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Both of these men followed in their father’s footsteps into military careers. They are commemorated on several memorials across the county of Somerset. This memorial is located in Church of St John the Baptist in Yeovil, Somerset. It is placedbqneath a stained glass window dedicated to them, which was erected to their memory by their mother, widows and surviving brother and sister.
Charles Bertie Prowse was born in West Monkton, near Taunton, Somerset in 1869.
He married his wife, Violet Lucy in 1899 and they had one daughter, Violet Muriel in 1900.
I am unsure when Bertie Prowse was commissioned as an officer in Her Majesty’s Army but his memorials state that he fought throughout the African War 1899-1902. He also took part in several of the major battles leading up to the Battle of the Somme.
He was awarded the Distinguished Service Order (DSO). The award was gazetted on page 5569 of the Supplement to The London Gazette published on 3 June 1916.
He died of wounds on 1 July 1916. At the time of his death he was in command of the 11th Brigade in the Battle of the Somme.
Prowse is spoken of in ‘Walking The Somme’, a book by Paul Reed.
“Another 1st Somersets officer who was mortally wounded at Serre on 1 July was Brig-Gen C.B. Prowse DSO. Bertie Prowse was a very popular and highly respected officer who had been Val Brahwaite’s company commander in 1914: he later commanded the 1st Somersets and by the Somme was Brig-Gen of 11 Brigade, of which the 1st Somersets formed a part. Captain. G.A. Prideaux witnessed his death: ‘at about 9.45am the General (Prowse) decided to move his headquarters into the German line, thinking that it had been cleared of all Germans. Just as he was getting out of the front-line trench … he was shot in the back by a machine-gun in the Redan Ridge.’ Prowse’s wound proved serious and he died of his wounds in a casualty clearing station at Vauchelles; he was originally buried in Vauchelles Communal Cemetery, but today his grave can be found in Lovencourt military Cemetery. Unusually, several places on the Western Front were named after him; Prowse Farm at Ypres, Prowse Point at Plogsteert (now a military cemetery) and Fort Prowse near Auchonvillers. In that heavy fighting at Serre on 1 July, the 1st Somersets lost 26 officers and 438 men killed, wounded and missing.” books.google.co.jp/books?id=d7XNDwAAQBAJ&pg=PT36&...
“Prowse Point Military Cemetery is located 11.5 Kms south of Ieper town centre. This cemetery is unique on the Salient for being named after an individual. It is the site of the stand by the 1st Bn. Hampshire Regiment and the 1st Bn. Somerset Light Infantry in October 1914, which featured the heroism of a Major Charles Prowse - later as Brigadier-General C.B. Prowse, DSO (Somerset Light Infantry), he would be killed on the first day of the Battle of the Somme, whilst commanding the 11th Infantry Brigade (he is buried in Louvencourt Military Cemetery Plot 1. Row E. Grave 9).” www.cwgc.org/visit-us/find-cemeteries-memorials/cemetery-...
Cecil Irby Prowse was born in Clifton, Bristol on 26 Sep 1866. He joined the Royal Navy on 15 Jan 1880. During his career he rose through the officer ranks, achieving the rank of captain on 13 Jun 1907. He commanded HMS Powerful, HMS Hannibal, HMS Suffolk, HMS Duke of Edinburgh and HMS Queen Mary. He was killed in action on 31 May 1916 in the North Sea during the Battle of Jutland. He went down with his ship when HMS Queen Mary exploded under enemy gun fire. He is remembered on the Portsmouth Naval Memorial, Portsmouth, Hampshire.
“I deeply regret to report the loss of H.M. ships ' Queen Mary,' ' -Indefatigable/ 'Invincible,' 'Defence,' 'Black Prince,' 'Warrior,' and of H.M. T.B.D.'s '.Tipperary,' 'Ardent,' 'Fortune,' 'Shark,' 'Sparrowhawk,' 'Nestor,' 'Nomad,' and ' Turbulent,' and still more do I regret the resultant heavy loss of life. The death of such gallant and distinguished officers as Rear-Admiral Sir Robert Arbu'thnot, Bart., Rear-Admiral The Hon. Horace Hood, Captain Charles F. Sowerby, Captain Cecil I. Prowse, Captain Arthur L. Cay, Captain Thomas P. Bonham, Captain Charles J. Wintour, and Captain Stanley V. Ellis, and those who perished with them, is a serious loss to the Navy and to the country. They led officers and men who were equally gallant, and whose death is mourned by their comrades in the Grand Fleet. They fell doing their duty nobly, a death which they would have been the first to desire.” J. R. Jellicoe Admiral, Commander in Chief, page 6720, Supplement to The London Gazette 16 July 1916 www.thegazette.co.uk/London/issue/29654/data.pdf
1. I am thankful for Doreen at the local RBC who was not able to directly assist me but was lovely just the same ! :) I am equally thankful for Jess, Rach, Joshua and Gail who helped me to understand and fill out a gosh darn lot of paper work this week.
2. I am thankful for finally letting myself ask someone if we could work together in a life coaching sense. Asking was the first step and usually helps heaps with my getting going.
3. I am thankful for letting myself use Flickr people as my reward for the close of at least one day! :) There are so many great photos with so many great stories to learn. I had been frustrated by my tendency to sort of ‘wander off’ for weeks at a time and then feeling bad about not having communicated with the cool people that come by to say howdy and whose photos and stories that I enjoy. Flickr is a community .. my sitting passively viewing (and being inspired by) people’s photos is not engaging in that community. This is me working to become actively involved in communities that inspire me to come more alive. Yes, I know it is generally wrong to use people but my intentions are good! :)
4. I am thankful for Daniel for letting me know that he has found the gratitude lists that I do to be helpful. His action has been a catalyst to a great deal of important inner work for me (that is why it takes me so much time to respond to comments sometimes). The important stuffs I am working on are how I seem to be able to hand that gratitude out but I could certainly use some practise in being a better receiver of gratitude. To receive gratitude gracefully is to honour the gift inside the person offering the gratitude. (I think) I think this means that to offer gratitude is to say, “your action has made something in me come alive and it caused this reaction/action”?
5. I am thankful for learning about Marshall B. Rosenberg’s writing because his books are helping me to learn to express and receive gratitude.
6. I am thankful to have been able to work with T because she helped me to be accountable for walking my talk and through her example I am learning that I have a lot to learn about celebrating my successes.
7. I am thankful for finishing a large artwork this week along with a couple of medium works. I am truly amazed how limiting the time I allow myself to do my work gets so much more done .. and it has me sneaking in work on my ‘bank day’ to do work simply because doing my work just feels good and right. I am thankful for the feeling I get when the artwork gets done before lunch, not only because I get to eat lunch on time but also because I feel like I have triumphed over something very difficult and I seem to fly through the rest of my work day! :)
8. I am thankful that my younger sister is speaking up for herself and self-directing her life more so. She is really fun and personable (IMO) and I wish for her new work that makes her come more alive and her eyes shine surrounded by more people who value her work! :) I am quite excited for the new opportunities this will bring into their lives! Now I am thinking of what present I can send to her?! :)
9. I am thankful for when I go to bed before 11:30 because then I am much more pleasant to be around! Since I must be around myself 24/7, the experience might just as well be pleasant! ;) I am thankful there is heat in my apartment, the 17 Celsius average was not particularly conducive to rest or thought.
10. I am thankful for putting more effort into understanding and connect with my mom better and differently. This is helping me to recognize more of the gazillion loving ways she is and has always been. This has also been a smidge humbling [*cough] because it has helped me to see how she always seems to go the extra mile but I haven’t always recognized this and am still practising recognizing this. For instance, she was at the store and sent me a text message asking if I would like her to pick up some things while she was in town. Yes, please! :) I asked for a certain cheese, she brought the certain cheese AND another type of cheese that I like! (this makes me feel more special) I asked her to bring some dry beans for protein .. she brought me some of the meat that I sometimes eat when I am with her. While meat doesn’t agree with my digestive tract so well I can see that she brought the meat because (I suspect) she believes that good meat is important to be healthy AND our family hasn’t always been able to afford nice things so to have good meat is a treat AND she knows that I am working on doing my artwork so this is her way of being supportive and cheering me on. She also brought me some black sharpie pens to help me do my work. I am thankful at how I am getting better at offering her the opportunity to either hear or read my gratitude list and how I am getting better at simply shutting up and listening for her to talk about what she wants to and leaving the rest alone. That has been a challenge for me in the past.
11. I am thankful for these materials I have been reading this week
* Dr. Seuss books are awesome with the sauce! It amazes me how much wisdom can be gained from reading some rhyming words of a children’s book. I don’t know that I have a favourite at the moment though. I hated reading as a kid because I couldn’t get the words to be still long enough to read the darned things - now I read as much as I can fit into my brain! I heart reading. :) I am so very thankful that I have Irlen filters and some adaptive software now to access information that I always tried to get at. People will only put up with so many questions, believe it or not! ;)
* Letters to a young artist : building a life in art by Julia Cameron. Some of the back at forth defensiveness can be a little grating on the nerves but it still has some very useful kernels wisdom to impart, IMO.
12. I am thankful for Simon Sinek’s TED talk (that I have listened to at least five times so far!) It kind of haunts my thoughts on why/how/what I could do better.
13. I am thankful for allowing myself the time and space to think about what I want to communicate with people before interacting because it feels authentic and it certainly is good to know the world does not go all Wacky Wednesday when it takes me a bit longer to reply.
14. I am thankful for the window cleaning guy this morning who kindly washed the back of my inside kitchen windows this morning because it is the one that causes me much grief and cussing when I take it out and repeatedly attempt to put it back!
15. I am thankful for getting my butt in gear this morning to go for a short photo walk! I had not taken any photos this week, not even any documentary ones for my artwork. I have been taking my camera along, I just hadn’t taken any photos.
16. I am thankful for signing up for Tim Brownson’s newsletter because he is offering ”free” life coaching to the person that is able to communicate their commitment to making lasting changes. To answer the question of exactly how committed I am through my ability to make previous lasting change is an effective exercise for me because I have been able to see that I have already made several important life changes. When in the middle of changes I don’t always remember that.
17. I am thankful for composting because when I re-pot plants there are often volunteer plants that flower, like the little yellow flowers on the vines that are wrapping themselves around two of my impatiens. They might be cantaloupe or watermelon.
18. I am thankful for taking art history with Dr. Carmen Robertson because she was very encouraging and helpful to me to write my first essays in about a decade. Without her way of doing things I don’t think I would have written the essays for the class, passed the class or had the momentum to heave myself out of the belief that my writing is worthless. I highly recommend taking a class with her if you want to learn about art and art history because she is engaged and engaging in the work, has a sense of fun AND she marks with a green pen! :) I appreciated how she treated people like the adults that we are while introducing us to the subject matter leaving the deeper learning up to each learner. I read and learnt SO much!!
19. I am thankful that people are being very kind and gentle when trying to tell me about my Red Velvet Ropes. This is exciting because it is showing me how my work is becoming more focused and funneling people in their right directions - some toward me, some away! This has lead to several epiphanies about what my goal is by writing what I do. It does not matter how many people read these lists or look at my work. What matters to me is that the people that will come more alive by reading my writing or seeing my artwork can find it!! :) I want to poke my art’s right people in the brain and connect with them in the heart.
20. I am seriously thankful for going back to read Beth and Daniel’s encouraging words on the lemon stack gratitude list .. I feel so tired but .. Thank you, it has been a really long week.
21. Thank you for reading, that is what I had to give, see you next week.
c1908 postcard view of Hamilton, Indiana. The postcard title refers to “Main Street,” but this must have been Fort Wayne Road, known as Wayne Street today. The photographer was standing at the intersection of Bellefontaine Road (identified as Defiance Road in the 1912 Steuben County atlas.¹). The shadows indicate it was late morning. The Hamilton map in the 1912 atlas shows the Wabash Railroad crossing from west to east at the south edge of town and then turning east-northeast and crossing Richland Township on the way to Ohio. However, the railroad isn’t clearly visible in this view and the map doesn’t show a depot. A small bridge in the distance (above the buggy) must have carried the road over Fish Creek.
The two buildings on the left in this scene are still standing on the southeast corner of the Wayne Street/Bellfontaine Road intersection, but the south half of the second building is gone. The GROCERIES sign advertised the business on that corner, but no other identification of the business name is visible. The word SODA was printed on the folded awning next door and was probably preceded by ICE CREAM. This may have been the location of a drugstore.
The potted tree stood in front of the next store to the south. The two signs above the awning are unclear, but the top sign appears to have a name painted on it. Beyond that tree, the Bell System sign on the utility pole advertised the location of a public telephone. These signs were common across Indiana before personal telephones became commonplace. The J. HARGER MEAT MARKET, CASH FOR HIDES sign appears to be standing in front of the two-story wood frame building. The wagon was parked in front of that building. A barber’s pole is visible farther down the street. It was standing beyond the fourth utility pole on that side of the street, but the shop itself was hidden by tree foliage.
Across the street, the woman with the bonnet was standing on the southwest corner at Church Street next to a small structure that might have been a public water well. The FISHING TACKLE HERE sign appears to be associated with a business on the southwest corner of that intersection. A sign advertising THE HAMILTON HARDWARE COMPANY stood at the curb in front of the building on the northwest corner of the intersection. The shape and format of the lettering on the sign hanging on the corner of that building strongly suggests it is advertising Garland brand stoves and ranges. Many hardware stores across Indiana displayed similar signs back then.
Farther north, another sign advertised RUDD & CO. DRUGGIST. The lower sign advertised ICE CREAM SODA, SOUVENIR POSTALS, FISHING TACKLE. (The souvenir postals were postcards.) A 1905 national druggists directory² included only two druggists at Hamilton. They were Rudd & Co. and Charles E Swift. A 1909 National Association of Retail Druggists publication reported, “… at Hamilton, Rudd & Co. sold out to Waldo Miller….” This photograph must have been taken prior to that sale.
Next door to the drugstore, the awning advertised HAMILTON BANK. A 1910 report³ said the bank received its state Certificate of Authority in 1905. O. H. Taylor was listed as president and cashier.
1. H. W. Morley, Atlas of Steuben County Indiana/i> (Angola, IN, 1912), page 25. Available online at www.historicmapworks.com/Atlas/US/11595/.
2. The Era Druggists Directory, Eleventh Edition (New York, NY: D. O. Haynes & Co., 1905). Available online at books.google.com/books?id=bantAAAAMAAJ&printsec=front....
3. Auditor of the State of Indiana, Annual Report (Indianapolis, IN: William B. Burford, 1910). Available online at books.google.com/books?id=l_dJAAAAMAAJ&printsec=front....
From a private collection.
Selected close-up sections of this postcard image can be seen here, from left to right in the image.
www.flickr.com/photos/hoosier_recollections/27722364076/i...
www.flickr.com/photos/hoosier_recollections/27722363796/i...
www.flickr.com/photos/hoosier_recollections/27682023051/i...
www.flickr.com/photos/hoosier_recollections/27682022821/i...
Copyright 2006-2016 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
A rather uninspiring photo, but one that I wanted to add to my Frances and David Dover album. I love the way this orange lichen grows on rough surfaces - in this case, on an old garden statue, but elsewhere on things such as gravestones.
