

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

 

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

 

Temples:

 

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

 

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

 

- From the 1987 NYCLPC Landmark Designation Report

Kirkjufell, or 'Church Mountain', is a distinctly shaped peak found on the north shore of Iceland’s Snæfellsnes Peninsula, only a short distance away from the town of Grundarfjörður. It is often called ‘the most photographed mountain in Iceland’ due to its dramatic formation and perfect coastal location.

Kirkjufell takes its name from its resemblance to a church steeple, sharpened at the top with long curved sides. From other angles, the mountain has been compared to a witch’s hat or even a freshly scooped ice cream.

 

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

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.

More info here - www.thevisitor.co.uk/visitor-features/Ship-wreck-still-in...

 

Ship wreck still interests Heysham inhabitants

 

Published Date: 08 November 2007

A shipwreck off Heysham has fascinated inhabitants of the village and its surrounding area since the vessel ran aground over 100 years ago.

Retired ship engineer and Heysham resident KEN CALVERLEY tells GREG LAMBERT how he fell in love with the sunken cargo ship – The Vanadis of Jakobstad in Finland – and how he researched its dramatic history, then

rescued and restored the ship's cannon, which he hopes will be put on display in Heysham for future generations...

 

IT was a sunny day, September 20 2005, when Ken Calverley walked out across the Heysham sands to get a close-up view of the wreck of the Vanadis.

 

After a 20-minute walk accompanied by his grandson Thomas, he reached the sunken hull of the ship that had been wrecked at Half Moon Bay for his entire life.

 

"We were surprised how long the hull was and what good condition the wood was in to say it had been buried in the sand and wrecked over 100 years ago," he says.

 

"As I stood and looked at the wreck I thought to myself what would life have been like on board the Vanadis.

 

"It must have been a terrible experience when the Vanadis went on the sandbank and was pounded by the raging sea and damaged by gale force winds."

 

Ken, who worked on ship maintenance at Heysham Harbour for more than 33 years, knew the basics of the story – that the Vanadis had been wrecked off Heysham in a storm in 1903, before being blown ashore and coming to rest at Half Moon Bay.

 

When they returned home, he found himself looking at pictures of the wreck taken by his grandson - curious to find out more about the Vanadis and exactly how it came about its demise.

 

Fascinated by the shipwreck, Ken made regular walks out onto the sand over the ensuing weeks.

 

On one visit, he came across a most interesting find in the stern of the rotten hull.

 

"Covered in rust and scale and buried partly in the sand we found a cannon, about three feet in length.

 

"We did not think a sailing ship would need to carry a cannon in 1903. When we got home I telephoned the Lancaster Maritime Museum and told them of our find. After some days they got in touch and said they had no room for the cannon.

 

"I couldn't believe it. If this isn't maritime history I don't know what is."

 

Disappointed but undeterred, Ken looked up the Vanadis on the Internet but most of the information he discovered was written in Swedish.

So he wrote to the museum in Jakobstad, Finland, where the ship was first built.

 

"To my surprise they soon answered my letter and sent me pictures of the Vanadis in her sailing days," he says.

 

"They thanked me for the photographs and information I sent them about the Vanadis and said they had some diaries written by crew members in Swedish, but they would translate it for me if I was interested.

 

"I wrote back and said yes. I received them a few weeks later – they told me about the terrible weather and crossings of the Atlantic Ocean that the ship had been through.

 

"They also said the ship had a cannon because there could have been rogue (pirate) ships in the Eastern seas during its early days at sea."

According to the information Ken received from Jakobstad museum, the Vanadis was built in Jakobstad in 1874.

 

In Nordic mythology Vanadis is another name for Freya – the goddess of fertility, youth, beauty and the dead – and she was represented in the ship's figurehead.

 

The cargo ship, originally owned by a rich Finnish shipping merchant called Otto Malm, was 185 feet long and 35.1 breadth with a gross tonnage of 1.1019 tonnes.

 

The Vanadis made its first journey to England on November 12, 1874 – destination Hull. Other early journeys took the ship to Singapore, Java and New York.

 

Tragedy struck the frigate on December 7, 1882, when in the English Channel, heavy seas washed over the ship and pulled five men overboard to their deaths. A sixth casualty of the same journey died of stomach trouble.

 

In July 1894 the Vanadis was hit by a hurricane as it sailed towards the Florida coast. The ship was battered for many hours by storm force winds but arrived in Pensacola, despite all sails having been blown to shreds and severe damage to masts and rigging.

 

On August 25 1898 the Vanadis left Plymouth heading for the north American coast to pick up a cargo of timber. On October 2 they were hit by another massive hurricane north of the Bahamas. The main top sails were torn to pieces and the mast was destroyed.

 

Somehow the crew survived, and set to work to put up masts out of the wreckage left on the decks, and rig up the sails and get the ship sailing again.

 

In a subsequent letter to his wife, first mate Frans Hagglund described this hurricane as so devastating the Vanadis could easily have been wrecked and "lost with all hands".

 

But after a few more days at sea the ship was able to limp into the city of Savannah in Georgia.

