View allAll Photos Tagged powers
Mark Powers / Heftreihe
Jeff Mescalero / Zweimal "Sunball"
cover: Rudolf Sieber-Lonati
Erich Pabel Verlag
(Rastatt/Deutschland; 1962)
ex libris MTP
Mark Powers / Heftreihe
Alf Tjörnsen / Aufruhr auf Venus
cover: Rudolf Sieber-Lonati
Erich Pabel Verlag
(Rastatt/Deutschland; 1963)
ex libris MTP
Stephanie Powers competes in the Lakota East Invitational Jan. 29, 2011. Powers finished first in the bars, second in the floor and third on the beam. Picture provided by Mark Ferland/Ferland Fotos.
William Thompson Powers
b. July 8, 1820
Bristol, Grafton County, New Hampshire
d. June 17, 1909
William T. Powers and his family arrived in Grand Rapids June 1847 from Troy, Rensselaer, New York. He was a successful lumberman, one of the first furniture businessman in early Grand Rapids 1840s–50s and owner of the Powers Grand Opera House/Theatre. He never sought office but was elected mayor of Grand Rapids in 1857. He is closely associated with John Ball who married his cousin Mary Thompson Webster. John Ball's sister Deborah (Ball) Powers was William Thompson's aunt through marriage.
William T. Powers, manufacturer and capitalist, was born at Bristol, Grafton, New Hampshire, July 8, 1820. His parents Jonathan and Anna (Kendall) Powers, were natives of the same place involved in the making of fabrics along the river on Central Avenue in Bristol. In 1826 the family removed Lansingburgh, New York, where he received a common school education, and after he was eighteen years of age learned the trade of cabinet maker. He early showed aptness and skill at machine work, a faculty which ever after proved useful and profitable to him. In June, 1847, Mr. Powers and his family, then consisting of his wife and one child, came to Grand Rapids. His chief business capital at the time was a good trade, about $300, in cash, a pair of willing hands and a spirit of energy and determination.
Here he began work in a small shop at the southeast corner of Fountain and Ionia streets, where he rented bench room. Soon afterward he secured better quarters by the east bank of the river above Bridge street and began working by machinery, using water power; making furniture of nearly all kinds then produced, and chairs, not only for the home trade, but for exportation, and having a salesroom near the foot of Canal Street. In 1849 he formed a partnership with Ebenezer Morris Ball, under the firm name of Powers & Ball, in the furniture trade, their business place being near where is the south entrance to the Arcade.
In 1852 they built a sawmill to which they added a larger structure for a factory, on Erie street, where the business grew rapidly; soon giving work to some forty employes [sic], and establishing an export trade in ready made stock for chairs, furniture and reapers. In January, 1855, this partnership was dissolved and Mr. Powers turned his attention to lumbering, operating a steam mill with a circular saw, the first of its kind in this part of the State, which the firm had built above Leonard street on the west bank of the river. About the same time he constructed a machine with a gang of circular saws for slitting thick plank into siding and flooring. Again he added furniture making to his business, and for a time before the civil war had an extensive sales room on Canal street, near Erie.
In 1865 and 1866 he purchased the river frontage necessary and in the three following years constructed the West Side Water Power Canal, a description of which is given in this book. As a builder since he came to Grand Rapids, Mr. Powers has erected some thirty or more structures for houses, mills, stores, factories and other purposes. Most prominent among these is Powers' Grand Opera House. Notable in his work, also, is the Arcade artesian well, where so many thousands daily partake of its refreshing waters, free - a public benefaction.
In 1880 he caused the organizing of an electric lighting plant and company in this city, the first city lighting by electricity in the State. The works are operated chiefly by water power. William T. Powers & Son in 1885 purchased and have since operated the Michigan Iron Works at the foot of Louis street. Indomitable and persistent industry and energy have marked the career of Mr. Powers in Grand Rapids; and besides his successful enterprises at home he has been actively and prosperously engaged in the development of valuable properties in and near Spearfish, Lawrence county, Dakota Territory - the Black Hills region - where he has a water power of some 300 to 400 horse power, some manufacturing buildings, and about 400 acres of land. He has always exhibited great interest in the material growth and advancement of Grand Rapids.