In the morning of 25 September 2015, six of us were lucky enough to explore a tiny part of the land belonging to Frances and David Dover. For two of us (myself and our leader), this was our second visit - for the rest, it was a first time there. This photo was taken looking across the large pond on the Dovers' property.
I will copy and paste the description I posted on Flickr from our first visit to the Dover's acreage, on 7 August 2015 (to jog my own memory!):
"Yesterday, 7 August 2015, four of us were extremely fortunate to have the chance to visit the home and highly varied topographic 62-acre property belonging to Frances and David Dover. We felt honoured and privileged to meet and spend time with Frances and David, and also their daughter Carolyn and her husband Clair. A delightful family who welcomed us so warmly into their home and land.
This acreage of grassland, forest, rolling hills - and special gardens - is not far from Millarville, SW of Calgary. In fact, it's in an area that I often drive through when I only have time for, or only feel like doing, a short drive. Amazing what little gems exist out there.
This is not just a beautiful property, but is very special for various reasons. For one thing, read any history of Alberta and you will find the Dover family, including David's mother, Mary Dover. Second, among the trees and open "lawns", there are Peony flower beds, containing 100-150 heritage Peonies, each one different, that have now multiplied to more than 300 plants. Unfortunately, they bloomed a couple of weeks early this year, and all the flowers had gone to seed. Another open area had a different kind of ground cover - Thyme, which smelled wonderful. If I remember correctly, this was the open space where the Calgary Philharmonic Orchestra performed on one occasion!
There are two large ponds on the property and another smaller area of water that they hope to turn into a Japanese Garden. It was while walking around the latter that a large brown 'shape' could be seen through the dense trees - a handsome Moose buck. I will look properly at the four or so photos I just managed to get and will slip one of them into my photostream sometime soon, just for the record, definitely not for the photo quality : ) This was also where a Great Horned Owl was seen flying through the trees by some of us (not me, ha!).
There are grassy paths winding through the acreage, up and down hill, that take David seven hours to mow. They are not pristine, velvety paths, but instead, they seem to take nothing away from the wildness of the whole area. One of the animals that have passed through is the Cougar. In fact, several years ago, I saw a video taken on a nearby (or adjacent?) property, where a 'kill' and night-time camera had been set up and a total of six different Cougar individuals were seen!
Even the Dover's home is unique and beautiful. It is completely built of concrete - floors, walls, ceilings, roof, deck, and so on. A Hummingbird feeder and regular bird feeders, set up on the patio, attract a variety of birds. We sat on the patio after our walk to eat our packed lunches - and to enjoy a delicious Orange Pound Cake that Frances had made for us, along with refreshing Iced Tea - thank you so much for this, Frances! Yesterday, while I was waiting for one of three tiny Calliope Hummingbirds to come back, I was lucky enough to see a little Mountain Chickadee, along with many Pine Siskins. We could also hear a Red-tailed Hawk in the area.
There is just so much I could write about this visit and family. Instead, or for now, I will add several links to more information on the Internet. This was a memorable day for us. Thank you so much, Frances and David, Carolyn and Clair, for being so kind and welcoming us into your home and gardens.
books.google.ca/books?id=Tr36Tq_gadcC&pg=PA290&lp...
www.westernwheel.com/article/20110727/WHE06/307279983/-1/...
David's mother, Mary Dover (her father was A. E. Cross), was "a dynamic and distinguished Calgarian, particularly known for her work with the military during World War II." As well as being an army officer, and an alderman, she was also a preservationist. See the following link.
www.albertachampions.org/champions-mary_dover.htm#.VcY1KP...
ww2.glenbow.org/search/archivesMainResults.aspx?XC=/searc...
glencoe.org/documents/10184/637479/The-History-of-Elbow-P... page 44-45 ."
After our visit to the Dover's on 25 September 2015, I decided to drive eastwards along a road that I'd never driven before, until I reached the main road going south. From there, it was a fairly short drive to the Saskatoon Farm. As usual, I wandered round the grounds with my camera and then, when I was ready to leave, I ordered a pizza to take home with me. The inside of the gift shop has recently been renovated and they now have a pizza oven and area.
c1908 postcard view of Hamilton, Indiana. The postcard title refers to “Main Street,” but this must have been Fort Wayne Road, known as Wayne Street today. The photographer was standing at the intersection of Bellefontaine Road (identified as Defiance Road in the 1912 Steuben County atlas.¹). The shadows indicate it was late morning. The Hamilton map in the 1912 atlas shows the Wabash Railroad crossing from west to east at the south edge of town and then turning east-northeast and crossing Richland Township on the way to Ohio. However, the railroad isn’t clearly visible in this view and the map doesn’t show a depot. A small bridge in the distance (above the buggy) must have carried the road over Fish Creek.
The two buildings on the left in this scene are still standing on the southeast corner of the Wayne Street/Bellfontaine Road intersection, but the south half of the second building is gone. The GROCERIES sign advertised the business on that corner, but no other identification of the business name is visible. The word SODA was printed on the folded awning next door and was probably preceded by ICE CREAM. This may have been the location of a drugstore.
The potted tree stood in front of the next store to the south. The two signs above the awning are unclear, but the top sign appears to have a name painted on it. Beyond that tree, the Bell System sign on the utility pole advertised the location of a public telephone. These signs were common across Indiana before personal telephones became commonplace. The J. HARGER MEAT MARKET, CASH FOR HIDES sign appears to be standing in front of the two-story wood frame building. The wagon was parked in front of that building. A barber’s pole is visible farther down the street. It was standing beyond the fourth utility pole on that side of the street, but the shop itself was hidden by tree foliage.
Across the street, the woman with the bonnet was standing on the southwest corner at Church Street next to a small structure that might have been a public water well. The FISHING TACKLE HERE sign appears to be associated with a business on the southwest corner of that intersection. A sign advertising THE HAMILTON HARDWARE COMPANY stood at the curb in front of the building on the northwest corner of the intersection. The shape and format of the lettering on the sign hanging on the corner of that building strongly suggests it is advertising Garland brand stoves and ranges. Many hardware stores across Indiana displayed similar signs back then.
Farther north, another sign advertised RUDD & CO. DRUGGIST. The lower sign advertised ICE CREAM SODA, SOUVENIR POSTALS, FISHING TACKLE. (The souvenir postals were postcards.) A 1905 national druggists directory² included only two druggists at Hamilton. They were Rudd & Co. and Charles E Swift. A 1909 National Association of Retail Druggists publication reported, “… at Hamilton, Rudd & Co. sold out to Waldo Miller….” This photograph must have been taken prior to that sale.
Next door to the drugstore, the awning advertised HAMILTON BANK. A 1910 report³ said the bank received its state Certificate of Authority in 1905. O. H. Taylor was listed as president and cashier.
1. H. W. Morley, Atlas of Steuben County Indiana/i> (Angola, IN, 1912), page 25. Available online at www.historicmapworks.com/Atlas/US/11595/.
2. The Era Druggists Directory, Eleventh Edition (New York, NY: D. O. Haynes & Co., 1905). Available online at books.google.com/books?id=bantAAAAMAAJ&printsec=front....
3. Auditor of the State of Indiana, Annual Report (Indianapolis, IN: William B. Burford, 1910). Available online at books.google.com/books?id=l_dJAAAAMAAJ&printsec=front....
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/27722364276/i...
Copyright 2006-2016 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
c1910 postcard view of the P. C. C. & St. L. (Pittsburgh, Cincinnati, Chicago & St. Louis) Railway depot at Galveston, Indiana. This line ran from Chicago through Logansport, Kokomo and Indianapolis to Cincinnati. The signs on the depot said the distance to Chicago was 133.2 miles and it was 165.8 miles to Cincinnati. A railroad handcar sat beside the station along with a handcart and some loose wheels. Grain elevator buildings stood along the tracks opposite the depot.
The P. C. C. & St. Louis Railway timetables for December 1907¹ at Galveston show five trains on the route originating in Cincinnati or Richmond and traveling to Logansport or Chicago. Five trains also traveled this route in the opposite direction from either Logansport or Chicago. Two trains in each direction stopped at Galveston. The timetables also show three trains from Chicago traveling to Indianapolis and Louisville via Galveston and three in the opposite direction. Only one of those trains in each direction stopped at Galveston. The stops on the route to and from Louisville were for discharge or pickup of passengers only.
1. The Official Railway Guide: North American Freight Service Edition (New York: National Railway Publication Co., 1908), page 488. Available online at books.google.com/books?id=kLgbTCc-AOcC&printsec=front....
From a private collection.
A close-up section of this postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/31991353595/i...
Copyright 2009-2016 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
3D red/cyan anaglyph created from a hand-tinted stereo card, courtesy of the Minneapolis Institute of Art.
Link to stereo card: collections.artsmia.org/art/25967/maggie-mitchell-jeremia...
Title: Maggie Mitchell (1832-1918)
Date: 1869-1874
Photographer: Jeremiah Gurney
Notes: Today, most articles about Maggie Mitchell characterize her as: (1) a famous American stage actress; (2) a Confederate sympathizer; and, (3) one of the many girl friends of John Wilkes Booth, President Lincoln's assassin.
In March 1918, when she died, probably all the major newspapers carried an obituary for her, but the collective memory had seemingly forgotten (2) and (3) above. The obituaries that I've read, presented her as an ever-faithful Unionist, who was one of the first persons to raise the Stars and Stripes over former Confederate territory, after the surrender. Below is a sampling (1-4) of what I found on the web, by way of background, for this 3D portrait by Jeremiah Gurney.
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1. Several web articles mentioned, without any specifics, of her dancing on the U.S Flag during the Civil War in support of the South. There is a book by William C. Davis, called "Government of Our Own: The Making of the Confederacy," where he gives a detailed account of just such an incident. Summarizing, it happened in Montgomery, Alabama, on December 19, 1860, when after her stage performance, she was presented with the new Alabama flag, and by prearrangement, sang the "Southern Marseillaise," before striding across the stage and tearing down the U.S. flag, trampling it underfoot to cheers from the crowd. Davis' book seemed well researched and documented, and he had a reference for the account.
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2. Mitchell gave an interview in 1881, picked up by papers across the country, where she tells of her "intimate" friendship with John Wilkes Booth, and an astounding dream about him leaping from the Presidential box at Ford's Theatre - a dream she claims she had the very same night Lincoln was assassinated, but before she actually learned about it the next morning, see below:
THE ST. PAUL SUNDAY GLOBE
SUNDAY, OCTOBER 2, 1881
MAGGIE MITCHELL
Tells How She Saw Wilkes Booth In a Remarkable Dream on the Night of Lincoln's Assassination, and Denies Another Romantic Story.
“…The sight of so much black everywhere in this gay city recalls a wondrous story related to me away down in Texas toward the close of the year 1866. The memory of the awful tragedy was then fresh in the minds of the people. Every word of gossip or history relating to it was eagerly seized and devoured by the gaping multitude. The story ran in this wise: That after the death of Wilkes Booth, while the body lay under guard and covered with an old tarpaulin, his affianced lover, like a poor wounded thing, hiding from every human eye and fretting her life away in hopeless grief, suddenly conceived the idea that there might be some mistake, and that her lover was not dead. She then sent for Maggie Mitchell, and besought her to go to the place where the body lay, and bring her some proof of his identity.
The story said that the distinguished lady approached the trestle on which the body lay, and by her wonderful fascination so won upon the guard that he allowed her to clip a lock of his hair without raising the tarpaulin; that she did so, and discovered that the lock that was clipped was not the hair of Wilkes Booth.
Remembering all these wild stories and many others, recalled by the sad surroundings, I determined to go down to the Hotel Grand, where Mrs. Maggie Mitchell Paddock is now boarding during a highly successful engagement In this city, and seek an interview with the charming little lady, and ascertain the facts about this story.
I sent up my card to Mr. and Mrs. Paddock, and was invited up to one of the parlors of the Grand. Taking my seat, very soon I heard the sprightly steps of; the lady, those fairy-like footfalls that have charmed the hearts and gladdened the sight of so many throughout the length and breadth of this land. She advanced to meet me with the frank cordiality that characterizes her. In a few moments we were at ease and conversing about Louisville and its people. I heard with pleasure her expressions of deep regard for our city and the pleasure it always gives her to appear before so appreciative an audience.
She is as bright and piquante as ever, and in private is even more attractive than on the stage. Her delicate features, bright, earnest eyes, and those indescribable expressions that play about the lips like sunbeams on roses, are inexpressibly charming and attractive. She has the rare power of drawing everyone to her, and nine times out of ten everyone is willing to be drawn.
In a few words I told her the old story I had heard away down in Texas, long, long ago; and a shade of melancholy came over her bright face as I mentioned the sad details. She shook her head and said: "There is no foundation in fact for the story as told to you. John Wilkes Booth was an intimate friend of my family and of myself. But I was not at Washington when that fearful tragedy occurred. I was at St. Louis then, stopping at the Lindell hotel, as I well remember from a dream, a most remarkable dream, I had the night of the tragedy. I will tell it to you presently. The story about the lock of hair must have originated in this wise. After John's body— all called him John —was disinterred and taken to his father's burial lot in Baltimore, Miss Annie Ford, another intimate friend of John, was solicited to get a lock of his hair. She did so, and with her own hands clipped from his head a little lock of his beautiful hair and gave it to me. It was his hair Beyond a doubt. No one ever had more beautiful hair than he. 'Twas the loveliest hair in the world."
“Was he a very handsome and agreeable man, Mrs. Paddock?" I asked.
“Oh, very indeed," she replied, "he was a delightful companion through his great attainments and intellectual superiority. He was a splendid horseman and rode with ease and grace. Being fond of the exercise myself, I was often out with him on horseback."
"Then you have no doubt that it was really John Wilkes Booth who was killed?" I asked.
"Oh, dear no; not the shadow of a doubt. It is true. The lock of hair clipped from his head by Miss Annie Ford and given to me, I sent to his mother, poor woman, who was grieving for his untimely end. It was much as a woman's life was worth in those days to have had an intimate friendship and acquaintance with him, but I braved all this and secured the lock of hair and gave it to his mother."
"I will now tell you about my dream at St. Louis the night of the tragedy, Good Friday. "I had been playing there, and was stopping at the Lindell.
“I dreamed on that memorable night that I saw John Wilkes Booth leap from the private box of the president at Ford's theater to the stage. He was dressed, as usual, with inimitable taste and neatness. He wore a short Spanish cloak, lined with crimson satin. As he leaped on to the stage from the box, hurriedly and excitedly, his cloak flew open and disclosed a little white poodle dog under his arm. He ran past me and made his exit by the door through which he did actually escape after committing the horrid deed.
"I was telling this dream next morning to my sister Mary and a party of select friends while eating our breakfasts. I was engaged in telling my dream, and before getting through with the remarkable details the head waiter came up to us with a scared look on his face.