 

The Vanadis stayed there until early 1899 as repairs took many months. The ship was then sold to John Anderson from the Island of Aland in Finland.

 

Over the next four years the frigate continued to sail, mainly bringing timber to Europe from America.

 

Its final trip began on February 22, 1903, headed from Darien in Georgia, USA with a cargo of timber to the port of Fleetwood.

 

But the following day the Vanadis ran into a storm, this time in Morecambe Bay as gales reached storm force in Heysham Lake.

 

The ship rang aground on Sunderland bank in the entrance to the River Lune in extremely rough seas. A Fleetwood lifeboat, the Maude pick-up, was sent out to rescue nine of the crew and the other members of the 20-strong crew managed to make their own escape in a boat. All survived.

 

The ship then floated off Sunderland bank and drifted up past the entrance of the new Heysham Harbour – which was not open to ships until 1904. The Vanadis was then was blown ashore in Half Moon Bay about five miles from Sunderland bank.

 

"It's amazing that the ship survived two hurricanes, yet was eventually wrecked in Morecambe Bay," says Ken.

 

According to records supplied by Jakobstad museum, the new owners had not maintained the ship's windlass and both the captain and the pilot agreed this was the cause of the wreck. After the wreck, the cargo was removed by horse and cart and sold to the highest bidder. As she lay on the shore the ship was stripped of her decking and broken masts.

 

"On the day the Vanadis was blown ashore and wrecked, the people of Heysham would have been on the shore looking for bits of the wreck," says Ken.

 

He says a local blacksmith salvaged some of the yellow metal sheathing from the hull, while the ship's figurehead was retrieved and became a feature of the rose gardens of Heysham Head, until it was sold when the Head was closed down many years ago.

 

As years went by the hull of the Vanadis was slowly covered with sand before gradually being re-exposed by the elements about a decade ago.

Shortly after his phone call to Lancaster Maritime Museum, Ken and his friend, fisherman Trevor Owen from Sunderland Point, decided to rescue the cannon he had uncovered in the wreck.

 

"After all, you don't find a 100-year-old cannon every day!" says Ken.

On Sunday November 11, 2005, Ken and Trevor ventured out onto the sands on a quad bike on their rescue mission.

 

"The cannon was very heavy and it was hard work to get it on the back of the quad bike," says Ken.

 

The pair attracted attention from some dog walkers, who reported them to the police – saying someone was looting the over 100-year-old wreck!

 

"I told the police I had contacted the museum, they said they had no room for it so we decided to go and save it as it was a bit of Heysham's heritage," says Ken. "They agreed it was a good idea.

 

"We put the cannon in fresh water for the winter months until May 2006 to get the salt out of it. Most of the rust was removed with a wire brush and it was in quite good condition to say it had been under sand and sea for over a century."

 

Using pitch pine wood washed up on Middleton Sands from the old Heysham Harbour jetty, Ken built a carriage for the restored cannon to sit on.

"We had a hard job getting four iron wheels for the carriage but I know a local scrap dealer Howard who found us some after a long search. I can't thank him, and Trevor, enough for their help."

 

Ken says he looks at the finished cannon and realises the whole experience has been worthwhile.

 

"When I returned to the wreck some weeks after rescuing the cannon, the rollers and iron work that had been with the cannon had gone, washed out of the stern end and sunk in the sand, lost forever."

 

Ken thinks it won't be long before the wreck itself is completely covered again.

 

"I went out again in July and the middle of the hull's back was broken, and filled with sand.

 

"The surrounding sand isn't safe to walk on now, it's quicksand.

"I don't think I'll go out again – I think the winter gales might finish her off."

 

The cannon is currently in storage, but Ken intends to talk to the Heysham Heritage Centre in Heysham Village to see if they can put it on permanent display.

 

"I've said all along that it should belong to the Village," explains Ken.

 

"After all, it is an important part of Heysham's heritage. "

n OUR thanks to Charlie Overett and Ian Miller for helping us take photos of the Vanadis.

Union Square, Manhattan, New York City, New York, United States

 

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

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

Hot Wheels really do seem to have got the hang of producing some really stunning little models of European supercars recently. One of their latest is the extreme looking Lamborghini Aventador J with its dramatic roofless profile and eye-catching yellow finish. The only thing really which lets it down because it is so visible is the really really basic dashboard and steering wheel. Budget toy manufacturers such as Welly, Realtoy and even Majorette make the effort to produce realistic interiors but Mattel don't seem to bother with such things and that includes the Matchbox brand too. Mint and boxed.

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.

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

The Rathskeller in the Seelbach Hotel, Louisville, Kentucky

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

  

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

Union Square, Manhattan, New York City, New York, United States

 

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

Union Square, Manhattan, New York City, New York, United States

 

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

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.

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

 

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

 

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

 

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

 

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

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

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

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

 

Summary

 

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

 

Development of Central Park West

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The Architect

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The San Remo

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

are fine in silhouette____ The proportions are

 

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

 

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

 

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

 

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

 

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

 

Architectural Sources and Style

 

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

 

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

 

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

 

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

 

Description

 

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

 

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

 

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

 

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

 

Detailing

 

Fenestration:

 

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

 

Main Entrances:

 

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

 

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

 

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

 

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

 

Office Entrances:

 

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

 

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

 

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

 

These are detailed like those on the facade.