He was chosen City Treasurer in 1853 and again in 1854, serving two terms. In 1857 he was elected Mayor and served one term, during which he started and gave a lasting impetus to the system of street improvements that has been so prominent a factor in city development and progress. Similarly he has stimulated municipal growth by his service in the Board of Public Works from 1873 to 1878, where he was prominent in the establishment of the water works system. As a politician he has never sought office, but has been a steady and active adherent of the Democratic party.
As a man, an influential citizen and a neighbor, he is held in universal esteem. From a modest beginning, he has built himself a fine estate and secured a handsome competence, in the accumulation of which he has exhibited rare forecast and sound judgment. He is yet vigorous and in active business. Mr. Powers married, in 1838, at Troy, New York, Louisa Hall, a native of London, England. of six children born to them, four are living - William Henry, Sara Anna, Mary Louisa and Charles Ball Powers.
He died at the home of his daughter Mary Louisa (Powers) Spooner, College Avenue, Grand Rapids.
BOX DATE: 2001
MANUFACTURER: Mattel
DOLLS IN LINE: Harry; Hermione
BODY TYPE: 1995; articulated elbows; waist, knees, & ankles; magnet on palm; lever on back
HEAD MOLD: 00WB "Hermione closed mouth"
SPECIAL FEATURES: Magnet in hand interacts with accessories; arm moves upward
PERSONAL FUN FACT written by my sister: This may be the coolest Harry Potter doll I own. Aside from my Magical Powers Harry, this is the doll I most vividly remember getting. I was ecstatic the night that Shelly and Dad came home from buying pizza and surprised me with her! I guess that our family hasn't changed much in more than a decade--my sister and I still frequently come home with toys when we're supposed to be grocery shopping. I hadn't gone with them on the pizza run, which ended up involving a pit stop for toys, because I was studying for a history test. I was in tenth grade and it was sometime in the fall. I still remember where I was sitting at the dining room table when Shelly pulled Hermione out of a bag! Aside from being one of the best surprises I ever got, this doll is just so cool. Her outfit is adorable and her accessories are even cooler than any of my other Harry Potter dolls'. I played a lot with the cauldron, trunk, and potions bottles. The doll herself has a less attractive face than the Wizard Sweets and Magical Talking dolls, but her theme, outfit, and accessories are pure awesomeness. Of all my Harry Potter dolls, she is one of my favorites sentimentally and, while I prefer the styling of the 2018-2020 dolls in general, I still think this doll's basic Hogwarts attire and awesome accessories still make her one of my aesthetic favorites too!
Inspired by the recent group gift from Fallen Gods Inc.
The shadows, background and smoke effects have been created in Photoshop.
Credits:
Hair: Wasabi Pills - Vicky in Faded
Skin: Pink Fuel - Skye Grey
Face Tattoo: Fallen Gods Inc. - The Sigil of Samael (group gift)
Clothing: Silent Sparrow - House of Leaves jacket and gloves, Rose Corbie sweater and jeans (special recolour for Corbie photo contest entrants)
Arm winglets: Scribble - Nevermore set
Necklace: Violet Voltaire - Gutter Glitter
Pose: Reel Expression - Funky V2 11
Salamis (Ancient Greek: Σαλαμίς, Greek: Σαλαμίνα) is an ancient Greek city-state on the east coast of Cyprus, at the mouth of the river Pedieos, 6 km north of modern Famagusta. According to tradition, the founder of Salamis was Teucer, son of Telamon, who could not return home after the Trojan war because he had failed to avenge his brother Ajax.
Contents
1History
1.1Early history
1.2In the Greek period
1.3Resistance to Persian rule
1.4Alexander the Great and the Roman Empire
1.5In the Roman and Byzantine periods
1.6Christianity
2Excavations
3Notes
4References
5External links
History
Early history
The earliest archaeological finds go back to the eleventh century BC (Late Bronze Age III). The copper ores of Cyprus made the island an essential node in the earliest trade networks, and Cyprus was a source of the orientalizing cultural traits of mainland Greece at the end of the Greek Dark Ages, hypothesized by Walter Burkert in 1992. Children's burials in Canaanite jars indicate a Phoenician presence. A harbour and a cemetery from this period have been excavated. The town is mentioned in Assyrian inscriptions as one of the kingdoms of Iadnana (Cyprus).[1] In 877 BC, an Assyrian army reached the Mediterranean shores for the first time. In 708 BC, the city-kings of Cyprus paid homage to Sargon II of Assyria (Burkert). The first coins were minted in the 6th century BC, following Persian prototypes.