"We were interrupted by his asking us if we had heard the news. He then said that President Lincoln had been shot the night before; and in less than ten minutes we were all electrified with the astounding news that the assassin was John Wilkes Booth, about whom we were talking when the head waiter first interrupted our chat at the table. It made a lasting impression on me. I have often told it to my friends, and it is strange that it has never got into the papers, because everyone who heard me telling my dream, before we had heard the news from Washington, considered it remarkable and wondrous from its astounding coincidences."
"Are you superstitious, Mrs. Paddock?" I asked.
"Oh, yes, she is a little so," interrupted Mr. Paddock, her husband.
"I do not blame her, with such an experience as that," I replied.
Thanking Mrs. Paddock for the entertainment she had given me, I bowed myself out of her gracious presence…..”
------------------
3. An account (which seems a bit suspect) in an 1894 book called "Union: A Story of the Great Rebellion," by John Roy Musick, of Mitchell and Booth having a lovers quarrel in a restaurant, which was overheard by a waiter, and later recounted in the Cincinnati Tribune. Booth warns her that if she rejects him, a terrible deed is coming - here's a link to the section which covers several pages: books.google.com/books?id=ec0dAAAAMAAJ&pg=PA412&l...
------------------
4. Below is an obituary that tells of her stage career, her devotion to the North, and of meeting President Lincoln (but no mention of Booth), from the Library of Congress digital newspaper collection:
Evening Public Ledger
Philadelphia, Saturday, March 23, 1918
"FAMOUS STAGE STAR
DIES IN 86TH YEAR
Maggie Mitchell, Praised by Lincoln, Succumbs In New York
New York, March 23
Maggie Mitchell, eighty-six years old, one of the most famous of American actresses, died yesterday at her home in this city.
Miss Mitchell, whose name in private life was Mrs. Charles Abbott, began her career on the stage when she was five years old, taking child parts. The play in which she later achieved her greatest fame was "Fanchon the Cricket," first produced in New Orleans in I860. In this and other plays she appeared often before President Lincoln. She retired from the stage about twenty years ago.
She had been in poor health since last August, but her death came unexpectedly and was due to apoplexy.
Born in this city, she first played at the Old Bowery Theatre. In 1851 she appeared at Burton's Chambers Street Theatre in “The Soldier's Daughter," and then began a tour as a star, appearing in repertory.
An ardent Northerner, she was in Mobile, Ala, when the Civil War ended, and she often told her friends with pride of the furor she created by being the first woman to raise the Stars and Stripes in that city after the declaration of peace.
In the early spring of 1863 she was playing Washington when one day a messenger came to her dressing room to say that President Lincoln would esteem it an honor if she would call at the White House the next day, "And the President sent his own carriage for me," Maggie Mitchell would say as she often retold the great event. "And when I got there he shook my hand and looked at me steadily for a minute and then he said: ‘I heard of you so much, young woman, that I wanted to meet you here in our home.’ That's the way he said It. ‘I heard of you so much.’ And that was the greatest day of my life."
She was married twice. Her first husband was Henry Paddock, of Cleveland, whom she married at Troy. N.Y., after a courtship of fourteen years. Later she became the wife of Charles Abbott, of this city, who survives her with a son and daughter.”
--------------
Red/Cyan (not red/blue) glasses of the proper density must be used to view 3D effect without ghosting. Anaglyph prepared using red cyan glasses from The Center For Civil War Photography / Civil War Trust. CCWP Link: www.civilwarphotography.org/
Doreen is a fascinating woman whom I met in her Dervish Ethnic Arts Gallery in Tel Aviv.
She has had the gallery for half a century which she at first managed with her departed sister, Miriam.
Doreen is originally from Cape Town, South Africa.
She met her Israeli husband, Simcha, in Sinai and their love lasted until he passed away a year ago.
www.haaretz.com/queer-as-folk-craft-1.175692
Radcliffe/Hilles Library copy
Mrs. Gaskell, Wives and Daughters : An every-day story (A New edition with five illustrations; London, 1866)
wip . 20210507
back cover, detail, 90ºccw
Bayer. Staatsbibliothek copy/scan,
The Lady’s Magazine ; Or Entertaining Companion for the Fair Sex, Appropriated solely to their Use and Amusement.
Vol. 31 for the year 1800. (London, 1800)
ex search, one of whose terms was “directions to the binder”
at google books : link
—
from the index to the volume :
Ignorance, on the pleasures of
Night, hymn to the
Paint, white, on the use of
Vicissitudes of fashionable life, the
What a blunder, account of the opera of
1909 postmarked postcard view of Main Street in Churubusco, Indiana. The photographer was looking southeast from the Washington Street intersection. The farthest buildings in this scene were south of the Vandalia Railroad tracks.
The sign on the building at the left edge of this scene advertised O. GANDY & CO. THE EXCHANGE BANK. The 1905 Sanborn™ fire insurance map set for Churubusco shows a repository in the north half of that building and the bank in the south half. The 1911 map set identified the repository as a carriage repository. A 1910 state auditor’s report¹ identified the bank as The Exchange Bank of O. Gandy & Co. and indicated a Certificate of Authority had been issued in 1905. Oscar Gandy was the owner. The 1907 Whitley County history included the following paragraph about the founding of the bank.
“On September 11, 1893, Oscar Gandy established the "Exchange Bank" under the firm name of O. Gandy & Co.. with a capital of $10.000. The Exchnage [sic] Bank has always done a prosperous business and is considered one of our most substantial financial affairs and has increased its capital to $25,000. The present officers and employes are O. Gandy, president; E. E. Gandy, cashier; John A. Pressler, assistant cashier; Ursula Magers, bookkeeper; Minnie Anderson, stenographer; and George Gump, janitor.“²
The history also included an entry on page 305 stating the bank building was built in 1898.
Two brick buildings stood south of the bank building. Business names were printed on the awnings, but are not clear enough to read. The 1905 map set shows a meat market in the north building and department store in the south building. The 1911 map set shows the meat market and a clothing, dry goods and furniture business in the buildings.
Next door, the wood frame building housed (from north to south) the Churubusco Post Office, a bakery and a barbershop according to the 1905 map set. The 1911 map set shows a newer and longer brick building that housed (from north to south) a notions business, the post office, a confectionery and tobacco business, a jewelry business and a barbershop. The only visible sign on that building in this postcard scene was the US POST OFFICE sign.
Across the street, the most distant businesses were south of Whitley Street. Two of the signs appear to advertise a MEAT MARKET and A GROCERY. The 1905 and 1911 Sanborn™ map sets show a grocery in that block, but not in the different locations for each year. Neither shows a meat market. Another small sign in that block advertised a lunch room, but it’s difficult to tell which building the sign is on. The 1905 map set shows two restaurants in that block and the 1911 map set shows a single restaurant.
Farther north (closer to the photographer) were signs advertising CITY DRUG STORE, DENTIST and ICE CREAM SODA. The soda sign undoubtedly belonged with the drugstore sign. It is difficult to tell which signs belonged with which building. Although these signs may appear to be in front of one of the two two-story brick buildings, they were probably in front of the wood frame building across the alley to the north. Both map sets show a drugstore as the second business north of Whitley Street in a two-story wood frame building on the north side of the alley. This was directly across Main Street from the post office. The 1905 map set actually identifies the store as a drugs and stationery business.
The 1907 county history listed J. F. Criswell & Son and Miss Mary Eikenberry & Co. as owners of drug stores in town. However, a 1905 directory of retail druggists listed the names as Craig & Boggs and Eikenberry & Co. A 1908 directory listed A. B. Craig and Mary Eikenberry.
The only dentist listed for Churubusco in a 1914 directory was Frank B. Weaver, a 1900 graduate of Northwestern University Dental School in Chicago. The dental office would probably have been upstairs and the Sanborn™ map sets typically don’t identify those offices unless they are in separate buildings.
The awnings at the right edge of the postcard were on a group of small buildings near the southwest corner of Washington Street. A wood frame building stood on that corner and is outside this view. It housed a grocery and millinery shop. The awning at the right edge of this postcard may belong to the millinery shop. The other awnings were on a brick building south of the corner, and one awning appears to advertise M. KOCHER. Both Sanborn™ map sets show a boots and shoes business at that location. The 1907 county history reported that Mr. Kocher built a brick building in Churubusco in 1892 and ran his boots and shoes business in the building.
1. Auditor of the State of Indiana, Annual Report (Indianapolis, IN: William B. Burford, 1910). Available online at books.google.com/books?id=l_dJAAAAMAAJ&printsec=front....
2. Samuel P. Kaler and Richard H. Maring, History of Whitley County, Indiana (Indianapolis, IN: B. F. Bowen & Company, 1907), pages 307-308. Available online at books.google.com/books?id=-hUVAAAAYAAJ&printsec=front....
This image was created by Thomas Keesling from a postcard courtesy of the Indiana Postal History Society.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/27546603985/i...
Copyright 2005-2016 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
c. 1881?
revenue tax stamp for a telegram from the American Rapid Telegram Company
engraved by the American Bank Note Co.
Some of you will be familiar with this rather beautiful flower and its silvery seedheads. Unfortunately, despite its beauty, it is an invasive species and widespread. This is one of three species of Clematis that occur in the wild in Alberta, the other two being the native Western Clematis and the Purple Clematis/Blue Clematis. This yellow species was introduced from Japan as an ornamental garden plant, but has now spread to natural areas where it chokes out and kills native plants, shrubs and trees. Taken on 7 August 2015.
On 7 August 2015, four of us were extremely fortunate to have the chance to visit the home and highly varied topographic 62-acre property belonging to Frances and David Dover. We felt honoured and privileged to meet and spend time with Frances and David, and also their daughter Carolyn and her husband Clair. A delightful family who welcomed us so warmly into their home and land.
This acreage of grassland, forest, rolling hills - and special gardens - is not far from Millarville, SW of Calgary. In fact, it's in an area that I often drive through when I only have time for, or only feel like doing, a short drive. Amazing what little gems exist out there.
This is not just a beautiful property, but is very special for various reasons. For one thing, read any history of Alberta and you will find the Dover family, including David's mother, Mary Dover. Second, among the trees and open "lawns", there are Peony flower beds, containing 100-150 heritage Peonies, each one different, that have now multiplied to more than 300 plants. Unfortunately, they bloomed a couple of weeks early this year, and all the flowers had gone to seed. Another open area had a different kind of ground cover - Thyme, which smelled wonderful. If I remember correctly, this was the open space where the Calgary Philharmonic Orchestra performed on one occasion!
There are two large ponds on the property and another smaller area of water that they hope to turn into a Japanese Garden. There is a total of seven wetland basins, including these. It was while walking around the Japanese Garden that a large brown 'shape' could just be seen through the dense trees - a handsome Moose buck. I will look properly at the four or so photos I just managed to get and will slip one of them into my photostream sometime soon, just for the record, definitely not for the photo quality : ) This was also where a Great Horned Owl was seen flying through the trees by some of us (not me, ha!).
There are grassy paths winding through the acreage, up and down hill, that take David seven hours to mow. They are not pristine, velvety paths, but instead, they seem to take nothing away from the wildness of the whole area. One of the animals that have passed through is the Cougar. In fact, several years ago, I saw a video taken on a nearby (or adjacent?) property, where a 'kill' and night-time camera had been set up and a total of six different Cougar individuals were seen!
Even the Dover's home is unique and beautiful. It is completely built of concrete (and glass) - floors, walls, ceilings, roof, deck, and so on. A Hummingbird feeder and regular bird feeders, set up on the patio, attract a variety of birds. We sat on the patio after our walk to eat our packed lunches - and to enjoy a delicious Orange Pound Cake that Frances had made for us, along with refreshing Iced Tea - thank you so much for this, Frances! While I was waiting for one of three tiny Calliope (?) Hummingbirds to come back, I was lucky enough to see a little Mountain Chickadee, along with many Pine Siskins. We could also hear a Red-tailed Hawk in the area. Saw a total of 22 bird species.
There is just so much I could write about this visit and family. Instead, or for now, I will add several links to more information on the Internet. This was a memorable day for us. Thank you so much, Frances and David, Carolyn and Clair, for being so kind and welcoming us into your home and gardens.
books.google.ca/books?id=Tr36Tq_gadcC&pg=PA290&lp...
www.westernwheel.com/article/20110727/WHE06/307279983/-1/...
David's mother, Mary Dover (her father was A. E. Cross), was "a dynamic and distinguished Calgarian, particularly known for her work with the military during World War II." As well as being an army officer, and an alderman, she was also a preservationist. See the following link.
www.albertachampions.org/champions-mary_dover.htm#.VcY1KP...
ww2.glenbow.org/search/archivesMainResults.aspx?XC=/searc...
glencoe.org/documents/10184/637479/The-History-of-Elbow-P... page 44-45
Male mantis
Palo Verde Biological Station, Guanacaste, Costa Rica
mantodea.speciesfile.org/Common/basic/Taxa.aspx?TaxonName...
Set Free
Description: Dythemis nigra is a dragonfly in the order Odonata, suborder Epipocrita, infraorder Anisoptera, superfamily Libelluloidea, family Libellulidae and subfamily Trithemistinae. As can be seen at the tip of the abdomen, this dragonfly possess cerci, which means it is a male.
First abdominal segment (proximal to the thorax) rounded and short; second abdominal segment rounded and longer than the first; third abdominal segment less rounded than the previous segments but longer than them; fourth abdominal segment cylindrical, longer than all previous segments and shorter than all posterior segments excdept for segments 10 and 11; fifth, sixth and seventh segments cylindrical and are, more or less, of the same size. They are the longest segments of them all; eighth segment shorter than the fifth, sixth and seventh but longer than all others and is cylindrical; nineth segment rounded and longer than the 10th and 11th segment, as well as the first three segments; tenth segment very short and rounded, but longer than the 11th segment; eleventh segment is the smallest of them all and is where the cerci are located.
Third abdominal segment with two vertical whiteish stripes side by side dorsally. Fifth, sixth and seventh with three lateral whiteish, irregularly rounded spots that are specifically shaped to each segment. Eighth segment has two large whiteish markings dorsally. Dorsal view of the thorax is blue. Mesepisternum, prothorax and mesepimeron are dark-blue with many greenish-colored stripes irregularly scattered. Lateral ocelli apparently present in a lighter coloring. Legs are five-segmented and spiked: coxa, trochanter (subdivided into two segments), femur, tibia and tarsus. "The legs of the Odonata, the dragonflies and damselflies, are adapted for seizing prey that the insects feed on while flying or while sitting still on a plant; they are nearly incapable of using them for walking" - (en.wikipedia.org/wiki/Arthropod_leg). The eyes are very large, cyan / greenish-blue and compound. Wingspan of approximately 40mm, but requires confirmation, inclining to more. Females possess a more robust abdomen.
According to EcoRegistros, they can be found in Brazil, Argentina and in the Lesser Antilles: www.ecoregistros.org/folha/Dythemis-nigra
According to Wikipedia, there are 7 species of Dythemis; as of 2011, it was proposed that D. multipunctata be made a subspecies of D. sterilis:
Dythemis fugax (Hagen, 1861) - Checkered Setwing
Dythemis maya (Calvert, 1906) - Mayan Setwing
Dythemis nigra (Martin, 1897) - Blue-eyed Setwing
Dythemis nigrescens (Calvert, 1899) - Black Setwing
Dythemis rufinervis (Burmeister, 1839)
Dythemis sterilis (Hagen, 1861) - Brown Setwing
Dythemis velox (Hagen, 1861) - Swift Setwing
en.wikipedia.org/wiki/Dythemis
However, there is a description on a new species of Dythemis from Trinidad: Dythemis broadwayi.
archive.org/stream/entomologicalnew05acaduoft/entomologic...