 

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

 

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

 

Service Entrances:

 

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

 

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

 

Third Story Window Enframements:

 

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

 

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

 

Fourth Story Window Enframements:

 

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

 

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

 

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

 

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

 

Fourth Story Cartouche:

 

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

 

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

 

Eleventh-Twelfth Story Window Enframements:

 

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

 

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

 

Thirteenth to Fifteenth Story Window Enframements:

 

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

 

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

 

Thirteenth to Seventeenth Story Window Enframements:

 

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

 

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

 

Twenty-third Story Window Enframements:

 

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

 

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

 

Twenty-sixth - Twenty-seventh Story Window Enframements:

 

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

 

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

 

Suprastructure Window Enframements:

 

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

 

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

 

Temples:

 

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

 

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

 

- From the 1987 NYCLPC Landmark Designation Report

I love this building and its dramatic frontage. The Millenium Centre in Cardiff. Tonight the sun makes the bronze glow.

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

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

 

Summary

 

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

 

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

 

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

 

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

 

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

 

The Industrial Development of Mott Haven

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The Estey Piano Company and Its Factory

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Description

 

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

 

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

  

- From the 2006 NYCLPC Landmark Designation Report

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

 

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

 

ETYMOLOGY

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

 

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

 

GEOGRAPHY

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

 

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

 

MINOR ISLANDS

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

 

GEOLOGY

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

 

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

 

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

 

PREHISTORY

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

 

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

 

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

 

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

 

HISTORY

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

 

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

 

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

 

CENTRAL SULAWESI

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

 

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

 

POPULATION

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

 

RELIGION

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

  

POPULATION OF SULAWESI BY PROVINCE (2010)

South Sulawesi (46.4%)

Central Sulawesi (15%)

Southeast Sulawesi (13%)

North Sulawesi (13.0%)

West Sulawesi (6.6%)

Gorontalo (6%)

 

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

 

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

 

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

 

AGMINISTRATION

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

 

FLORA AND FAUNA

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

 

MAMMALS

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

 

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

 

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

 

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

 

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

 

BIRDS

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

 

REPTILES

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

 

AMPHIBIANS

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

 

FRESHWATER FISH

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

 

FRESHWATER CRUSTACEANS AND SNAILS

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

 

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

 

MISCELLANEOUS

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

 

CONSERVATION

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

 

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

 

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

 

ENVIRONMENT

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

 

Other environmental threats included bushmeat hunting and mining.

 

PARKS

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

 

WIKIPEDIA

One of the many carvings adorning the wall arcading in the north aisle.

 

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

 

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

 

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

 

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

 

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

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

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

 

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

 

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

 

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

 

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

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

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

 

January 21, 2011 snow storm

 

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

 

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

 

Development of Central Park West

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The Architect

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The San Remo

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

are fine in silhouette____ The proportions are

 

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

 

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

 

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

 

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

 

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

 

Architectural Sources and Style

 

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

 

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

 

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

 

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

 

Description

 

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

 

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

 

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

 

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

 

Detailing

 

Fenestration:

 

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

 

Main Entrances:

 

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

 

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

 

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

 

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

 

Office Entrances:

 

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

 

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

 

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

 

These are detailed like those on the facade.

 

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

 

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

 

Service Entrances:

 

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

 

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

 

Third Story Window Enframements:

 

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

 

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

 

Fourth Story Window Enframements:

 

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

 

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

 

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

 

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

 

Fourth Story Cartouche:

 

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

 

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

 

Eleventh-Twelfth Story Window Enframements:

 

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

 

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

 

Thirteenth to Fifteenth Story Window Enframements:

 

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

 

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

 

Thirteenth to Seventeenth Story Window Enframements:

 

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

 

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

 

Twenty-third Story Window Enframements:

 

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

 

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

 

Twenty-sixth - Twenty-seventh Story Window Enframements:

 

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

 

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

 

Suprastructure Window Enframements:

 

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

 

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

 

Temples:

 

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

 

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

 

- From the 1987 NYCLPC Landmark Designation Report

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/

 

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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 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

Llyn Llech Owain Country Park is is a stunning 158-acre expanse of woods and lakeland near Cross Hands with nature trails, an adventure area and visitor centre. At the heart of this spectacular park is its dramatic lake which is surrounded by peat bog and there’s a lovely myth associated with Llyn Lech Owain. Legend has it that Owain Lawgoch ("Owain of the Red Hand" - who led an army of French mercenaries against the English in the Hundred Years' War), was entrusted to look after a well on the mountain named Mynydd Mawr. Each day, after extracting enough water for himself and his horse, Owain was always careful to replace the stone but on one occasion he forgot and a torrent of water poured down the side of the mountain. The resultant lake was hence named Llyn Lech Owain - the lake of Owain’s slab. Today, specially constructed paths allow for safe access over the bog and around the lake. The paths are well-surfaced and accessible to wheelchair-users. A forest track provides a longer walk or cycle ride around the country park and there’s a rough mountain bike trail for the more adventurous cyclist. Much of the park consists of coniferous woodland, planted by the Forestry Commission during the 1960s and there are also areas of dry heath and broad-leaved woodland.