The theatre in Salamis
Cyprus was under the control of the Assyrians at this time but the city-states of the island enjoyed a relative independence as long as they paid their tribute to the Assyrian king. This allowed the kings of the various cities to accumulate wealth and power. Certain burial customs observed in the "royal tombs" of Salamis relate directly to Homeric rites, such as the sacrifice of horses in honor of the dead and the offering of jars of olive oil. Some scholars have interpreted this phenomenon as the result of influence of the Homeric Epics in Cyprus. Most of the grave goods come from the Levant or Egypt.
According to the foundation myth, the founder of Salamis is said to be Teucer, son of Telamon, who could not return home after the Trojan war because he had failed to avenge his brother Ajax. There is however some evidence that the area had been occupied long before the alleged arrival of Mycenaeans (at Enkomi) and the town of Salamis was developed as a replacement when Engkomi was isolated from the sea. There is otherwise little direct evidence to support the foundation myth.
In the Greek period
In the 11th century BC, the town was confined to a rather small area around the harbour but soon expanded westwards to occupy the area, which today is covered by forest. The cemetery of Salamis covers a large area from the western limits of the forest to the Monastery of St. Barnabas to the west, to the outskirts of the village of Ayios Serghios to the north, and to the outskirts of Enkomi village to the south. It contains tombs dating from the 9th century BC down to the Early Christian period. The earlier tombs are within the forest area, near the boundary of the early town.
Though Salamis maintained direct links with the Near East during the 8th and 7th centuries BC, there were bonds with the Aegean as well. One royal tomb contained a large amount of Greek Geometric pottery and this has been explained as the dowry of a Greek princess who married into the royal family of Salamis. Greek pottery was also found in tombs of ordinary citizens. At this time the Greeks were embarking on an eastward expansion by founding colonies in Asia Minor and Syria; Salamis must have served as an intermediate station; it has even been suggested that Cypriots helped the Greeks in their venture.
Resistance to Persian rule
In 450 BC, Salamis was the site of a simultaneous land and sea battle between Athens and the Persians. (This is not to be confused with the earlier Battle of Salamis in 480 BC between the Greeks and the Persians at Salamis in Attica.)
The history of Salamis during the early Archaic and Classical periods is reflected in the narrations of the Greek historian Herodotus and the much later speeches of the Greek orator Isocrates. Salamis was afterwards besieged and conquered by Artaxerxes III. Under King Evagoras (411-374 BC) Greek culture and art flourished in the city and it would be interesting one day when the spade of the archaeologist uncovers public buildings of this period. A monument, which illustrates the end of the Classical period in Salamis, is the tumulus, which covered the cenotaph of Nicocreon, one of the last kings of Salamis, who perished in 311 BC. On its monumental platform were found several clay heads, some of which are portraits, perhaps of members of the royal family who were honoured after their death on the pyre.
Marguerite Yon (archaeologist) claims that "Literary texts and inscriptions suggest that by the Classical period, Kition [in present-day Larnaca] was one of the principal local powers, along with its neighbor Salamis."[2]
Alexander the Great and the Roman Empire
Map showing the ten ancient city Kingdoms of Cyprus
After Alexander the Great conquered the Persian Empire, Ptolemy I of Egypt ruled the island of Cyprus. He forced Nicocreon, who had been the Ptolemaic governor of the island, to commit suicide in 311 BC, because he did not trust him any more. In his place came king Menelaus, who was the brother of the first Ptolemy. Nicocreon is supposed to be buried in one of the big tumuli near Enkomi. Salamis remained the seat of the governor.
In 306 BC, Salamis was the site of a naval battle between the fleets of Demetrius I of Macedon and Ptolemy I of Egypt. Demetrius won the battle and captured the island.