They can be commonly found perching on twigs and branches in forest trails, exactly where this one was found in Brazil, Ceará, Fortaleza. The larvae are aquatic.
Argyrothemis sp., Dythemis sp., Elga sp., Micrathyria sp. and Nephepeltia sp. are genera which possess whiteish spots on the dorsal part of the abdomen. On each one of these genera, the markings on the eighth segment are more extense. Micrathyria is, among these, the most numerous genus with 46 species registered:
species.wikimedia.org/wiki/Micrathyria?uselang=vi
Elasmothemis can be separated from both Brechmorhoga and Dythemis by the development of the ventral carina in segments 4 and 5.
The larvae of Dythemis present lateral spines on segments 8-9.
books.google.com.br/books?id=U1umyOqyHz4C&pg=PA351&am...
The larvae of Dythemis, as commonly known in Odonata, are aquatic predators of small insects. Adults are aerial predators of medium-sized or small-sized insects.
According to this article in Wikipedia, the main characteristic of Trithemistinae that differs it from other subfamilies is the change in the nodus which goes towards the tip of the wings, significantly reducing their apical areas. Undoubtedly, there are more differences unknown to me:
de.wikipedia.org/wiki/Trithemistinae
Further information such as how long the egg-adult process takes, anatomy, mating behaviour, etc., will be appreciated and credited. Another picture here: flic.kr/p/28Ehnuz.
LIEBESGESCHICHTEN UND HEIRATSSACHEN (Love Affairs and Wedding Bells). By Johann Nepomuk Nestroy, premiered 1843. Nestroy plots the course of three love affairs in this comedy, each of which must overcome the hurdles of class distinctions and prejudice...
books.google.at/books?id=vKilCQAAQBAJ&pg=PA261&lp...
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, 2013, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
The idea for this photograph came about because of Irene's hair challenge: to photograph a single strand of hair, which I successfully met. (I have a cheap kit lens and use extension tubes, and most of these shots are handheld because the camera vibrates so much when the shutter goes off, even when using the self-timer, that it throws the subject out of focus even when sitting on a pro-grade tripod, so I'm fairly proud of these shots.)
Then I got to thinking while I was eating dinner and salting my food...I wonder if I could micro one single grain of salt? After a little experimentation here is the result. This is one grain of salt sitting on a saucer, photographed with two artificial light sources (no fancy light setup, either): overhead incandescent light, and a small LED flashlight illuminating the grain from the side, no flash...and yes, this shot is handheld! The sharpness isn't too bad, eh?
And some unexpected nice Boke, too.
Anyway, I had a lot of fun shooting this, and who knew that grains of salt were cube-shaped?? If you had a powerful magnifier and teeny-tiny tweezers, you could stack them up like blocks...wouldn't that be fun to try, and to photograph afterwards!
Here's a link that explains why they are cube-shaped:
books.google.com/books?id=xkiRAATri2MC&pg=PA6&lpg...
And now when someone tells you that you should "take something with a grain of salt," you know how little value you should actually place in it!!! If you can ingest it with a single grain of salt, sure ain't much to it!
Hope everyone enjoys looking.
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An assortment of micro (macro) photographs of various and sundry subjects in my set, "Assorted Micros:"
www.flickr.com/photos/motorpsiclist/sets/72157631525787513/
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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka "Zoom Lens") and ALL my rights, including my exclusive rights, are reserved and protected by United States Copyright Laws and International Copyright Laws. ANY use without my permission in writing is forbidden by law.
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A well known Hot Rod. Made from a 1932 Ford by the Swedish hot rod guru Lennart Djurberg back in 1956. This is sixteen photos shot with the nifty fifty at f/1.8. Today the car is owned by Håkan Lindberg, a guy I first met three years ago.
1919 postmarked postcard view of Illinois Street and Union Station in Indianapolis, Indiana. This view was looking southeast from the west side of Illinois Street. The dark area in the street near the lower right-hand corner of the postcard was where Illinois Street began its descent into the tunnel under the railroad tracks at Union Station. The Indianapolis Union Railway Company (successor to the Union Railway Company) owned and managed Union Station. The company also managed the Belt Railway facilities in Indianapolis.
The Pennsylvania Railroad Company published a multi-volume history in 1900. One volume was devoted to legal and financial matters, including early Indianapolis ordinances relating to their corporate activities in the city.¹ The railroad companies kept the city very busy issuing ordinances, and some of those ordnances help us understand the history of Union Station.
INDIANAPOLIS INDIANA TERMINALS GENERAL ORDINANCES
AN ORDINANCE
In relation to the Construction and Connection of Railroads through the City of Indianapolis. Approved March 12, 1849. Section 1. Be it ordained by the common council of the city of Indianapolis, That before any track for a railroad shall be allowed to be laid down or maintained along or across the streets of this city which lie within the streets named, east, west, north and south, it shall be requisite for the commissioners or other persons desirous of locating such track to file their petition, in writing, with the city council, setting forth distinctly the route of such railroad.
Ordinance book No. 2, 1839-1857, page 105. Sections 1260-1264.
INDIANAPOLIS UNION RAILWAY COMPANY
AN ORDINANCE
In relation to the Union Railway Track. Passed April 1, 1850. Section 1. Be it ordained by the common council of the city of Indianapolis, That in accordance with a petition presented by Thomas A. Morris, engineer, on behalf of the Terre Haute and Richmond, Indianapolis and Bellefontaine, Peru and Indianapolis, and Madison and Indianapolis Railroad Companies, they, or any three of them, shall be permitted to construct within the limits of the city of Indianapolis, immediately upon the north bank of Pogue's Run, from Washington street to Meridian Street, and to cross the run at any point they wish, their Union Railroad track connecting the depots of the several roads named, as shown by a plat of said Union track, recorded in the recorder's office of Marion County, said road to be twenty-five feet wide and to cross the following streets, to wit: Massachusetts Avenue, New York, Market, Noble, Washington, East New Jersey, Alabama, Virginia Avenue, Delaware, Pennsylvania, Meridian, Illinois, and Tennessee, Streets, and the several alleys upon the following conditions.
Ordinance book 1839-1857, page 125. Section 1537.
RESOLUTION
Permitting the erection of a General Passenger Depot. Passed June 14, 1852. Resolved, That permission be hereby granted to the several railroad companies interested in the “General Passenger Depot” to build said depot, so as to occupy not more than fifteen feet of the south side of Louisiana street between Meridian and Illinois streets: Provided, the said companies cause to be opened a new street from Illinois to Meridian street, seventy-five feet wide, on the south side of said depot, and erect a good and substantial bridge across the creek on said new street; which said new street shall be opened by 1st October, 1852, and, when opened, shall be and remain a public street for the benefit of the city.
(Record of Proceedings Common Council No. 2, page 391.) Section 1538.
The General Passenger Depot authorized by that 1852 resolution opened in 1853 as the Union Passenger Depot. It was the first union station in the world and was expanded a few times over the next three decades. In 1881, a New York City newspaper reported, “Indianapolis is the largest city in the United States not situated on navigable water. It has eleven active railroads and two that will be finished within a year, and it is this that gives it the title of Railroad City. Its railroad interests are the most extensive in the country, being increased by a belt road thirteen miles in length, which runs entirely around it and connects the various trunk lines.”²
After the Indiana State Legislature took the necessary action in 1885 to facilitate construction of Union Station, several city ordinances were passed in 1886 relating to the Indianapolis Union Railway Company’s “… new Union Passenger Depot that said company is about to build.” Plans for the new Union Station were completed in 1886 and the new station was completed in 1888. The negotiations between the railroad and the city relating to the new depot also led to the construction of the Virginia Avenue Viaduct.
“A notable achievement of Mayor Sullivan’s administration was the construction of the Virginia avenue viaduct. For several years there had been great complaint over the division of the city north and south by tracks, but no feasible form of relief appeared until 1886 when the railroad companies desired to construct the new Union Station. This necessitated the closing of Illinois street and some other street vacation, in compensation for which the Union company [Indianapolis Union Railway Company] agreed to pay $30,000 towards the construction of a tunnel under the tracks at Illinois street, and to build a viaduct over the tracks in the first alley east of Meridian street …. The work on the tunnel was begun promptly, and on May 7, 1888, the City Engineer reported it complete except bowldering [bouldering] the north approach, which had been omitted because the company desired to asphalt it. The viaduct dragged. Suits were brought …. After Mr. Sullivan became mayor he took up the matter with the railroad authorities …. [T]hey came to an agreement for a concentration of tracks at Virginia avenue—removing those formerly on Louisiana street—and a viaduct … was completed in the summer of 1892.”³
The Illinois Street Tunnel and the Virginia Avenue Viaduct solved some of the transportation headaches that the railroads caused in the city and the new station could handle the rapidly growing passenger volume.
1. S. H. Church, Assistant Secretary, Corporate History of the Pennsylvania Lines West of Pittsburgh, Volume 8 (Baltimore, MD: The Friedenwald Company, 1900), pages 196-214. Available online at books.google.com/books?id=s6spAAAAYAAJ&printsec=front....
2. "The Capital of Indiana," The Daily Graphic: An Illustrated Evening Newspaper, Fourth Edition, Friday, November 4, 1881 (New York, NY: Graphic Co., 1881), page 30.
3. Jacob Piatt Dunn, Greater Indianapolis: The History, the Industries, the Institutions, and the People of a City of Homes, Volume I (Chicago, IL: Lewis Publishing Co., 1910), pages 418-419. Available online at books.google.com/books?id=chsVAAAAYAAJ&printsec=front....
From the Prange collection.
Copyright 2009-2016 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
The road at right, on which the Toyota SUV is traveling, is Conduit Avenue, named for the conduits that used to carry Brooklyn's drinking water westward to the Ridgewood Reservoir along the route that the road now follows.
The original plan for Brooklyn's water supply system called for the eastern portion of the aqueduct connecting the various water sources to be an open canal rather than an enclosed conduit. It would have initially been cheaper to go with a canal, but those savings would have been outweighed by a number of problems — dead animals tossed into the canal by disgruntled countryfolk, for instance — as pointed out by an 1858 letter to the editor of the NY Times, partially reproduced here:
With such an exposed surface, so wide-mouthed a ditch, continuing so long a distance, the water will be subjected to quantities of filth, partly intentional, partly unintentional. The country people along the line are, from one cause and another, bitterly opposed to the canal, part of the Water Works project, and as it passes through such a frequented part of the island, the thought of what would be cast into it, (dead animals, for instance,) arouses anything but pleasant feelings. Trouble would arise also from quantities of drift sand, leaves, &c.; and, in Winter, (the grade being two-tenths of a foot only to the mile,) the water would freeze, or half-freeze, and the flow would be, at times, altogether impeded. . . .
On all sides, too, it is conceded, that if the canal is adhered to, it will unquestionably have to be changed to a masonry conduit within a short time. That odor of dead cats and decaying dogs will stick to the whole work, and cast ridicule upon it until the change is made.
Advertising Card courtesy of the Brockville Museum, Ontario.
Scanned by John Mack.
Kerr & Company was founded by two brothers from Scotland, Robert and James P. Kerr.
1911 postmarked postcard view of DeMotte, Indiana. Demotte is located in Jasper County and this postcard is apparently a view of Lillie Street looking north. (Lillie Street was later renamed Halleck Street.) The photographer was probably standing in Lillie Street and facing northwest when this photograph was taken.
DeMotte was a busy place. The building near the left edge of this scene had DE MOTTE IND. POST OFFICE painted on the windows. The sign above the entrance next door advertised GOLD MEDAL FLOUR. There were milk cans on the two horse-drawn wagons in the foreground. The sender of this postcard identified himself only as “Marvin.” He and two other boys were sitting on one of the wagons. Several other boys and men were standing in front of the post office and the store next door.
The 1909 Jasper County atlas¹ shows the post office on the west side of Lillie Street. It was about midway between the C. I. & S. (Chicago, Indiana & Southern) Railroad line to the north and Walnut Street (Ninth Street today) to the south. This old post office location may have been across the street from the current post office.
A town history² included a newspaper photograph from 1906 that was similar to this postcard view. That history also included a pair of comments about the post office. The first, referring to the 1932-1933 period, said the Post Office was “on the west side of Lilly [sic] Street (Halleck St.).” The second comment referred to a disastrous downtown fire in 1936 that destroyed the “new post office” along with many nearby businesses. The following is a list of DeMotte postmasters and their appointment dates during the period when this postcard was produced.
Joseph L. Tyler 26 February 1901
Frank M. Hart 7 September 1905
William H. Wells 9 January 1909
John F. Watson 5 April 1912
The C. I. & S. Railroad was owned by the Lake Shore & Michigan Southern Railway and the Michigan Central Railroad, and they were part of the New York Central Railroad system. This C. I. & S. line ran between northcentral Illinois and South Bend, linking DeMotte to Kankakee, Momence, Shelby, Wheatfield, North Judson and other communities in northwest and northcentral Indiana. An October 1907 timetable³ listed three trains in each direction passing through DeMotte. There were junctions with other railroads nearby, including the Monon Route (Chicago, Indianapolis & Louisville Railway) that ran between Chicago and Louisville via Shelby.
The sender of this postcard wrote the following information on the reverse side of the postcard.
DeMotte, Jan 14/1911
Dear Charles:
This is a picture of town. X me, V Ed O Limon a boy neighbor.
Send my regards to Gussy & Ma. [check mark symbol] is the man I am staying with.
From Marvin.
Marvin addressed the postcard to Charles Christiansen in Milwaukee, Wisconsin. Upon reaching Milwaukee, the postcard was forwarded to Oconto Falls, Wisconsin.
1. Standard Atlas of Jasper County, Indiana (Chicago, IL: George L. Ogle & Co., 1909), page 27. Available online at www.historicmapworks.com/Atlas/US/11202/Jasper+County+1909/.
2. DeMotte Chamber of Commerce. DeMotte, Indiana History 1997. ( Available online at www.faithfabric.com/tbh/demotte/demotte_history_home.htm.
3. The Official Railway Guide: North American Freight Service Edition (New York: National Railway Publication Co., 1908). Available online at books.google.com/books?id=kLgbTCc-AOcC&printsec=front....
This image was created by Thomas Keesling from a postcard courtesy of the Indiana Postal History Society.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/32404673262/i...
Copyright 2005-2017 Hoosier Recollections. All rights reserved. This creative JPG file package is an original compilation of materials and data. The package is unique, consisting of a wide variety of related and integrated components. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
This print was made from a negative that was taken with a Graflex rollback 52 yielding a negative 5.5 x 3.245 inches. I put the negative in my 4x5 enlarger and lost a little off of both ends of the negative. In this case more off of the right side. I bought the negative on ebay a couple of years ago.