The Rathskeller in the Seelbach Hotel, Louisville, Kentucky

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

  

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

 

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

 

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

 

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

 

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

 

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

 

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

Chassis n° S80

 

Bonhams : the Zoute Sale

Estimated : 900.000 - 1.100.000

Sold for € 890.281

 

Zoute Grand Prix 2019

Knokke - Zoute

België - Belgium

October 2019

 

"The low chassis Invicta was probably the best-looking sports car in the vintage tradition ever to be produced in England. I can think of no contemporary unsupercharged motor-car of similar capacity, made here, which could outperform it - and very few built elsewhere..." – J R Buckley, 'The 4½-litre S-Type Invicta', Profile Publications, 1966.

 

In an era when most cars stood tall, the 4½-litre S-Type Invicta, with its dramatically under-slung chassis, caused a sensation: few sports cars before or since have so looked the part. The Invicta Company's origins go back to the year 1924 when Noel Macklin and Oliver Lyle, both of whom already had motor industry experience, got together to create a car combining American levels of flexibility and performance with European quality and roadholding.

 

Like the contemporary Bentley, the Invicta was designed by men with a personal background of competition motoring and both were produced to an exemplary standard. Price was only a secondary consideration, a factor that contributed largely to both firms' failure to weather the Depression years of the early 1930s. Like Bentley, Invicta struggled against rising costs and falling sales, the final car leaving the factory, appropriately enough, on Friday the 13th of October 1933, though a handful of cars was assembled at the company' service depot in Flood Street, Chelsea between 1934 and 1936. In all, its is estimated that approximately 1,000-or-so Invictas of all types were made.

 

Apart from a handful of prototypes built at Macklin's home in Cobham, Surrey, all Invictas were powered by the tireless six-cylinder engines made by Henry Meadows. Invicta cars quickly established a reputation for outstanding durability, which was underlined by the award of the RAC's coveted Dewar Trophy in 1926 and 1929, largely for the marque's success in long-distance reliability trials, including a factory-backed around-the-world trip by lady drivers Violette Cordery (Macklin's sister-in-law) and Eleanor Simpson in chassis number 'LC134'.

 

Launched at the 1930 Motor Show at Olympia, the S-type featured an all new 'under-slung' chassis that achieved a much lower centre of gravity by positioning the rear axle above the frame rails instead of below as was normal practice at the time. Just about the only thing the S-type Invicta had in common with its contemporary stablemates was the 4½-litre Meadows engine, which was also used for the 'NLC' and 'A' models. Like most low-revving engines it delivered ample torque in the lower and middle speed ranges. Indeed, the Invicta can be throttled down to 6-8mph in top gear - despite its relatively high 3.6:1 final drive ratio - and will then accelerate rapidly and without complaint when the accelerator is depressed. Contemporary motoring press reports typically recorded acceleration figures of 10-70mph in 19 seconds, which speaks volumes for the Invicta's legendary flexibility.

 

The popular '100mph Invicta' tag notwithstanding, standard cars had a – still impressive – top speed of around 95mph with more to come in racing trim. However, it must be stressed that the S-type Invicta was primarily a very fast but comfortable high-speed touring car, and although it met with moderate success in racing in the hands of private owners in the early 1930s, its greatest appeal lies in an ability to cover a substantial mileage at high average speeds with no strain, either to driver or the machinery. Raymond Mays, writing of the two Invictas he owned in the early 1930s, says that they gave him some of the most exhilarating motoring he ever had, with their ability "to crest most main-road hills at nearly the century".

 

The Cordery/Simpson 3-Litre Invicta having driven around the world only two years previously, under RAC observation, with no failure apart from a broken half-shaft, which occurred while crossing Australia, it was not considered necessary to prove the S-type by subjecting it to similar examinations. Although there was a limited racing programme, the company's main effort focussed on proving the cars by entering the most challenging long-distance trials in the motoring calendar, achieving notable successes. The Austrian Alpine Trail was chosen as a suitable test and the S-type duly excelled in this arduous event, Donald Healey twice winning a Coupe des Glaciers for Invicta as well as the 1931 Monte Carlo Rally. Later, the S-type took the International Sports Car Record at Shelsley Walsh hill climb and, by way of variety, the Mountain Circuit lap record at Brooklands in 1931 and again in 1932, courtesy of Raymond Mays.

 

Invictas are about as indestructible in normal use as a car can be. Over 70 years after the last car left the Cobham factory, approximately 68 of the 75-or-so S-types built are known to survive and most are in excellent order, testifying to the fact that they have always been regarded as high quality motor cars. Indeed, in pre-war days there was a club dedicated exclusively to the model and members famously christened individual cars with names like 'Scythe', 'Scrapper' and 'Sea Lion'. 'S80' was named 'Sea Urchin'.