In Roman times, Salamis was part of the Roman province of Cilicia. The seat of the governor was relocated to Paphos. The town suffered heavily during the Jewish rising of AD 116–117. Although Salamis ceased to be the capital of Cyprus from the Hellenistic period onwards when it was replaced by Paphos, its wealth and importance did not diminish. The city was particularly favoured by the Roman emperors Trajan and Hadrian, who restored and established its public buildings.
In the Roman and Byzantine periods
Columns of the gymnasium
The "cultural centre" of Salamis during the Roman period was situated at the northernmost part of the city, where a gymnasium, theatre, amphitheatre, stadium and public baths have been revealed. There are baths, public latrines (for 44 users), various little bits of mosaic, a harbour wall, a Hellenistic and Roman agora and a temple of Zeus that had the right to grant asylum. Byzantine remains include the basilica of Bishop Epiphanos (AD 367–403). It served as the metropolitan church of Salamis. St. Epiphanios is buried at the southern apse. The church contains a baptistry heated by hypocausts. The church was destroyed in the 7th century and replaced by a smaller building to the south.
There are very extensive ruins. The theatre, and the gymnasium have been extensively restored. Numerous statues are displayed in the central court of the gymnasium most of which are headless. While a statue of Augustus originally belonged here, some columns and statues originally adorned the theatre and were only brought here after an earthquake in the 4th century. The theatre is of Augustean date. It could house up to 15.000 spectators but was destroyed in the 4th century.
The town was supplied with water by an aquaeduct from Kyhrea, destroyed in the 7th century. The water was collected in a large cistern near the Agora. The necropolis of Salamis covers ca. 7 km² to the west of the town. It contains a museum showing some of the finds. Burials date from the geometric to the Hellenistic period. The best known burials are the so-called Royal-Tombs, containing chariots and extremely rich grave gifts, including imports from Egypt and Syria. A tomb excavated in 1965 by the French Mission of the University of Lyon brought to light an extraordinary wealth of tomb-gifts, which also attest trade relations with the Near East.
Christianity
In what is known as the "First Missionary Journey", Paul the apostle and the Cypriot-born Barnabas made Salamis their first destination, landing there after heading out from Antioch of Syria. There they proclaimed Christ in the Jewish synagogues before proceeding through the rest of the island (Acts 13:1-5). Tradition says that Barnabas preached in Alexandria and Rome, and was stoned to death at Salamis in about 61 CE. He is considered the founder of the Church of Cyprus. His bones are believed to be located in the nearby monastery named after him.
Several earthquakes led to the destruction of Salamis at the beginning of the 4th century. The town was rebuilt under the name of Constantia by Constantius II (337–361) and became an Episcopal seat, the most famous occupant of which was Saint Epiphanius. Emperor Constantius II helped the Salaminians not only for the reconstruction of their city but also he helped them by relieving them from paying taxes for a short period and thus the new city, rebuilt on a smaller scale, was named Constantia. The silting of the harbour led to a gradual decline of the town. Salamis was finally abandoned during the Arab invasions of the 7th century after destructions by Muawiyah I ( reigned 661-680 ). The inhabitants moved to Arsinoë (Famagusta).
Excavations
Archaeological excavations at the site began in the late nineteenth century under the auspices of the Cyprus Exploration Fund.[3] Many of these finds are now in the British Museum in London.[4]
Excavations at Salamis started again in 1952 and were in progress until 1974. Before the Turkish invasion there was much archaeological activity there; one French Mission was excavating at Enkomi, another at Salamis and the Department of Antiquities was busy almost throughout the year with repairs and restorations of monuments and was engaged in excavations at Salamis. After the Turkish invasion the international embargo has prevented the continuation of the excavations. The site and the museums are maintained by the antiquities service. Important archaeological collections are kept in the St. Barnabas monastery. In the District Archaeological Museum there are marble statues from the gymnasium and the theatre of Salamis, Mycenaean pottery and jewellery from Enkomi and other objects representative of the rich archaeological heritage of the whole district. Several of the statues and sculptures from antiquity are disfigured, headless or mutilated, likely by Christian zealots in late antiquity [5] during the persecution of pagans in the late Roman Empire.