The Steamer Monginevro an Italian ship was built in 1906 GRT 5,271 tons by Cant. Nav. di Muggiano, La Spezia and operated by Navigazione Alta Italia, Soc. Anon., Genoa. I found numerous references in trade journals about the Monginevro carrying various types of goods from the United States to Genoa and other Italian ports. On June 26, 1911, Via Norfolk to Genoa with 1,565,000 feet of sawn pitch pine timber, and 337,000 feet of sawn pine. warsailors.com/forum/read.php?1,18764,18783#msg-18783
In WWI the Steamer Monginevro was torpedoed off of Cape Tortosa Spain on 12 June 1918 by German U-boat 68 and damaged while on route from Genoa to Gibraltar. uboat.net/wwi/ships_hit/4218.html
During WWII Monginevro was active in Axis in convoys in the Mediterranean Sea during 1941 to 1943. On 16 October 1942 it was attacked by RAF aircraft while traveling from Corfu to Tobruk. books.google.com/books?id=6uiwCgAAQBAJ&pg=PA177&l...
The Steamer Monginevro was sunk on 17 April 1943 by FAA torpedo aircraft 10 sea miles north of Zambretta, Sicily. books.google.com/books?id=EXYQDAAAQBAJ&pg=PA201&l... FAA is short for Fleet Air Arm, part of the British armed forces in WWII.
Sail-037P_6x9
Pedestrian footbridge is part of the Calvin S. Hamilton Pedway:
"The Calvin S. Hamilton Pedway, as the system is formally known, is a network of elevated walkways that was first presented in the 1970 Concept Los Angeles: The Concept for the Los Angeles General Plan. Hamilton was the city planning director at the time, having taken the position in 1964. The plan, adopted by the city in 1974, promoted dense commercial developments connected to one another by a rapid transit system. The plan was abandoned in 1981 when federal funding for the project was eliminated. Hamilton stepped down from his position in 1985 after a criminal investigation."
www.kcet.org/socal/departures/landofsunshine/block-by-blo...
"The pedways fall within the Downtown Center Business Improvement District, but the organization's CEO says its strained resources can only cover maintenance crews on the pedways about once a week."
articles.latimes.com/2013/may/23/opinion/la-ed-pedways-20...
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Los Angeles World Trade Center:
350 South Figueroa Street
Built 1974
Original Developer: Edward K. Rice (general partner of Bunker Hill Center Associates)
ZIMAS:
Central City Community Plan Area, Freeway Adjacent Advisory Notice for Sensitive Uses, Greater Downtown Housing Incentive Area, Los Angeles State Enterprise Zone, General Plan Land Use ="Regional Center Commercial", Downtown Adaptive Reuse Incentive Area, Bunker Hill Redevelopment Project, w/in 500 ft of USC Hybrid High, Downtown Center Business Improvement District, Central City Revitalization Zone.
Assessment:
Use Code: 2730 - Parking Structure (Commercial)
Assessed Land Val.: $1,154,591
Assessed Improvement Val.: $1,500,967
Last Owner Change: 07/14/06
Last Sale Amount: $9
...
Year Built: 1974
It was decertified by the World Trade Centers Association in 1983, but limped along anyway. A "Greater Los Angeles World Trade Center" was subsequently built in Long Beach. The two merged into one organization in 1989. This latter is now a subsidiary of the Los Angeles County Economic Development Corporation (LAEDC).
In the early 1990s there was an attempt to reorganize the space as a more public retail space oriented at evening uses and take advantage of the pedestrian infrastructure:
"Haseko's revitalization plans include three full-service restaurants--Italian, French and Japanese--stages for live performances, a video rental store, an art gallery and a newsstand. The restaurants would open onto the center's mall-like main concourse, which is connected through pedestrian bridges to the Bonaventure and Sheraton Grande hotels, Security Pacific Plaza and Bunker Hill Towers. 'We want to create a streetscape here,' said Haseko Vice President and General Manager Terry Tornek. 'This is a logical crossroads.'"
articles.latimes.com/1991-01-11/local/me-8359_1_bunker-hi...
This was opposed by residents of Bunker Hill Towers who had grown to quite like the quietness of downtown at that time.
Apparently part of the building is now (2013) being used for a charter school.
www.emporis.com/building/losangelesworldtradecenter-losan...
articles.latimes.com/1988-09-26/business/fi-1869_1_trade-...
articles.latimes.com/1988-09-26/business/fi-1867_1_world-...
articles.latimes.com/1989-03-20/business/fi-201_1_trade-c...
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Citi Building:
aka CitiGroup Center aka 444 Flower aka 444 Flower Building aka Flower Building aka L.A. Law Building aka 444 aka 444 Building
444 S. Flower Street
Built ca. 1976–81.
Architect: A.C. Martin & Associates
en.wikipedia.org/wiki/Citigroup_Center_(Los_Angeles)
www.hines.com/property/detail.aspx?id=2243
www.emporis.com/building/citigroupcenter-losangeles-ca-usa
forum.skyscraperpage.com/showthread.php?t=154492
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United California Bank Building / First Interstate Tower building / Aon Center:
707 Wilshire Boulevard
Built 1970–73.
Architect: Charles Luckman (or at least The Luckman Partnership)
Client: United California Bank (with note of the particular influence of Norman Barker Jr.), financed by United California Bank and the Equitable Group
Project management for post-fire clean-up and other work ca. 1988–89: Abraxas Architecture
Renovated: 2008 by Johnson Fain Architects
In 1988, part of the building caught on fire, injuring 40 people and killing one.
en.wikipedia.org/wiki/Aon_Center_(Los_Angeles)
articles.latimes.com/keyword/aon-center
brighamyen.com/2012/02/17/did-you-know-downtown-los-angel...
articles.latimes.com/2010/sep/16/local/la-me-norman-barke...
www.glasssteelandstone.com/BuildingDetail/3624.php
forum.skyscraperpage.com/showthread.php?t=152120
skyscraperpage.com/cities/?buildingID=1291
articles.latimes.com/keyword/united-california-bank
digital.lib.washington.edu/architect/structures/6162/
en.wikipedia.org/wiki/First_Interstate_Tower_fire
blogdowntown.com/2009/09/4647-downtowns-history-light-on-...
www.lafire.com/famous_fires/1988-0504_1stInterstateFire/0...
www.lafire.com/famous_fires/1988-0504_1stInterstateFire/E...
www.drj.com/drworld/content/w1_119.htm
www.abraxasarchitecture.com/fitfire.html
www.emporis.com/building/aoncenter-losangeles-ca-usa
www.mkp-us.com/building.php?portfolioID=4&building=AO...
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Westin Bonaventure:
404 South Figueroa Street
Built: 1974–76.
Architect: John Portman
ZIMAS data:
Central City Community Plan Area, Los Angeles State Enterprise Zone, Freeway Adjacent Advisory Notice for Sensitive Uses, Greater Downtown Housing Incentive Area, General Plan Land Use ="Regional Center Commercial", Downtown Adaptive Reuse Incentive Area, Bunker Hill Redevelopment Project, w/in 500 feet of USC Hybrid High, Downtown Center Business Improvement District, Central City Revitalization Zone
Assessment:
Assessed Land Val.: $31,878,705
Assessed Improvement Val.: $20,033,803
Last Owner Change: 12/18/95
Last Sale Amount: $260,002
...
Year Built: 1976
Famous for the elevators, the revolving cocktail lounge, the mirror glass exterior, et cetera et cetera, and for being the star of a famous essay by Fredric Jameson on postmodernism.
Before I get into that, let me just say that what I currently find interesting about the Westin Bonaventure and the urbanism of this section of Figueroa and Bunker Hill in general are the really complex histories about what was happening with and against modernism from the 1950s through the 1980s, especially in Los Angeles, especially with regards to Bunker Hill, housing, car culture, et cetera.
But with the Westin Bonaventure in particular, I'm also interested in visual/formal comparisons with both Prentice Women's Hospital in Chicago (1975), the BMW headquarters in Munich (1968–73), and LaForet Harajuku (1975–80).
www.nytimes.com/2012/10/18/arts/design/adapting-prentice-...
en.wikipedia.org/wiki/BMW_Headquarters
www.mori.co.jp/en/img/article/en081121.pdf
Or in terms of textures and materials, there's the more local Samuel Goldwyn Theater:
www.flickr.com/photos/jannon/4653822940/
(There used to be a lot more examples in Los Angeles of mirror glass facades combined with concrete, but I feel like a lot have been torn down.)
Because of its dramatic qualities and because of how Jameson explicated them, people don't really talk about this building in the context of Brutalism, even though that style arguably was just as interested in dramatic effects and complexity. (There's also the totally different social uses of the "main" buildings of each style as well, of course.)
Of course, I'm probably just massively ignorant and there are a ton of good books already out there that are full of chapters that explicitly talk about connections between architecture and urban planning in Los Angeles and the UK, with lovely details about Victor Gruen Associates and Milton Keynes and the Barbican and the Glendale Galleria. Even better if they also bring in Metabolism and connections with what was going on in Japan. Particularly since Mori Yoshiko seems a lot more important and successful at building the massive city-in-a-city projects than John Portman, on the whole. Anyway, if so, let me know what they are?
Jameson's essay (or at least the beginning of it):
newleftreview.org/I/146/fredric-jameson-postmodernism-or-... (original version, 1984, sub required)
books.google.com/books?id=oRJ9fh9BK8wC&lpg=PA39&v... (book version, first few pages of the part on the Westin Bonaventure)
books.google.com/books?id=wfd-c0blcb0C&lpg=PA103&... (another book version, w/ an intro by Asa Berger, again the first few pages about the Westin Bonaventure)
More of other people quoting Jameson:
" In Frederick Jameson’s essay on the utterly bizarre Westin Bonaventure in Los Angeles, he describes a 'postmodern hyperspace,' an emblem of the 80s trend in which building design hoped to create hermetically sealed miniature cities. At the Bonaventure, human activity is directed in a space threaded with fitness centers, plants that thrive without any natural light and functionless open spaces offering the blank hyperreality of grandeur and respite contained in concrete."
www.newmediacaucus.org/wp/a-room-to-view/
"Citing the example of the Westin Bonaventure hotel in Los Angeles, Jameson argues that 'this latest mutation in space -- postmodern hyperspace -- has finally succeeded in transcending the capacities of the individual human body to locate itself, to organize its immediate surroundings perceptually, and cognitively to map its position in a mappable external world'. The effect on cultural politics, according to Jameson, is that the subject 'submerged' by this postmodern hyperspace is deprived of the 'critical distance' that makes possible the 'positioning of the cultural act outside of the massive Being of capital.'"
muse.jhu.edu/journals/dia/summary/v029/29.3reynolds.html
"Its reflective glass façades seemed to disappear into their surroundings. Behind them (for those who could afford it) there opened up a city within a city. Portman’s Hotels—where client, financier, and architect were all one and the same—are for Jameson the epitome of late-capitalist space. He writes of the lobby: 'I am tempted to say that such space makes it impossible for us to use the language of volume or volumes any longer, since these are impossible to seize. ... A constant busyness gives the feeling that emptiness is here absolutely packed, that it is an element within which you yourself are immersed, without any of that distance that formerly enabled the perception of perspective or volume. You are in this hyperspace up to your eyes and your body.'"
www.olafureliasson.net/studio/pdf/Ursprung_Taschen_S.pdf
Or drawing on Jameson:
"In his book Postmodern Geographies: the reassertion of space in critical social theory (1989), Edward W. Soja describes the hotel as 'a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles' (p. 243-44)."
en.wikipedia.org/wiki/Westin_Bonaventure_Hotel
See also Soja on Jameson on the Westin Bonaventure for the BBC: www.youtube.com/watch?v=oWlu3OlvL58
"Writing from California, Jameson imagined the whole new era was summed up in the alienating 'disorientation' one felt in hotels like John Portman's Westin Bonaventure in Los Angeles. Lost in its lobby, without any 'cognitive map,' Jameson found an allegory of a supposedly late phase in capitalism (coming before what?), which explained the kind of space to which French theory had unwittingly been leading us. For architecture, the art closest to capitalism, was the one best able to point out late capitalism's 'totality.' Frank Gehry, for one, was not pleased; more generally, at the very moment Jameson was confidently offering his allegory, architects like Gehry were departing from so-called po-mo (quotationalist, historicist) architecture, often to rediscover modernist strategies. Indeed, the architects that the Museum of Modern Art would group together in a 1988 exhibition as 'deconstructivists' (e.g., Gehry, Rem Koolhaas, and Peter Eisenman) were linked less by any sustained interest in Derrida than by their contempt for postmodernism. Jameson, though, was unable or unwilling to give up the 'totality-allegory' view of works, and in the face of this and other difficulties, he was gradually forced to admit that he no longer knew what to do with the categories modernity and postmodernity. In the absence of new works or ideas to 'totalize,' he tried to look back and reassert the Marxist sources of critical theory, now itself in a late or disappointed state."
—John Rajchman, "Unhappy Returns: John Rajchman on the Po-Mo Decade. (Writing the '80s)," Artforum International, Vol. 41 (2003), No. 8
www.questia.com/library/1G1-101938549/unhappy-returns-joh...
"The programmed music of the Westin Bonaventure Hotel in Los Angeles follows patterns of use typical to that of most programmed music. In the large open expanse of the lobby/atrium, music is always playing in the background. During the mornings and early afternoon typical small jazz group arrangements are played, never with vocals, and as the day progresses and the bar opens for the evening the music slowly shifts towards a more upbeat genre, signaling to the guests that the objectified content of the contemporary nightlife experience is beginning. Speaking to the maître d’ at the reception desk, however, he informed me that the neither the amplitude of the music nor its aesthetic intensity ever crosses above a consciousness level threshold where any guest would be forced to acknowledge its presence."
music.columbia.edu/~alec/page2/assets/Muzak%20as%20the%20...
"Downtown Los Angeles is notoriously quiet in the evening; the streets develop an abandoned, out-of-season feel, and the BonaVista Lounge shared some of this atmosphere. At first we were the only customers. Two people drinking alone in a revolving restaurant -- now there's an existential image for you. . . . It had been a clear, sunny day and now the sky was coalescing into a spectacular sunset. Because we were downtown we had a close-up view of some very untypical Los Angeles features: the few skyscrapers in this essentially low-rise city, shiny corporate blocks; then beyond them were the more familiar Los Angeles sights -- mountains, interweaving freeways, the vast ground-hugging grids of street lights, all bathed in a deep orange light. I wasn't so naïve, or so easily satisfied, as to think that I'd really found the perfect revolving restaurant; but for an hour or so, with the city far below, with a Cloud Buster in my hand, I found it hard to imagine anything better."
www.nytimes.com/2003/07/13/travel/done-to-a-turn-at-360-d...