 

Chassis number 'S80' was originally bodied by Vanden Plas and first registered in the UK as 'GP 37'. Its first owner's identity is not known but by 1938 the Invicta belonged to one Alex J Black, who was followed in 1944 by Luis Juan Castagnino of Cornwall. Next owner Lord Charles Martin of London acquired 'S80' in 1946 and kept the car for two years. Its next owner, James Leslie McConchie of Durham, kept the Invicta for 30 years before parting with it in 1978. William Symons of Otterburn was the Invicta's next custodian, keeping the car until 1987 when it passed to Martin Kölnberger of Aachen, Germany and was reregistered there. 'S80' then had two further European owners: R Bernard of Villers-la-Ville, Belgium followed by Thomas Koerver of Düsseldorf, Germany. The current vendor - a resident of Potters Bar, UK and Aachen, Germany - acquired the Invicta in 2009. Currently registered as 'HVS 978' in the UK, the car comes with a UK V5C Registration Certificate and a German KZF-Brief.

 

From 1978, the Invicta was raced by Bill Symons with a Superleggera lightweight body (the car weighs around 1,300 kg with cycle wings) and won the Fox & Nicholl Trophy. From 1987, 'S80' participated in numerous races and rallies at venues throughout Europe including Le Mans, Targa Florio, Montlhéry, Coppa D'Italia, Nürburgring, Silverstone, etc.

 

At present the chassis carries the aforementioned Superleggera aluminium body together with the original Vanden Plas wings. The convertible hood and windscreen are located in the rear for use on rallies. The car's original one-off fixed-head coupé body with its large sunroof, built in 1931 by Vanden Plas, comes with the car, as do the original steps, the second spare wheel holder, and cycle wings dating from the 1970s.

 

In 2007, the Meadows engine (number '7482') was rebuilt by LMB in Wommelgem, Antwerp to fast road/racing specification (bills of € 50,000 available). It produces a maximum of around 180bhp, which is good enough for a top speed of circa 180 km/h (112 mph). Oil pressure is said to be perfect and there are no overheating problems. 'S80' is thus both powerful and fast, with a good-handling chassis, making it perfect for cruising, rallying or racing.

 

The 'Low Chassis' Invicta S-Type is now regarded as one of the most desirable pre-war sports cars, sought after by collectors for its exceptional driving abilities, style and sheer presence. A guaranteed entry at the most prestigious rallies, concours events and race meetings around the world, the 'Low Chassis' has an enviable reputation amongst connoisseurs and examples are to be found in some of the most important private collections.

 

Swimming Pool, and its dramatic backdrop, at the Arac Hotel Al Ula, Northwest Saudi Arabia. February 2013.

 

Samsung PL90 digital camera (point and shoot)

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

 

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

 

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

 

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

 

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

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

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

The Rathskeller in the Seelbach Hotel, Louisville, Kentucky

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

  

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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.

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

 

The William J. Syms Operating Theater, built 1890-1892, was the most advanced operating theater in the world when it opened and one of the first equipped for aseptic surgery. The result of a collaboration of the architect William Wheeler Smith and the prominent American surgeon Charles McBurney, the building represented the attempt in the 19th century to reconcile architecture with technological advances.

 

The appearance of the building, subtle and simple in detail but striking in its massing, especially in the form of its semi-conical roof, is expressive of the unusual functional demands of the building, an effort to harmonize the design with the other Roosevelt Hospital buildings, and the well-developed personal style of the architect for medical buildings.

 

Syms was the fourth of several major pavilions built as part of the pavilion plan 'of Roosevelt Hospital begun in 18 69, and as such is both part of one of the earliest pavilion plan hospitals in America, and a rare early survivor of a once highly influential approach to hospital design. Syms was the center of medical education in New York City in its early years, and it was the site of numerous advances in surgical practice at a time when modern surgery was taking shape.

 

Roosevelt Hospital

 

The Syms Operating Theater was one of a series of pavilions built according to the original pavilion plan of Roosevelt Hospital. The pavilion plan was an important early step, proposed by the French Academy of Sciences in 1788 but not executed until much later, in applying scientific knowledge to the design of hospitals. At first it called for small parallel two-story buildings, called pavilions, set in a symmetrical plan oriented for access to light and air.

 

Disease and infections were believed to be carried in vapors, odors, dirt, and other "miasms" which were dispelled by light and goo d ventilation. Later, improved lighting and mechanical ventilation systems led to the acceptance of larger pavilion buildings. Syms' location, siting, massing, and exterior detail as well as its institutional history all relate to the original plan for Roosevelt Hospital and to the architecture of its early buildings.

 

Roosevelt Hospital was established by the bequest of James Henry Roosevelt who left about $1,000,000 to build a hospital "for the reception and relief of sick and diseased persons."2 Roosevelt Hospital occupies the full block bounded by 58th and 59th Streets and Ninth and Tenth Avenues. Although the land was part of the 1811 Commissioners Plan of Streets, 59th Street was only opened in 1851, and in 1866 when Roosevelt Hospital bought its site the area was still mostly scattered houses and small farms. The trustees of the hospital adopted the pavilion plan in 1866. This was among the earliest in the United States and, as far as is known, the first in New York City.