The public buildings uncovered at the city site of Salamis date to the post-Classical period. The Temple of Zeus Salaminios, whose cult was established, according to tradition, by Teucer himself, must have existed since the foundation of the city; the extant remains date to the late Hellenistic period. Early excavators discovered in the esplanade of the Temple of Zeus an enormous marble capital carved on each side with a caryatid figure standing between the foreparts of winged bulls. Now in the British Museum's collection,[6] the function of the capital remains unclear, although it does indicate influence from Achaemenid art and is consequently dated to between 300 and 250 BC.
Justice and History
•By Thomas Crawford (1813/1814-1857)
•Marble, Modeled 1855-1856, Carved ca. 1858-1860
•Overall Measurement
oHeight: 46 inches (116.8 cm)
oWidth: 134 inches (340.4 cm)
oDepth: 26 inches (66 cm)
•Unsigned
•Credit Line: U.S. Senate Collection
•Cat. no. 25.00002.000
When the Capitol building was transformed by the grand architectural extension and new dome designed by Thomas U. Walter in the 1850s, only Constantino Brumidi was awarded more important commissions for its decoration than Thomas Crawford. Crawford was contracted to provide an enormous amount of sculpture for the building: bronze doors for the eastern entrances to the House and Senate wings, the marble pediment sculpture for the Senate wing and a statuary group for the main Senate entrance, and, ultimately, the pinnacle of the entire Capitol, the bronze Statue of Freedom atop the dome. (For his many contributions to the Capitol, Crawford is memorialized with a bust, displayed in the Senate wing.)
Crawford had been apprenticed to a wood carver at the age of 14. By about 1832, he was employed by the prominent New York stone-cutting firm operated by John Frazee and Robert Launitz. There he was assigned the customary work on gravestones and mantelpieces and assisted in the execution of portrait busts. Crawford also enhanced his artistic development by sketching casts from the collection of the National Academy of Design. In 1835 he moved to Rome and became the first American sculptor to settle there permanently. Once in Rome, he gravitated quickly to the studio of Bertel Thorvaldsen, perhaps the most famous sculptor of his day. Thorvaldsen’s neoclassicism was the most important influence on Crawford. In 1839 Crawford gained widespread acclaim for his statue Orpheus, which led to numerous commissions for allegorical and mythological figures.
While construction of the Capitol extension was still under way, Montgomery Meigs, superintendent of the Capitol extension, was busily attending to the decorative commissions as well. In August 1853 he wrote to Crawford in Florence, principally about the pediment and doorway on the east front of the new Senate. “I do not see why,” he claimed, “a Republic so much richer than the Athenian should not rival the Parthenon in the front of its first public edifice.” Crawford responded at the end of October, describing his ideas for the pediment and for the two allegorical figures over the doorway—Justice and Liberty—and concluding, “My price for the whole of them is $20,000.” The offer was approved by Jefferson Davis, secretary of war, and accepted by Meigs in a letter of November 30, 1853. In the initial design, Liberty wore a pileus, the cap worn by freed slaves in ancient Rome, and Justice held a bundle of rods and an ax, Roman symbols of authority. Jefferson Davis was satisfied with the overall design, but he objected to the symbolic Roman elements, which he felt were inappropriate iconography for America. Both Meigs and Davis asked Crawford to change some of the details but to maintain the basic composition. Crawford agreed. “I have changed the Liberty into a figure of History (and thus avid [sic] the ‘cap’),” he responded to Meigs. In July 1860, Crawford was paid the agreed-upon price of $3,000 for “modelling in plaster and cutting in marble Statues of ‘Justice and History’ including marble.”
Of all the sculptural projects awarded to Crawford for the new extension, Justice and History seems to have been almost an afterthought. First conceived (by Meigs) as a relief sculpture, it became not only the subject of disagreement over the symbolic attributes but also part of an ongoing gentlemanly controversy over whether it and the other sculptures should be carved (or, if bronze, cast) in Europe or America. In addition, it was continuously postponed in favor of larger, clearly more significant projects. The planned placement of the figures was not very advantageous. Perched on a cap supported by massive brackets above the bronze door of the Senate wing, east portico, with their heads overlapping the windowsill behind them, they lacked a proper stage. Their back-to-back reclining position suggested a placement within a small tympanum, but no such framing element was provided.