"The Westin Bonaventure Hotel looks like something out of Robocop. Typical of architect John C. Portman Junior's style, at its heart is a large atrium and multi-story labyrinth of walkways, shops, and mostly empty seating pods. The building's inward orientation and imposing exterior make it feel, if not as impregnable as a fortress ideally is, something like an arcology, biosphere or space station. It's designed to provide everything one would need for tourists and business travelers within its walls, although most of it shuts down after lunch. I just managed to grab a bánh mì from Mr. Baguette before its closing time of 3:00 pm. Forced to order my food to-go, after wandering around the building I ventured back out into the lawless outlands."
www.kcet.org/socal/departures/landofsunshine/block-by-blo...
www.thebonaventure.com/history/
www.starwoodhotels.com/westin/property/overview/index.htm...
www.bartlett.ucl.ac.uk/architecture/events/kreider-oleary...
www.nytimes.com/2006/06/22/travel/22iht-hotdesign.html?pa...
www.artslant.com/ny/articles/show/11785
memory.loc.gov/phpdata/pageturner.php?type=contactminor&a...
John Portman:
en.wikipedia.org/wiki/John_C._Portman,_Jr.
www.nytimes.com/2011/10/20/garden/john-portman-symphonic-...
----
Paul Hastings Building (the old ARCO Tower, one part of City National Plaza):
515 South Flower Street
Built 1970–72.
Architects: Albert C. Martin & Associates (A.C. Martin & Associates)
Renovated: 1994.
Owner: Thomas Properties Group Inc.
Also formerly known as: ARCO Center, ARCO Plaza, Atlantic Richfield Tower, ARCO Tower, ARCO building.
Built controversially on the former site of the Richfield Tower.
en.wikipedia.org/wiki/City_National_Plaza
en.wikipedia.org/wiki/Richfield_Tower
en.wikipedia.org/wiki/Paul_Hastings
www.cnp-la.com/building/history.htm
www.emporis.com/building/paulhastingstower-losangeles-ca-usa
skyscraperpage.com/cities/?buildingID=2730
www.southlandarchitecture.com/Building/3656/Paul-Hastings...
In the cemetery of Three Hills, a small prairie farming town in Alberta, in western Canada is a strange little grave marker. It is the tomb of John McAlpine, which claims that he was the last survivor of General Custer. Various stories circulate around town as to its legitimacy.
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Left to right: unknown private, blurry dog, 2nd Lieutenant Thomas G. Troxel, Captain William A. Sutherland, and Captain George Lancaster.
Three company officers lounge in folding camp chairs outside a tent while a dog scratches its ear at their feet. The officer on the far right is wearing captain's bars on his shoulder straps. The other two seated officers must be his first and second lieutenants. An enlisted man stands guard nearby with his musket at right-shoulder-shift. I suspect that the middle of the three officers is the one who wrote the note on the card's reverse side that says, "Miserable. The artist insisted on putting my cap back off my eyes until I was blinded by the sun." What do you think?
Two of the officers have the number "17" on their caps. Initially, my totally wild guess was that they were part of the 17th Massachusetts, and this was taken in March or April 1862 shortly after their arrival at New Bern, North Carolina. Other possibilities I considered were the 17th Connecticut at Tennallytown, Washington, DC in the winter of 1862-63, or the 17th Maine near Fredericksburg in the early spring of 1863.
UP DATE: Thanks to some super sleuthing by Camp Groce and Brendan Hamilton (see comments below) the three officers have been identified as members of the 17th US Infantry on Post-War occupation duty in Hempstead, Texas (circa 1866-1867). From left to right they are: 2nd Lieutenant Thomas G. Troxel, Captain William A. Sutherland, and Captain George Lancaster.
Here are summary records for these officers:
Thomas Graham Troxel, from Iowa. Private and 1st Sergeant Co. E 25th Iowa Infantry from 21 August 1862 to 6 June 1865; 2nd Lieutenant 17th US Infantry 23 February 1866; 1st Lieutenant 6 July 1867; Regimental Quartermaster 20 October 1872 to 28 June 1878; Captain 28 June 1878; retired 22 June 1889.
William Sutherland, from Ohio. Private in Co. C 2nd Ohio Infantry from 17 April to 31 July, 1861; 2nd Lieutenant in 19th Ohio Infantry 1 January 1862; 1st Lieutenant 10 December 1862 to 9 May 1864; Captain and Assistant Adjutant General of Volunteers 18 March 1864; Major and Assistant Adjutant General of Volunteers 19 August 1865; Honorably mustered out 8 December 1865; 2nd Lieutenant and 1st Lieutenant 17th US Infantry 23 February 1866; resigned 1 September 1867 and died of Yellow Fever in Houston that same year. (See this link.)
George Lancaster, from Maine. Private in the 17th US Infantry from 14 April 1862: promoted to 2nd Lieutenant 17th US Infantry 13 March 1863; 1st Lieutenant 14 May 1863; Captain 6 February 1866; retired 6 May 1870; died 26 September 1875.
refining details:
"Now that the clay has dried out and the sculpture is able to support itself I can take the time to carefully refine some details and make it all smoother. If the sculpture was larger, the next task would be to hollow it out, but because of the small size I am going to mount it on a stand as it is." Tomitheos .
Copyright © 2011 Tomitheos Sculpture / Photography - All Rights Reserved
John Fergus was active from the 1870's through the 1900's with studios in Blackdales, Scotland and Cannes, France.
Below is an excerpt from a book describing his studio, down to his use of light, some sketches and the prices he charged for proofs and prints. Pretty interesting!
Some Italian sausage – brought back from Venice by a friend :)
The hereios of the We're Here! group have paid a visit to the Fridge Portraits group at the suggestion of ruthless crab as today is the anniversary of England and France signing of the Peace of Boulogne, in 1550.
Stuck for an idea for your daily 365 shot? Try the hereios of the We're Here! group for inspiration.
Yesterday, 7 August 2015, four of us were extremely fortunate to have the chance to visit the home and highly varied topographic 62-acre property belonging to Frances and David Dover. We felt honoured and privileged to meet and spend time with Frances and David, and also their daughter Carolyn and her husband Clair. A delightful family who welcomed us so warmly into their home and land.
This acreage of grassland, forest, rolling hills - and special gardens - is not far from Millarville, SW of Calgary. In fact, it's in an area that I often drive through when I only have time for, or only feel like doing, a short drive. Amazing what little gems exist out there.
This is not just a beautiful property, but is very special for various reasons. For one thing, read any history of Alberta and you will find the Dover family, including David's mother, Mary Dover. Second, among the trees and open "lawns", there are Peony flower beds, containing 100-150 heritage Peonies, each one different, that have now multiplied to more than 300 plants. Unfortunately, they bloomed a couple of weeks early this year, and all the flowers had gone to seed. Another open area had a different kind of ground cover - Thyme, which smelled wonderful. If I remember correctly, this was the open space where the Calgary Philharmonic Orchestra performed on one occasion!
There are two large ponds on the property and another smaller area of water that they hope to turn into a Japanese Garden. It was while walking around the latter that a large brown 'shape' could be seen through the dense trees - a handsome Moose buck. I will look properly at the four or so photos I just managed to get and will slip one of them into my photostream sometime soon, just for the record, definitely not for the photo quality : ) This was also where a Great Horned Owl was seen flying through the trees by some of us (not me, ha!).
There are grassy paths winding through the acreage, up and down hill, that take David seven hours to mow. They are not pristine, velvety paths, but instead, they seem to take nothing away from the wildness of the whole area. One of the animals that have passed through is the Cougar. In fact, several years ago, I saw a video taken on a nearby (or adjacent?) property, where a 'kill' and night-time camera had been set up and a total of six different Cougar individuals were seen!
Even the Dover's home is unique and beautiful. It is completely built of concrete - floors, walls, ceilings, roof, deck, and so on. A Hummingbird feeder and regular bird feeders, set up on the patio, attract a variety of birds. We sat on the patio after our walk to eat our packed lunches - and to enjoy a delicious Orange Pound Cake that Frances had made for us, along with refreshing Iced Tea - thank you so much for this, Frances! Yesterday, while I was waiting for one of three tiny Calliope Hummingbirds to come back, I was lucky enough to see a little Mountain Chickadee, along with many Pine Siskins. We could also hear a Red-tailed Hawk in the area.
There is just so much I could write about this visit and family. Instead, or for now, I will add several links to more information on the Internet. This was a memorable day for us. Thank you so much, Frances and David, Carolyn and Clair, for being so kind and welcoming us into your home and gardens.
books.google.ca/books?id=Tr36Tq_gadcC&pg=PA290&lp...
www.westernwheel.com/article/20110727/WHE06/307279983/-1/...
David's mother, Mary Dover (her father was A. E. Cross), was "a dynamic and distinguished Calgarian, particularly known for her work with the military during World War II." As well as being an army officer, and an alderman, she was also a preservationist. See the following link.
www.albertachampions.org/champions-mary_dover.htm#.VcY1KP...
ww2.glenbow.org/search/archivesMainResults.aspx?XC=/searc...
glencoe.org/documents/10184/637479/The-History-of-Elbow-P... page 44-45
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On the way home, I couldn't resist stopping at the row of five old, red granaries. I had seen someone's photo, taken fairly recently, of the surrounding fields golden with Canola. I was, sadly, too late, but I took a photo anyway - of course!
1910 postmarked postcard view of the Wabash River Bridge looking west toward Pittsburg, Indiana. Pittsburg is an unincorporated community located across the river from Delphi in Carroll County.
A 1916 county history¹ says contracts for the 600-foot bridge were awarded in 1868. The bridge and Pittsburg’s street layout are shown in an 1876 Indiana atlas.² That atlas shows Washington Street running from the west end of the bridge westward through the community. Today, this street is identified as County Road W 310 N. A new concrete bridge replaced this 1868 bridge in 1934-1935 according to the bridgehunter.com web site. That initial concrete bridge has now been replaced by a newer bridge.
The sign on this end of the bridge may have been warning travelers of a $20.00 fine for driving too fast across the bridge.
Andrew W. Wolever, a Delphi photographer, took this and other photographs in the area. The quality of his work is spectacular as illustrated by the clarity of the bridge structure and the building details across the river. The man and two girls standing on the bridge are very clear as well for a postcard photograph from this era.
1. John C. Odell, History of Carroll County, Indiana (Indianapolis, IN: B. F. Bowen, 1916). Available online at books.google.com/books?id=QG03AQAAMAAJ&printsec=front....
2. A. T. Andreas, Illustrated Historical Atlas of the State of Indiana (Chicago, IL: Baskin, Forster & Co., 1876), page 77. Available online at www.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~23087~....
From a private collection.
Selected close-up sections of this postcard can be seen here, from left to right in the image.
www.flickr.com/photos/hoosier_recollections/31335633414/i...
www.flickr.com/photos/hoosier_recollections/31335633104/i...
www.flickr.com/photos/hoosier_recollections/32058923591/i...
www.flickr.com/photos/hoosier_recollections/32058923111/i...
Copyright 2005-2017 Hoosier Recollections. All rights reserved. This creative JPG file package is an original compilation of materials and data. The package is unique, consisting of a wide variety of related and integrated components. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
1911 postmarked postcard view of Lakeville, Indiana. This view was looking south on Michigan Street and shows a two-story wood frame building on the left with a POST OFFICE sign. The 1911 St. Joseph County atlas¹ shows the Lakeville Post Office on the northeast corner at the Second Street intersection. (That street is identified as East Washington Street today.) The sign painted on the display window to the right of the entrance advertises _____ MOORE HARDWARE [and] COAL. The postcard owner found that the Moore brothers opened a hardware store in Lakeville in 1894. A decade later, Alex Moore was identified as the coal and hardware business owner.
In this scene, a young girl sat on a crude bench in front of the store. The two signs leaning against the building on either side of the entrance advertised LOWE BROTHERS PAINT. The Lowe Brothers Company was founded in Dayton, Ohio and was later bought by the Sherwin-Williams Company. The partial sign pasted on the post in the foreground advertised SYRUP OF FIGS, a common laxative product.
The single-story wood frame building south of the hardware store advertised A. O. VANLIEW. DEALER IN DRUGS & HARDWARE. A 1910 Van Liew family history identified the druggist as Alpheus O. Van Liew. He was also listed in a 1905 directory of druggists.² A genealogy website says he died in August, 1906. If the man posing in front of that store was Mr. Van Liew, then the photograph was taken earlier in 1906 or perhaps 1905.
The sign on the small building beyond the Van Liew store advertised DR. HOW. A report³ issued in 1904 listed John T. How as a physician in Lakeville. He had received his license to practice in St. Joseph County in 1902 after graduating in 1897 from Hahnemann Medical College and Hospital in Chicago.
None of the signs posted on the utility pole in front of the doctor’s office are clear enough to read. A sign on the small structure beyond Dr. How’s office appears to include the word FEED.
Typically, the store owner where the post office was located served as the community’s postmaster, but the list of postmasters for this period does not include anyone with the Moore name. The following were the Lakeville postmasters during this period:
1893 Douglas Rush
1897 Charles W. Moon
1908 Frank A. Barkley
Postmaster Moon owned a building across the street where he ran the C. W. Moon & Son general store, and operated the post office. His building was next to the building commonly known as the Rensberger General Store. The Moon building was destroyed by fire, but the Rensberger building is still in use today. Mr. Moon was postmaster from 1897 until December of 1902, when he filed for bankruptcy. The sheriff closed the Moon store and Deputy Sheriff Frank Barkley was placed in charge of the post office. The records don’t indicate if the deputy sheriff was the same Frank A. Barkley that became postmaster in 1908, nor do the records indicate when the post office was moved across the street to the location shown in this postcard scene. If the gentleman standing in the background in this scene is Mr. Van Liew, then the post office was moved across the street from the Moon building long before Mr. Barkley was appointed postmaster. It is possible the post office was moved out of the Moon building shortly after that building was closed by the sheriff at the end of 1902. Mr. Barkley may have been acting as postmaster from that time until his official appointment in 1908, or Mr. Moon may have resumed his duties as postmaster in the new location while the bankruptcy was being adjudicated and for the years following. We have not yet found information to explain the situation during this period. Mr. Moon was 62 at the time of the bankruptcy filing.
When this photograph was taken, Michigan Street made a sharp turn to the west at the south edge of town. The house at that corner in this scene is shown on the 1911 plat map. That property belonged to F. E. Van Liew.
1. Standard Atlas of St. Joseph County Indiana Including a Plat Book (Chicago, IL: George A. Ogle & Co., 1911) page 83. Available online at www.historicmapworks.com/Atlas/US/7719/St.+Joseph+County+....
2. The Era Druggists Directory, Eleventh Edition (New York, NY: D. O. Haynes & Co., 1905). Available online at books.google.com/books?id=bantAAAAMAAJ&printsec=front....
3. Indiana State Board of Medical Registration and Examination, The Sixth Annual Report (Indianapolis, IN: William B. Burford, 1904). Available online at books.google.com/books?id=yk1JCeJJsPAC&printsec=front....
From a private collection.
Selected close-up sections of this postcard image can be seen here, from left to right in the image.
www.flickr.com/photos/hoosier_recollections/26024994256/i...
www.flickr.com/photos/hoosier_recollections/25778053350/i...
www.flickr.com/photos/hoosier_recollections/25984553141/i...