 

Although no early plan of the hospital survives, the original intention was to build a series of four parallel pavilions. In the first building campaign , the prominent New York architect, Carl Pfeiffer, designed all the major buildings, three pavilions along 59th Street. They were built in the High Victorian Gothic Style with red brick walls and light colored "Ohio Stone" trim, and had lively roof lines. The one-story Surgical Pavilion next to the future site of the Syms Operating Theater was the smallest and most simply detailed of the group. The pavilion plan was largely adhered to in several expansions of the hospital, including a group of buildings designed by W. Wheeler Smith in the 1880s and 1890s, until about 1940.

 

Surgery, Medical Education, and Operating Theaters

 

In the 19th century, surgery developed from a remedy of last resort to a common medical procedure, in part due to the introduction of anesthesia in 1847 and to the development of two theories of modern surgery, antiseptic surgery developed by Joseph Lister in 1867, followed by aseptic surgery about 1890. The operating theater was developed in the early 19th century on the model of anatomical theaters which had been the center of medical training since the Renaissance.

 

In the 1870s, many new operating theaters, including the first one at Roosevelt Hospital, were built for the rapidly growing population of student surgeons. Usually incorporated in larger hospital buildings but occasionally occupying their own pavilions, these were well-ventilated wood rooms, often decorated, amply lit by large windows and gas lamps, which accommodated up to 3 00 observers. The best-known operating theater of this generation was at Johns Hopkins Hospital in Baltimore, built between 1877 and 1885.

 

These were superseded by a new generation of operating theaters about 189 0 for aseptic surgery, among the very first of which were the McLane Operating Room^ , designed in 18 9 0 by W. Wheeler Smith at Roosevelt Hospital for gynecological surgery, and the Syms Operating Theater. These had improved heat and ventilation from mechanical forced air systems, improved lighting from electric lights, and, with the understanding that absolute cleanliness was essential, smooth, impervious materials for all surfaces.

 

Aseptic operating rooms were bright, clean, hard, undecorated spaces, they were the "high tech" spaces of their day. They utilized the latest technology to produce places suitable for the latest medical practices in a rapidly changing period.

 

History of Syms Operating Theater

 

The Syms Operating Theater was built with $3 50,000 left by William J. Syms , $250,000 to build the theater and the remainder to be invested as an endowment for its work. Syms expressed in his will the desire to erect an operating theater which would be "an enduring monument to himself" and of "great service to suffering humanity."8

 

Syms was a partner in the New York firm of Blunt and Syms, for more than 2 5 years the largest gunmaker and dealer in New York. Syms was also a founder of the Metropolitan Gas Company and the Forty-second and Grand Street Railroad Company, and he was President of the Franklin Telegraph Company and Vice-president of the Atlantic and Pacific Telegraph Company. At his death, the Times said that he was' "one of the largest land and house owners" in New York.

 

Syms stipulated that the surgeon, Dr. Charles McBurney would have complete charge of the building's design and operation. McBurney was a prominent New York surgeon and professor at the College of Physicians and Surgeons.

 

In the year before William Syms died, McBurney achieved international recognition for his identification of the diagnostic point on the abdomen for appendicitis, still called "McBurney's Point." In his years at Syms, he described "McBurney's Incision," a method for removing the appendix, and made numerous other well publicized advances in the practice of surgery. Under McBurney, Syms became a world renowned center for surgeons. McBurney had been called when President McKinley was shot because of his long experience in treating such cases at Roosevelt Hospital.

 

Indeed, McBurney took an active role in the design of the Syms Operating Theater. He made a tour of the most modern operating facilities in Europe and America including "all the large hospitals in England, France, Germany, Austria, and Switzerland" and worked closely with the architect, W. Wheeler Smith, in the design of Syms. It appears that McBurney wrote a detailed program for the building and closely critiqued Smith's plans, finally accepting a fourth effort.13

 

Application for a building permit was made on October 15, 1890 and the building was completed on October 17, 1890. It opened on November 3, 1892 and at that time was considered the most advanced operating theater in the world.

 

In addition to "McBurney's Incision," described above, which was developed largely at Syms, a number of other notable surgical advances were made here. These included the popularization of the use of rubber gloves, the invention of the "Roosevelt clamp," the first use by Thomas Bennett of the nitrous oxide-ether sequence and his subsequent development of the Bennett inhaler, and the development of the Connell Airway Anesthetometer by Dr. Karl Connell."

 

Design and Construction

 

The design of the Syms Operating Theater followed the very latest standards for a scientifically correct surgical operating theater. Syms was planned to serve several complex objectives and its simple exterior form belies the substantial complexity of the interior. Named for its dramatic focal point, the surgical amphitheater, the building also contained numerous additional rooms with varied requirements for light, air, and location. These included visitors' rooms, recovery rooms, living quarters for nurses and assistant surgeons, a decorated private chief surgeon's room, laboratory rooms, rooms for photography and

 

microscopes, two small operating rooms, surgeons' rooms, an ether room, various preparation rooms for bandages, instrument sterilization and storage, and separate circulation systems for visitors, the surgical staff, patients, and residents of the building. Visitors entered the building from the street; patients and medical staff entered via the connecting corridor to the surgical ward next door.