Allegorical figures were certainly not new in American sculpture, and neoclassicism was the favored “high” style among academically trained European and American sculptors. For many viewers, the classical style embodied a rigorous intellectual and moral integrity that suited the ideals of the new republic. But there was in the young country only a small, classically educated audience for the allegorical content. If simple enough, it was acceptable, but sometimes allegory failed, as with the notoriously negative public reaction to Horatio Greenough’s colossal half-nude statue of George Washington, which prompted Meigs to caution Crawford in a 1853 letter:
Permit me to say that the sculpture sent here by our artists is not altogether adapted to the taste of our people. We are not able to appreciate too refined and intricate allegorical representations, and while the naked Washington of Greenough is the theme of admiration to the few scholars, it is unsparingly denounced by the less refined multitude. Cannot sculpture be so designed as to please both? In this would be the triumph of the artist whose works should appeal not to a class but to mankind.
Clearly this is not a condescending attitude, for Meigs was determined that the Capitol and its decoration should be admired by the “less refined multitude.” He gave Constantino Brumidi the painter more leeway in the matter of allegory than he was willing to allow Crawford the sculptor, perhaps because sculpture principally adorned the exterior of the building and thus was seen by more people. It was the large, multi-figure pediment that most preoccupied both Meigs and Crawford in this discussion, and Crawford proved quite amenable to satisfying Meigs’s concerns: “I fully agree with you regarding the necessity of producing a work intelligible to our entire population. The darkness of allegory must give place to common sense.” What applied to the pediment applied as well to Justice and History. The simplified allegories of book, globe, scales, and scroll, certainly, were clear to the multitude and easily appreciated.
The completion of Justice and History was long delayed. A year after the contract was concluded, Crawford had done no more than send sketches to Washington, and on December 13, 1854, he asked Meigs’s permission to postpone modeling them until the dimensions of the doorway had been firmly decided. On June 10, 1855, he wrote that he would “immediately proceed with the group.” By November, the figures were apparently in process, though not complete, and on May 21, 1856, he reported to Meigs that the models were entirely finished. Now he was awaiting approval or rejection of his request to have them carved in marble in Italy, where he could supervise the production. In a subsequent letter to Meigs, Crawford complained of a problem with his left eye. This illness, a tumor, rapidly worsened, and over the next months, although he was able to do some finishing work on his colossal model of Freedom for the Capitol dome, it was apparent that Crawford’s ability to sculpt was seriously affected.
A letter of April 1, 1857, from the ailing artist to Meigs, asked for an advance in order to buy the marble to carve the figures. Meigs, who “had supposed from [Crawford’s] former letters that they were underway,” nonetheless agreed to make the funds available. By then the cancer had spread to Crawford’s brain and, despite medical treatment in Paris and London, he died on October 10, 1857. Neither Justice nor History had been carved. Crawford had always urged Meigs to allow the carving of his marbles and the casting of his bronzes to be done in Rome. Meigs, on the other hand, had wanted them to be executed in the United States, to give native carvers and casters much-needed experience. Meigs prevailed for all of Crawford’s works but Justice and History.
Crawford’s widow, Louisa Crawford, who took over her husband’s business affairs after his death, asked Meigs to allow Justice and History to be carved from Carrara marble in Italy, in part because “there are no duplicates cast, and … if lost they are irretrievably gone.” Meigs relented, and the marbles were made in Italy between 1858 and 1860. The two pieces were shipped to the United States in 1860 and were kept in the former Hall of the House of Representatives until the exterior of the U.S. Capitol’s Senate extension was ready to receive it. It was installed three years later above the Senate entrance on the east front of the Capitol.
Meigs’s acquiescence on the carving location proved unfortunate, for of Crawford’s marble sculptures at the Capitol, only Justice and History deteriorated severely, eroded by the elements. By the mid-20th century, the head of History and the face of Justice were nearly gone, and the figures were severely flaked and cracked. In 1974 they were removed and heavily restored with plaster to its appearance as documented in early photographs and then used as a model for the carving of a new marble replica; Francesco Tonelli of the Vermont Marble Company carved copies of the originals. Tonelli’s marble reproductions were installed in the original location above the Senate doorway later in 1774, and the repaired Justice and History was placed on display inside the Capitol in the ground floor extension to the Old Senate Wing outside the Old Supreme Court Vestibule.