Copyright 2007-2016 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
c1910 postcard view of Main Street in Churubusco, Indiana. The photographer was standing in Main Street north of the Whitley Street intersection and facing north-northwest. The farthest group of buildings were on the north corner at Washington Street. The 1905 Sanborn™ fire insurance map set for Churubusco shows a dry goods and clothing business in the two-story building. The building on the corner with the bell tower was the fire department “hose house.” Across Washington Street to the south was a carriage repository and a bank. In another postcard view of that building, the sign on the building advertised O. GANDY & CO. THE EXCHANGE BANK. . A 1910 state auditor’s report¹ identified the bank as The Exchange Bank of O. Gandy & Co. and indicated a Certificate of Authority had been issued in 1905. Oscar Gandy was the owner. The entrance for the repository appears to be on the street corner and the bank entrance on the south corner of the building.
The 1905 map set shows a meat market and a department store in the two brick buildings in the center of this view. In 1905, the white wood frame building contained (from north to south) the Churubusco Post Office, a bakery and a barbershop. The sign in this scene advertised the POST OFFICE at the north end of that building. South of that sign was an over-size pocket watch on a post. Such trade signs were generally used by jewelers to advertise their businesses. It is probable that the jeweler moved into the building, replacing either the bakery or the barbershop after the 1905 map set was produced. By the time the 1911 Sanborn™ map set was being prepared, this wood frame building had been replaced by a larger brick building. This new building extended all the way down to Whitley Street. The 1911 map set shows a confectionery, tobacco and dry cleaning business next to the post office in the new building and a jeweler between that business and the barbershop at the south end of the new building. The bakery was gone.
1. Auditor of the State of Indiana, Annual Report (Indianapolis, IN: William B. Burford, 1910). Available online at books.google.com/books?id=l_dJAAAAMAAJ&printsec=front....
This image was created by Thomas Keesling from a postcard courtesy of the Indiana Postal History Society.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/27507219231/i...
Copyright 2005-2016 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
Common Hemp-nettle and Hedgenettle both belong to the plant family, Lamiaceae, and I always get them mixed up. I think I have the correct ID for the plant in my photo, but corrections are always much appreciated! Unfortunately, the water droplets on the flowers resulted in blur.
On 7 August 2015, four of us were extremely fortunate to have the chance to visit the home and highly varied topographic 62-acre property belonging to Frances and David Dover. We felt honoured and privileged to meet and spend time with Frances and David, and also their daughter Carolyn and her husband Clair. A delightful family who welcomed us so warmly into their home and land.
This acreage of grassland, forest, rolling hills - and special gardens - is not far from Millarville, SW of Calgary. In fact, it's in an area that I often drive through when I only have time for, or only feel like doing, a short drive. Amazing what little gems exist out there.
This is not just a beautiful property, but is very special for various reasons. For one thing, read any history of Alberta and you will find the Dover family, including David's mother, Mary Dover. Second, among the trees and open "lawns", there are Peony flower beds, containing 100-150 heritage Peonies, each one different, that have now multiplied to more than 300 plants. Unfortunately, they bloomed a couple of weeks early this year, and all the flowers had already gone to seed. Another open area had a different kind of ground cover - Thyme, which smelled wonderful. If I remember correctly, this was the open space where the Calgary Philharmonic Orchestra performed on one occasion!
There are two large ponds on the property and another smaller area of water that they hope to turn into a Japanese Garden. There is a total of seven wetland basins, including these. It was while walking around the Japanese Garden that a large brown 'shape' could just be seen through the dense trees - a handsome Moose buck. I will look properly at the four or so photos I just managed to get and may slip one of them into my photostream sometime, just for the record, definitely not for the photo quality : ) This was also where a Great Horned Owl was seen flying through the trees by some of us (not me, ha!).
There are grassy paths winding through the acreage, up and down hill, that take David seven hours to mow. They are not pristine, velvety paths, but instead, they seem to take nothing away from the wildness of the whole area. One of the animals that has passed through is the Cougar. In fact, several years ago, I saw a video taken on a nearby (or adjacent?) property, where a 'kill' and night-time camera had been set up and a total of six different Cougar individuals were seen!
Even the Dover's home is unique and beautiful. It is completely built of concrete (and glass) - floors, walls, ceilings, roof, deck, and so on. A Hummingbird feeder and regular bird feeders, set up on the patio, attract a variety of birds. We sat on the patio after our walk to eat our packed lunches - and to enjoy a delicious Orange Pound Cake that Frances had made for us, along with refreshing Iced Tea - thank you so much for this, Frances! While I was waiting for one of three tiny Calliope (?) Hummingbirds to come back, I was lucky enough to see a little Mountain Chickadee, along with many Pine Siskins. We could also hear a Red-tailed Hawk in the area. Saw a total of 22 bird species.
There is just so much I could write about this visit and family. Instead, or for now, I will add several links to more information on the Internet. This was a memorable day for us. Thank you so much, Frances and David, Carolyn and Clair, for being so kind and welcoming us into your home and gardens.
books.google.ca/books?id=Tr36Tq_gadcC&pg=PA290&lp...
www.westernwheel.com/article/20110727/WHE06/307279983/-1/...
David's mother, Mary Dover (her father was A. E. Cross), was "a dynamic and distinguished Calgarian, particularly known for her work with the military during World War II." As well as being an army officer, and an alderman, she was also a preservationist. See the following link.
www.albertachampions.org/champions-mary_dover.htm#.VcY1KP...
ww2.glenbow.org/search/archivesMainResults.aspx?XC=/searc...
glencoe.org/documents/10184/637479/The-History-of-Elbow-P... page 44-45
Die fidele Kommode
Siebenhundert Jahre deutscher Humor
Ein kurzweiliges und scherzhaftes Album deutscher Humordichtung mit vielen hundert lustigen Reim-Episteln und launigen Versstücken.
> Illustration (?) / Hans Wilhelm Kirchhoff "Schwank vom Advokaten und dem Teufel"
Fikentscher Verlag (Leipzig / Deutschland; 1930)
ex libris MTP
books.google.ca/books?id=cwf7fqxjRigC&pg=PA181&lp...
The caretaker at the Ballarat Museum indicated this was Charles Manson's getaway truck. The Barker Ranch is 22 miles south-east of here.
I also found a rusted wristwatch a few feet behind me. I brought my find to the caretaker's attention. He said that someone likely dropped it there on purpose. I didn't quite understand this at the time, but I carefully returned it to where I found it. I later discovered this was the location in the opening scene in "Easy Rider" where Peter Fonda discards his own watch. Someone's way of paying homage to the movie, I guess.
Carte de visite by Alexander Gardner of Washington, D.C. The gent standing is David B. Parker and his military service began like so many other young Northerners. In 1861 he enlisted as a private in his hometown company. It became part of the 72nd New York Infantry, shipped out to the South and joined the Army of the Potomac.
This is where the similarity to other soldiers ends. In June 1862, Pvt. Parker was detailed as a mail agent in his regiment's division, which was commanded by Maj. Gen. Joe Hooker. He was appointed to handle the mail not because he was a poor soldier, but because he was a energetic and possessed a gift for cutting through red tape and making things happen. Before long Parker ran the entire mail service for all of the Army of the Potomac.
Thanks to Parker, mail delivery went virtually interrupted no matter where the army was—Gettysburg, Spotsylvania, the front lines of Petersburg and Appomattox Court House. The work he did kept up the morale of the men as the letters and packages from home flowed into camp literally without interruption.
His career after the war was stellar, including many years of association with most of the Presidents of the U.S. and Bell Telephone.
He died in 1910. Two years letter, his memoir, "A Chautauqua Boy in '61 and Afterward," was published. In it, Parker tells his story and includes anecdotes of the top Union leaders with whom he was associated, including generals George G. Meade and U.S. Grant, and President Abraham Lincoln. For example, here’s one I have not heard about Gen. Meade: “General Meade went to the Adjutant General’s office, which was a Sibley tent, and opened the flap to stoop and enter, as a soldier, who was building a fire in the stove and taking up ashes, was coming out. The pan of ashes struck General Meade’s breast and covered him. he showed a very irascible temper and cursed the soldier roundly. All that I saw of General Meade afterwards, however, was a reserved courtly gentleman. He was not personally popular with his staff officers, but no one could criticize his conduct or his patriotism.”
Read more of Parker’s story: books.google.com/books?id=jBZCAAAAIAAJ&printsec=front...
Parker, standing, is pictured here with Capt. Charles E. Scoville of the 94th New York Infantry. Officially Parker was acting assistant quartermaster for the Army of the Potomac responsible for mail delivery.
Vol.6 "A Story in ONE Page"
by Masanori Miyauchi a.k.a PUU OUT NOW.
Here is Mister PUU's Website
MADE FOR JAPAN is a project by Citypulse, conducted by Toshihiro Oshima and aimed to help the Japanese people to heal their wounds.
It is composed by 12 Volumes created by 11 artists, 9 of them Japanese and 2 Spanish photographers specially invited to the project. Starting August 11th, exactly 5 months after the earthquake, each week we will launch a new Volume.
All the profits will go to the Japanese Red Cross to be applied in the reconstruction labors.
Blurb Store
www.blurb.com/bookstore/detail/2512351
CITYPULSE : Made for Japan Website
Complete Preview of the Book "A Story in ONE Page" on ISSUU
1911 postmarked postcard view of the Smith, Roper & Company mill at Hobart, Indiana. The 1910 Sanborn™ fire insurance map set for Hobart identified the mill as “Smith Roper & Co. Hobart Roller Mills.” The map set shows a short water flume leading from the Lake George dam to the turbines in the three-story structure. The mill was located at the edge of Deep River west of the intersection of Main Street, Chicago Road and Front Street. (Chicago Road later became an extension of Main Street.) The building was destroyed by fire in 1953.
This view was looking south and includes two houses that the map set shows nearby on Chicago Road. The red structures in the background were probably the mill’s feed warehouse and corn crib that are also shown in the map set. Other houses and the German Lutheran Church were located a little farther south along Main Street, but can’t be seen behind the mill and trees in this view.
A national milling business publication¹ reported the following in 1911. “The old firm of Smith, Roper & Co., composed in recent years of Sela A. Smith, Mrs. Eliza Roper and Milton W. Brown, with milling interests in Hobart, Ind. and an extensive business in flour and feed in Gary, Ind., has been dissolved by mutual consent. Mr. Smith has taken over the Hobart business and the other two members of the firm will take charge at Gary.”
1. Harley D. Mitchell, Editor, American Miller and Processor, Volume 39 (Chicago, IL: Mitchell Bros. & Co, 1911), page 152. Available online at books.google.com/books?id=fZdFAQAAMAAJ&printsec=front....
Copyright 2003-2016 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
In 1881, a New York City newspaper published a lengthy article about Indianapolis. This was no ordinary newspaper and the article was accompanied by 15 engraved images, most depicting the city’s institutions and architecture. The newspaper was The Daily Graphic: An Illustrated Evening Newspaper, published from 1873 to 1889 with four editions daily. It was an innovative publication in many respects and was one of the first tabloid-size newspapers with pages approximately 14½ inches wide by 21 inches high. The owners made extensive use of graphics on a daily basis to illustrate each issue.
On Friday, November 4, 1881, the fourth edition for that day included an article about Indianapolis titled “The Capital of Indiana.” Page 29 was devoted entirely to 11 engraved images of Indianapolis. The engravings were based on “sketches by our special artist and photographs by F. M. Lacey.” Page 30 contained additional engraved images of Indianapolis and the text of the article, together occupying about two-thirds of that page.
Mr. Lacey was an Indianapolis photographer with a studio in the Vance Building. He was also treasurer of the Indiana Association of Photographers around the turn of the century.
The article describes the origins of the city and various aspects of its development, including the street pattern, two suburbs, the railroads, newspapers and commerce. Following is the eighth paragraph from the article and it sounds like an advertisement.
THE CAPITAL OF INDIANA.
A FEW INTERESTING FACTS CONCERNING THE HISTORY AND ENTERPRISE OF INDIANAPOLIS.
“The Indianapolis Elevator Company is an incorporated company and proprietor of Elevator A, erected in 1872, with a capacity of 350,000 bushels and a transfer capacity of 200 cars per day. It is situated west of the city, between the Indianapolis, Bloomington and Western and Indianapolis and St. Louis Railway yards, and is strictly a public elevator, not being connected with grain trade. Their interest is identical with that of their patrons. Elevator A’s receipts are considered first class security. Money can be obtained from any of the city banks at as low a rate of interest with Elevator A’s receipts as security as on Government bonds.”¹
This Western Elevator graphic was included on page 30, but the article referenced the “Indianapolis Elevator Company” and “Elevator A.” Very little information seems to be available regarding the Western Elevator at Indianapolis other than its location west of White River. However, the 1887 Sanborn™ fire insurance map set for Indianapolis, Volume One, does show the Elevator “A” on Sheet 35 as described in the article. In fact, the railroad adjacent to Elevator “A” on that map sheet is the I. D. & S. (Indianapolis, Decatur & Springfield) Railway, the same railway that owned the boxcars depicted in this engraving with “ID & S painted on their sides.
The I. D. & S. was a new addition to the Indianapolis railroad lineup when this newspaper article was written, but financial problems from 1887 through 1902 led to a handful of ownership and name changes. The beginning of the I. D. & S. was described in a court case involving Center Township in Marion County.
“In September 1875, articles were filed with the [Indiana] Secretary of State, incorporating the bondholders under the name of the Indianapolis, Decatur & Springfield Railway Company, for the purpose of completing the railroad projected by the old Indiana & Illinois Central Railway Company. On the 4th day of November, 1875, this new company was consolidated with the Springfield, Decatur & Indianapolis Railway Company under the name of the Indianapolis, Decatur & Springfield Railway Company. This company at once proceeded to build the railroad, and complete it from Indianapolis to Springfield, Illinois, but not ready for use along its whole line, nor in Center Township, until 1880. The line of road, as projected by the old Indiana & Illinois Central Company, was to begin at the City of Indianapolis and extend thence as nearly west as should be found practicable and convenient by way of or within half a mile of the Towns of Danville, Rockville and Montezuma in the State of Indiana, and Decatur in the State of Illinois, in a direction leading to the City of Springfield, Illinois, and passing through the Counties of Marion, Hendricks, Putman, Park and Vermillion in the State of Indiana. The road, as built by the Indianapolis, Decatur & Springfield Railway Company, is upon the same general line projected by the Indiana & Illinois Central Railway Company, but the towns of Danville, Rockville and Montezuma are left from five to ten miles to the south.”²
Then, with the new railroad recently completed, a monthly magazine in 1880 printed the following report from the Indianapolis Journal regarding the application of new technology to protect passengers on the I. D. & S. Railway.
“With the opening of the Indianapolis, Decatur & Springfield [rail]road, it has been demonstrated that there is no need of annoying passengers on Western [rail]roads with cinders thrown from the smoke stack of an engine. The engines on this road are all equipped with a patent spark arrester and sub-treasury, so-called, and they now run from Indianapolis to Decatur without a spark or cinder coming back on to the train, and the engineers, some of whom laughed at the idea that a smoke stack could be constructed which would burn block coal and not throw cinders out nor choke up, are now boasting of the perfect success of the spark arrester used on the Indianapolis, Decatur & Springfield. — [Indianapolis Journal”³
The I. D. & S. R. R. designation on Sanborn™ Sheet 35 is running east and west about 700 feet south of Washington Street. There were no streets in the vicinity of the elevator. The Indiana, Bloomington & Western Railway (I. B. & W.) rail yards and roundhouse occupied most of the area north of the I. D. & S. line up to Washington Street. That area is south of the Indianapolis Zoo today and roughly midway between White River on the east and Harding Street on the west. Sheet 35 shows the Indianapolis Elevator Co. Elevator “A” along the south side of the I. D. & S. track.