 

The Syms Operating Theater, a "fireproof" building,17 was built of loadbearing brick walls above a stone foundation with rolled-iron floor and roof beams and brick floor arches, and a slate roof. In addition, iron was used extensively for lintels and to create special spaces and features, notably the wheel-ramp leading from the amphitheater to the recovery room, and the amphitheater itself. The amphitheater, whose design was an innovative solution to the problem of lighting such spaces, had a semi-conical iron roof structure supporting tiers of skylights that provided diffused light without glare to the arena.

 

Exterior materials include Haverstraw brick with Trenton molded brick and terra-cotta details, granite window trim, copper downspouts, slate roofing, and "Hayes Skylights." Inside, "No device has been omitted to repel the invasion of dirt and dust...," to dispel dampness, or to admit light.

 

These devices included mosaic tile floors with curved corners, light colored impermeable wall surfaces of marble and painted hard plaster, cement floors in the amphitheater, floor traps, and a basement floor of cement mixed with felt to absorb moisture.

 

The building had a sophisticated heating and ventilating system operated from an engine room and a fan room in the basement. Important features of the system visible from the outside are the air intake tower which projects above the west wing of the building abutting the recovery rooms, brick chimneys in a symmetrical arrangement on either side of the amphitheater roof, and the massive exhaust chimney at the rear of the amphitheater roof.

 

In designing the exterior of the Syms Operating Theater the architect endeavored to make the building harmonize with its High Victorian Gothic style neighbors at Roosevelt Hospital in its setback from the street, the massing of its volumes, the contrasting use of red brick with light stone trim, and picturesque roof form. In particular, it related to the old Surgical Pavilion next door in the height of its one-story wings and in the rhythm and placement of its stone lintels.

 

While the round entrance arch and the main exhaust chimney recall the Romanesque, the overall design reflects the personal approach of the architect for hospital buildings. The principal features were decorative detail largely confined to variations of color and texture in flat walls, recessed windows which minimized

 

interior reveals, curved corners, and modest cornices. In 1892 when it opened, the restrained use of decorative detail was unusual for a prominent medical building. Most contemporary New York hospital buildings were more stylish and more lavishly ornamented, built generally for private paying patients or institutions with religious affiliations. Their designs may have been more fully in the hands of institutional benefactors or architects rather than doctors, and their outward appearances had more to do with aesthetic or conventional symbolic associations than with the practical function of a hospital. For example, Presbyterian Hospital, built in the Romanesque Revival Style at the same time as Syms, was designed by J.C. Cady and was a picturesque composition of Richardsonian elements that conveyed both an ecclesiastical and a club-like character to the building, and St. Luke's Hospital, designed by Ernest Flagg the year Syms opened employed a Beaux-Arts composition and French Baroque ornament in a sophisticated way that conveyed the power, permanence, and reliability of the institution.

 

In contrast to these, at Syms the exterior appearance was considered important but secondary to the primary scientific function of the building.20 Making a virtue of a restricted budget for its exterior, the design appears neither frugal nor lacking expressiveness, but serious and straightforward, evoking the high place of medical science in determining its form, and the priority of science over symbolism in the medical care to be provided within.

 

As a work of architecture, Syms must be seen in the context of hospital buildings and operating spaces not just in New York City but internationally. In this context it is a remarkable building representative of an alliance of medical science and architecture that produced some of the most advanced buildings of the 19th century.2-1

 

William Wheeler Smith22

 

William Wheeler Smith , designer of the Syms Operating Theater, practiced architecture in New York from 18 65 to 1908. During an unusually long career, he designed a number of notable buildings including the Collegiate Reformed Protestant Dutch Church at 48th Street and Fifth Avenue; the James White Building , a cast-iron commercial structure, now a designated New York City landmark, at 361 Broadway; the W. & J. Sloane Store , a large commercial structure now included in the Ladies Mile Historic District; and the Syms Operating Theater. Smith was successful and well regarded in his day but most of his major buildings have been demolished and little else survives to give us a full picture of his life and career.

 

Born in New York City, "Mr. Smith was described by his friends and associates as an 'old school architect' who had inherited the fondness and ability for his profession from his father, a well-known builder of this city.112 3 He apprenticed with one of the leading architects of the day, James Renwick, and studied at the University of London. He practiced on his own from about 1865 until his death in 1S08.

 

Along with his architectural practice Smith invested in real estate. He left an estate worth more than $3,000,000, almost all of which was to build "a country sanitarium for poor convalescents who must be sent away from St. Luke's [Hospital] before they have fully regained their strength."

 

Smith's philanthropic interest in hospitals was long standing. Over a period of many years he designed several buildings for Roosevelt Hospital including the Syms Operating Theater, without pay.

 

Smith's career seems to fall into two periods, an early period of general practice and a later period of specialization in hospital architecture and real estate development. The hospital and medical buildings, including the Sloane Maternity Hospital , the College of Physicians and Surgeons , and the Vanderbilt Clinic , all on the block across 59th Street from Roosevelt Hospital , and the McLane Operating Room , the Accident Building , the Syms Operating Theater, and Private Patients Pavilion of Roosevelt Hospital all resembled one another. A late project of Smith's was the Kingston Avenue Hospital in Brooklyn. A perspective rendering shows a pavilion plan hospital organized much like McKim, Mead, and White's Columbia College Campus and in the same general style.