More on Justice and History
In September 1850 Congress appropriated $100,000 for expansion of the United States Capitol. Philadelphia architect Thomas U. Walter was selected to design and construct the addition. In 1853 the project was transferred to the Army Corps of Engineers under the direction of Secretary of War Jefferson Davis. While Walter remained as architect, Montgomery C. Meigs, a 36-year-old captain in the Corps of Engineers, was named superintendent of the Capitol extension and placed in charge of the construction. Meigs believed that the extension should be decorated in a highly elaborate style to rival the great buildings of Europe, and he and Davis worked together to make the Capitol a showcase of the arts.
As part of that effort, Meigs asked artists Hiram Powers and Thomas Crawford to submit designs for sculpture for the new pediments planned for the Senate and House extensions and for the areas above the adjoining doorways. Crawford submitted a series of designs for the projects. For the Senate doorway, he proposed a grouping of two reclining female figures: Justice and Liberty. He received the commission, and in his final drawing he changed Liberty to History.
In Crawford’s Justice and History, Justice, the figure to the right, is half reclining and heavily draped like a Roman matron at a banquet. She supports a large tome with the words “Justice, Law, Order” and rests her right elbow on the visible portion of a globe draped with the stars and stripes. Her right hand holds the scales of justice, which lie loosely on the edge of the base, their chains slack. The History figure has long flowing hair crowned with a laurel wreath. She holds an open scroll, with the top draped over a plinth, on which the words “History July 1776” are inscribed. The overall length of the sculpture is 11 feet 2 inches.
The Sculptor
Thomas Crawford (1814-1857), also created the Statue of Freedom atop the dome, the designs of the House and Senate bronze doors, and the “Progress of Civilization” pediment sculpture over the east entrance to the Senate wing.
William Thompson Powers
b. July 8, 1820
Bristol, Grafton County, New Hampshire
d. June 17, 1909
William T. Powers and his family arrived in Grand Rapids June 1847 from Troy, Rensselaer, New York. He was a successful lumberman, one of the first furniture businessman in early Grand Rapids 1840s–50s and owner of the Powers Grand Opera House/Theatre. He never sought office but was elected mayor of Grand Rapids in 1857. He is closely associated with John Ball who married his cousin Mary Thompson Webster. John Ball's sister Deborah (Ball) Powers was William Thompson's aunt through marriage.
William T. Powers, manufacturer and capitalist, was born at Bristol, Grafton, New Hampshire, July 8, 1820. His parents Jonathan and Anna (Kendall) Powers, were natives of the same place involved in the making of fabrics along the river on Central Avenue in Bristol. In 1826 the family removed Lansingburgh, New York, where he received a common school education, and after he was eighteen years of age learned the trade of cabinet maker. He early showed aptness and skill at machine work, a faculty which ever after proved useful and profitable to him. In June, 1847, Mr. Powers and his family, then consisting of his wife and one child, came to Grand Rapids. His chief business capital at the time was a good trade, about $300, in cash, a pair of willing hands and a spirit of energy and determination.
Here he began work in a small shop at the southeast corner of Fountain and Ionia streets, where he rented bench room. Soon afterward he secured better quarters by the east bank of the river above Bridge street and began working by machinery, using water power; making furniture of nearly all kinds then produced, and chairs, not only for the home trade, but for exportation, and having a salesroom near the foot of Canal Street. In 1849 he formed a partnership with Ebenezer Morris Ball, under the firm name of Powers & Ball, in the furniture trade, their business place being near where is the south entrance to the Arcade.
In 1852 they built a sawmill to which they added a larger structure for a factory, on Erie street, where the business grew rapidly; soon giving work to some forty employes [sic], and establishing an export trade in ready made stock for chairs, furniture and reapers. In January, 1855, this partnership was dissolved and Mr. Powers turned his attention to lumbering, operating a steam mill with a circular saw, the first of its kind in this part of the State, which the firm had built above Leonard street on the west bank of the river. About the same time he constructed a machine with a gang of circular saws for slitting thick plank into siding and flooring. Again he added furniture making to his business, and for a time before the civil war had an extensive sales room on Canal street, near Erie.