The main structure of this elevator, according to the 1887 Sanborn™ map, was four stories and 55 feet tall with the center section being the equivalent of six stories and 125 feet tall. It was a wooden structure with a capacity of 350,000 bushels. The footprint of the elevator on the map sheet shows the power plant on the east end of the building. Hence, the view in this graphic is looking north-northeast with Washington Street and White River a few hundred feet beyond the elevator, the river is also to the right (east) a few hundred feet, and Harding Street a few hundred feet to the left (west). Some of the main railroad tracks remain in this area but the elevator and many of the railroad sidings and other related facilities are now gone. If Georgia Street extended west across the river, it would probably pass through the site of this elevator.
1. “The Capital of Indiana,” The Daily Graphic: An Illustrated Evening Newspaper, Fourth Edition, Friday, November 4, 1881 (New York, NY: Graphic Co., 1881), page 30.
2. Robert Desty, editor, Western Reporter, Volume I. (Rochester, NY: The Lawyers’ Co-Operative Publishing Co., 1885), page 261. Available online at books.google.com/books?id=NQtLAAAAYAAJ&printsec=front....
3. E. H. Talbott and H. R. Hobart, editors, The Railway Age Monthly and Railway Service Magazine, Vol. I No. 3. (Chicago, IL: The Railway Age Publishing Co., 1880), page 180. Available online at books.google.com/books?id=o2M3AQAAMAAJ&printsec=front....
From the collection of Thomas Keesling.
The full newspaper page can be seen here.
www.flickr.com/photos/hoosier_recollections/25267643106/i...
Copyright 2016 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
1917
At Brady Lake Park, aka Brady Lake Electric Park, between Ravenna and Kent. The amusement park here featured a roller coaster and various other entertainments.
Original Size 2-1/4 x 3
Gladys M. Kelley & Albert N. Lee Photo Album 1915-1919
c1910 postcard view of Larwill, Indiana. The postcard has no caption, but shows the railroad in the foreground and the prominent LARWILL, IND. POST OFFICE sign. This view was probably looking north on Center Street, but, most of these buildings are now gone. In this scene horse-drawn buggies and wagons were present along with several pedestrians, some of whom were posing for the photographer.
According to a 1907 county history,¹ the town was laid out in 1854 along the Pittsburg, Fort Wayne & Chicago (P. F. W. & C.) Railroad. The original town name was Huntsville. However, when the post office moved from nearby Summit, it could not be renamed Huntsville Post Office because another Huntsville post office already existed in Indiana. Residents decided to change the town’s name to Larwill so that the town and post office could use the same name. There being no other Larwill post office in Indiana, the Post Office Department agreed to change the post office name as well.
A 1916 county atlas² includes a map of Larwill that appears to show the post office on the northeast corner at the Center Street railroad crossing. However, the hand-lettered label is unclear. A short distance north, the map shows a hotel on the northeast corner at North Street.
The 1916 atlas map shows the depot near the southwest corner of the Center Street crossing. This postcard scene shows a bandstand above the sidewalk near the left edge of this scene and near where the depot would have been.
Across North Street, beyond that bandstand, a sign advertised CITY DRUG STORE on one of the buildings. A smaller sign probably bears the name of the druggist, but is unclear. A 1905 druggist directory listed one druggist in Larwill, S. W. Byall. A 1908 directory listed John E. Berry and Edward L. Garrett, but only John Berry was listed in a 1912 directory. Farther up the street, another sign appears to include the word FUR or FURS.
Across the street, possibly near the Hammontree Street intersection, were signs advertising a FEED BARN and a LUNCH ROOM. At the North Street intersection, three men were standing beside a gas lamp. The sign on the side of the building on that corner is unreadable, but may have identified the name of the hotel that the 1916 map shows on that corner. The signs on the building north of the post office are unclear as well. The sign above the post office advertised the local Modern Woodmen of America chapter.
The P. F. W. & C. railroad extended across Indiana from Pittsburg and Ohio through Fort Wayne, Columbia City, Warsaw and eventually to Chicago. By the time a 1908 railway guide³ was being published, the railroad had become part of the Pennsylvania Railroad system. A schedule dated December 1907 showed six daily trains traveling westbound between Pittsburg and Chicago on this route. Five stopped in Fort Wayne, but none stopped in Larwill. That same schedule showed eight trains traveling eastbound with two of these stopping in Larwill. A separate schedule showed two trains from running in each direction between Crestline, Ohio and Chicago. They stopped at Larwill. A separate train ran daily between Fort Wayne and Chicago and it also stopped in Larwill. A note at the bottom of the schedules pointed out that this line was double-tracked all the way between Pittsburgh and Chicago. That was a big deal and showed how important this route was.
1. Samuel P. Kaler and Richard H. Maring, History of Whitley County, Indiana (Indianapolis, IN: B. F. Bowen & Company, 1907). Available online at books.google.com/books?id=-hUVAAAAYAAJ&printsec=front....
2. Standard Atlas of Whitley County, Indiana Including a Plat Book (Chicago, IL: George A. Ogle & Co., 1916). Available online at www.historicmapworks.com/Atlas/US/9079/.
3. The Official Railway Guide: North American Freight Service Edition (New York: National Railway Publication Co., 1908), pages 478-479. Available online at books.google.com/books?id=kLgbTCc-AOcC&printsec=front....
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/31644706010/i...
Copyright 2011-2016 Hoosier Recollections. All rights reserved. This creative JPG file package is an original compilation of materials and data. The package is unique, consisting of a wide variety of related and integrated components. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
1911 postmarked postcard view of Main Street in Greenfield, Indiana. The photographer was standing near the middle of the block between Mont and State streets. Mont Street was a narrow street midway between Pennsylvania and State streets, but no longer exists. The trolley car in this scene is at the State Street intersection.
The building at the left edge of this scene was home to a bank according to the 1900, 1906 and 1914 Sanborn™ fire insurance map sets for Greenfield. The address was 14 West Main Street and a 1902 central Indiana directory¹ listed The Citizens Bank at that address. A 1910 report from the Auditor of State says their Certificate of Authority to operate as a private bank was issued in 1905. The 1922 Hoffman city directory still listed the bank at this same address.
The building east of the bank housed two businesses. The first awning advertised W. S. P_GH DRUGS & CIGARS. The address was 12 West Main and the 1902 directory listed Thomas H. Selman as the druggist doing business at that address. A 1905 directory of druggists² also listed Mr. Selman as a druggist in Greenfield. A 1908 Indiana report³ listed Mr. Selman and Willard S. Pugh as druggists in Greenfield. Mr. Pugh wasn’t listed in the 1905 directory and Mr. Selman wasn’t listed in a 1912 directory where Mr. Pugh was one of only three druggists listed in Greenfield. The 1900 and 1906 Sanborn™ map sets show a drugs business at the 12 West Main Street address, but the 1914 map set shows a boots and shoes business.
The three Sanborn™ map sets show a hardware business in the east half of that building (10 West Main Street). Another (Johnson’s) state directory from 1902 listed Thomas & Sons as the proprietors of the hardware store at that address. The sign above that awning advertised OLIVER ____ ____ PLOWS. The Oliver Chilled Plow Works was located in South Bend. The 1922 city directory listed the Pickett Hardware Co. at this address.
The large pocket watch on the pole was a traditional trade symbol used by jewelers. This sign stood at 8 West Main Street and advertised SMITH BROS. Smith Bros. were listed in the central Indiana 1902 directory under JEWELERS & OPTICIANS with phone numbers but no location information; they were listed in the OPTICIAN category at 109 West Main Street. The Johnson’s state directory listed Smith Bros. at 114 West Main Street. The 1900 and 1906 Sanborn™ map sets show a jewelry business at 8 West Main Street and the 1914 map set shows a nonspecific store type.
The large building on the northwest corner at State Street (2, 4 and 6 West Main Street) is shown in all three map sets. Each shows a dry goods and clothing business at the street level, offices on the second floor and the Masonic Hall on the third floor. Across the street, on the northeast corner (2 East Main Street) all three map sets show a drug store. The awning on that corner appears to include advertising for CIGARS and SODA. Both 1902 state directories listed The Crescent Pharmacy (A. C. Pilkenton, proprietor) at this location. Abram C. Pilkenton’s widow was listed in the 1922 city directory. The sign above the awning on that corner advertised a DENTIST, but the name on the sign is unclear. This was Robert. I. Bell who was listed in both 1902 directories. In the Johnson’s directory he was listed at 344 Thayer Block and in the central Indiana directory he was listed at the corner of Main and East streets. The 1922 city listed Robert I. Bell’s practice at 2½ E. Main Street, which would have been upstairs from the drugstore at that corner.
A sign at the right edge of the postcard advertised FURNITURE. The 1906 and 1914 map sets show a furniture store on the southeast corner at East Street (1 and 3 South East Street) across from the courthouse square. The 1922 city directory listed the J. W. Cooper Department Store in the FURNITURE category at that location.
The 1906 map set shows a waiting room on the south side of Main Street (5 West Main Street). This was three doors west of State Street in a two-story brick building. The 1902 Johnson’s directory listed the Indianapolis & Eastern Railway Co. (formerly the Indianapolis & Greenfield Traction Co.) at this address. The company was bought by the Terre Haute, Indianapolis & Eastern Traction Co. in 1907 and a new station was then built at 201-203 East Main Street.
All of these buildings except the one where the traction station was located remained in use as of 2013. City Hall is now located on the southwest corner at State Street.
1. Business and Professional Directory of Central Indiana (Indianapolis, IN: Union Directory Co., 1902). Available online at openlibrary.org/books/OL22862780M/Business_and_profession....
2. The Era Druggists Directory, Eleventh Edition (New York, NY: D. O. Haynes & Co., 1905). Available online at books.google.com/books?id=bantAAAAMAAJ&printsec=front....
3. Indiana Board of Pharmacy, Ninth Annual Report (Indianapolis, IN: William B. Burford, 1908). Available online at books.google.com/books?id=afjqAAAAMAAJ&printsec=front....
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/25552396334/i...
Copyright 2005-2016 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
c1910 postcard view of Larwill, Indiana. The postcard has no caption, but shows the railroad in the foreground and the prominent LARWILL, IND. POST OFFICE sign. This view was probably looking north on Center Street, but, most of these buildings are now gone. In this scene horse-drawn buggies and wagons were present along with several pedestrians, some of whom were posing for the photographer.
According to a 1907 county history,¹ the town was laid out in 1854 along the Pittsburg, Fort Wayne & Chicago (P. F. W. & C.) Railroad. The original town name was Huntsville. However, when the post office moved from nearby Summit, it could not be renamed Huntsville Post Office because another Huntsville post office already existed in Indiana. Residents decided to change the town’s name to Larwill so that the town and post office could use the same name. There being no other Larwill post office in Indiana, the Post Office Department agreed to change the post office name as well.
A 1916 county atlas² includes a map of Larwill that appears to show the post office on the northeast corner at the Center Street railroad crossing. However, the hand-lettered label is unclear. A short distance north, the map shows a hotel on the northeast corner at North Street.
The 1916 atlas map shows the depot near the southwest corner of the Center Street crossing. This postcard scene shows a bandstand above the sidewalk near the left edge of this scene and near where the depot would have been.
Across North Street, beyond that bandstand, a sign advertised CITY DRUG STORE on one of the buildings. A smaller sign probably bears the name of the druggist, but is unclear. A 1905 druggist directory listed one druggist in Larwill, S. W. Byall. A 1908 directory listed John E. Berry and Edward L. Garrett, but only John Berry was listed in a 1912 directory. Farther up the street, another sign appears to include the word FUR or FURS.
Across the street, possibly near the Hammontree Street intersection, were signs advertising a FEED BARN and a LUNCH ROOM. At the North Street intersection, three men were standing beside a gas lamp. The sign on the side of the building on that corner is unreadable, but may have identified the name of the hotel that the 1916 map shows on that corner. The signs on the building north of the post office are unclear as well. The sign above the post office advertised the local Modern Woodmen of America chapter.
The P. F. W. & C. railroad extended across Indiana from Pittsburg and Ohio through Fort Wayne, Columbia City, Warsaw and eventually to Chicago. By the time a 1908 railway guide³ was being published, the railroad had become part of the Pennsylvania Railroad system. A schedule dated December 1907 showed six daily trains traveling westbound between Pittsburg and Chicago on this route. Five stopped in Fort Wayne, but none stopped in Larwill. That same schedule showed eight trains traveling eastbound with two of these stopping in Larwill. A separate schedule showed two trains from running in each direction between Crestline, Ohio and Chicago. They stopped at Larwill. A separate train ran daily between Fort Wayne and Chicago and it also stopped in Larwill. A note at the bottom of the schedules pointed out that this line was double-tracked all the way between Pittsburgh and Chicago. That was a big deal and showed how important this route was.
1. Samuel P. Kaler and Richard H. Maring, History of Whitley County, Indiana (Indianapolis, IN: B. F. Bowen & Company, 1907). Available online at books.google.com/books?id=-hUVAAAAYAAJ&printsec=front....
2. Standard Atlas of Whitley County, Indiana Including a Plat Book (Chicago, IL: George A. Ogle & Co., 1916). Available online at www.historicmapworks.com/Atlas/US/9079/.
3. The Official Railway Guide: North American Freight Service Edition (New York: National Railway Publication Co., 1908), pages 478-479. Available online at books.google.com/books?id=kLgbTCc-AOcC&printsec=front....
From a private collection.
Selected close-up sections of this postcard image can be seen here, from left to right in the image.
www.flickr.com/photos/hoosier_recollections/31902204771/i...
www.flickr.com/photos/hoosier_recollections/31644705130/i...
www.flickr.com/photos/hoosier_recollections/31871066712/i...
Copyright 2011-2016 Hoosier Recollections. All rights reserved. This creative JPG file package is an original compilation of materials and data. The package is unique, consisting of a wide variety of related and integrated components. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
Org. Travel views of Europe. Library of Congress. Washington, EE.UU.
* (Título que figura a pie de foto. Algunas ediciones de postales y revistas de la época calificaron "las murallas" abulenses como "romanas", cuando se trata de una construcción "románica", un término que llevaba a confusión a ciertas editoriales extranjeras).
GENTE EN LA HISTORIA DE LA FOTOGRAFÍA
Una de las fotografías de Arnold Genthe está considerada entre las quince más importantes de la historia: waldina.com/2013/03/05/15-incredible-historical-photographs/
REFERENCIAS:
books.google.es/books?id=cj0miXaL9PcC&pg=PA67&lpg...
historyinphotos.blogspot.com.es/2014/03/arnold-genthe-eur...
www.flickr.com/photos/avilas/5065316301/in/photolist-zBN3...