 

Later History

 

Syms was refurbished in 1934 but remained an operating theater only until 1941 when the new Private Patients pavilion was opened with new surgical rooms. For some time, Roosevelt's role as a teaching hospital had been diminished, styles of teaching surgery had changed, and the theatrical presentation to large crowds was considered obsolete.

 

In 1942 the blood bank and mortuary of the Hospital were moved into Syms. In 1948, Syms was used as a temporary emergency room. In 1953 the rear portion of the building was removed to make way for the new Tower Building, the upper tier of skylights was covered in copper sheets, the semi-opaque glass on the ground floor was replaced by clear glass, the amphitheater was gutted, and the building was occupied by the Department of Pathology.

 

Since that time, air-conditioning equipment has been placed in the front lawn, ducts have been run through several windows, parts ' of the areaway have been obstructed by pipes, trees have been allowed to grow in the front lawn, and the old amphitheater and other spaces have been remodeled to suit changing office and laboratory space needs of the Hospital.

 

Description

 

The Syms Operating Theater is a nearly rectangular structure at the southwest corner of West 59th Street and Ninth Avenue. The building is set back on its two street fronts behind narrow planted strips which are bordered along the sidewalk by an iron fence on a granite base with granite capped brick posts.

 

In its massing the building consists of a central block with an elongated semi-conical roof, one-story wings on either side, a narrow three-story L-shaped wing adjacent to the central block on the south and west sides, and a square air intake tower adjacent to the west side of this wing above the one-story wing.

 

The walls of the building are brick with curved corners. Brick is of two types, each laid in the same plane in Flemish bond and differentiated by their finish: smooth and evenly colored around windows and corners, rough and varicolored between windows. The smooth brick framing was in a form suggesting quoins creating two-story bays at the basement and first story levels. Windows have granite sills and lintels and occasional granite mullions in wider windows, sometimes with egg and dart moldings or block modillions of terra cotta.

 

The roof, whose distinctive form signals the amphitheater below, is crowned by a decorative iron finial in the form of a caduceus surmounted by a fleur-de-lis, and is clad in two tiers of skylights across the front, slate shingles on the sides, and tin flashing.

 

The roof is pierced by a large unadorned chimney in either flank, above the back wall of the amphitheater, and a massive exhaust chimney behind the amphitheater with a Romanesque corbelled cornice. The building is entered through a large rounded arch of glazed brick which is reached by a short flight of stairs. Above this arch is a granite panel with raised letters saying "The Wm. J. Syms Operating Theater of the Roosevelt Hospital, 1891."

 

Alterations

 

Today the exterior of the building is as built except for the loss of the entire south facade , the loss of the southernmost bays of the east and west facades, the addition of copper sheeting over the principal skylights, the presence of modern HVAC equipment, and the overgrowth of the lawn.

 

Although the alterations to the building are extensive and mostly irreversible, the visual character of this highly distinctive building is still largely intact. Its subtly decorated flat brick walls with rounded corners, its strong entranceway and name panel, its massing as visible from most angles, and especially the distinctive shape of its roof are all present.

 

- From the 1989 NYCLPC Landmark Designation Report

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

 

DESCRIPTION AND ANALYSIS

 

Summary

 

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

 

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

 

Development of Central Park West

 

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

 

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

 

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

 

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

 

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

 

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

 

The Architect

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The San Remo

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

are fine in silhouette____ The proportions are

 

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

 

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

 

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

 

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

 

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

 

Architectural Sources and Style

 

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

 

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

 

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

 

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

 

Description

 

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

 

Detailing

 

Fenestration:

 

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

 

Main Entrances:

 

Facade [Central Park West] .

 

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

 

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

 

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

 

Office Entrances:

 

Facade [Central Park West] .

 

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

 

North elevation [75th St.] .

 

These are detailed like those on the facade.

 

South elevation [74th St.] .

 

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

 

Service Entrances:

 

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

 

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

 

Third Story Window Enframements:

 

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

 

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

 

Fourth Story Window Enframements:

 

Facade [Central Park West] .

 

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

 

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

 

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

 

Fourth Story Cartouche:

 

Facade [Central Park West] .

 

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

 

Eleventh-Twelfth Story Window Enframements:

 

Facade [Central Park West] .

 

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

 

Thirteenth to Fifteenth Story Window Enframements:

 

Facade .

 

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

 

Thirteenth to Seventeenth Story Window Enframements:

 

Facade [Central Park West] .

 

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

 

Twenty-third Story Window Enframements:

 

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

 

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

 

Twenty-sixth - Twenty-seventh Story Window Enframements:

 

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

 

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

 

Suprastructure Window Enframements:

 

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

 

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

 

Temples:

 

North and south towers, .

 

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

 

- From the 1987 NYCLPC Landmark Designation Report

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.

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.

The Postcard

 

A pre-1918 view of Piccadilly Circus on a postally unused postcard bearing no publisher's name.

 

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.

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