In 1865 and 1866 he purchased the river frontage necessary and in the three following years constructed the West Side Water Power Canal, a description of which is given in this book. As a builder since he came to Grand Rapids, Mr. Powers has erected some thirty or more structures for houses, mills, stores, factories and other purposes. Most prominent among these is Powers' Grand Opera House. Notable in his work, also, is the Arcade artesian well, where so many thousands daily partake of its refreshing waters, free - a public benefaction.
In 1880 he caused the organizing of an electric lighting plant and company in this city, the first city lighting by electricity in the State. The works are operated chiefly by water power. William T. Powers & Son in 1885 purchased and have since operated the Michigan Iron Works at the foot of Louis street. Indomitable and persistent industry and energy have marked the career of Mr. Powers in Grand Rapids; and besides his successful enterprises at home he has been actively and prosperously engaged in the development of valuable properties in and near Spearfish, Lawrence county, Dakota Territory - the Black Hills region - where he has a water power of some 300 to 400 horse power, some manufacturing buildings, and about 400 acres of land. He has always exhibited great interest in the material growth and advancement of Grand Rapids.
He was chosen City Treasurer in 1853 and again in 1854, serving two terms. In 1857 he was elected Mayor and served one term, during which he started and gave a lasting impetus to the system of street improvements that has been so prominent a factor in city development and progress. Similarly he has stimulated municipal growth by his service in the Board of Public Works from 1873 to 1878, where he was prominent in the establishment of the water works system. As a politician he has never sought office, but has been a steady and active adherent of the Democratic party.
As a man, an influential citizen and a neighbor, he is held in universal esteem. From a modest beginning, he has built himself a fine estate and secured a handsome competence, in the accumulation of which he has exhibited rare forecast and sound judgment. He is yet vigorous and in active business. Mr. Powers married, in 1838, at Troy, New York, Louisa Hall, a native of London, England. of six children born to them, four are living - William Henry, Sara Anna, Mary Louisa and Charles Ball Powers.
He died at the home of his daughter Mary Louisa (Powers) Spooner, College Avenue, Grand Rapids.
Super Powers / Heft-Reihe
Amazons at War!
cover: Jack Kirby, Mike Thibodeaux
DC Comics / USA (1984)
ex libris MTP
The San Andreas Fault Line runs right down the middle of Tomales Bay, a beautiful place to kayak just North of San Francisco. This is the southern tip of the Bay.
The Inverness peninsula is the cleft of land on the left.
#RejectFear #StopC51
********TTC Closure Notice*************************************
The Yonge Line is closed Saturday from Bloor to Osgoode station. We recommend using the University Line and getting off at OSGOODE station. www.ttc.ca/Service_Advisories/Subway_closures/Line_1_Bloo...
See you tomorrow! Be colourful, be courteous, be courageous! ♥
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There has been a call out to protest Bill C-51 on March 14, 2015 in cities across the country.
The proposed legislation Bill C-51 would clearly allow for the violation of Charter Rights, facilitate spying on innocent Canadians, and create a secret police force with little oversight or accountability.
This bill disproportionately targets indigenous communities, environmental activists, dissidents, and Muslims, many of whom are already subjected to questionable and overreaching powers by security officials. This bill will make it easier and ostensibly lawful for government to continue infringing upon the rights of peaceful people.
C-51 is reckless, irresponsible and ineffective.
We are calling on the government to withdraw the legislation.
We are calling on everyone to do what they can to bring attention to this governments attempt to compromise privacy for false security, while promoting a culture of fear and racism.
Please send a message to your MP, share this event, and join us on March 14!
Find YOUR MP using your postal code here: bit.ly/1GlPdaa
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TORONTO EVENT
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We will gather in Nathan Phillips Square at 12PM NOON for an OPENING CEREMONY led by an indigenous elder followed by a drum song.
Elder Pauline Shirt to do Opening Ceremony at Nathan Philips Square at 12:00 pm.
Speakers will begin at approx. 12:15PM:
Special Performance
by Juno Award winning artist Maryem Tollar
Vanessa Gray, Young indigenous activist of the Aamjiwnaang First Nation
Nasim Asgari, Young spoken word artist
Riaz Sayani-Mulji, and Suraia Sahar
Paul Copeland, Human Rights Lawyer
Peggy Nash, NDP MP
Andrew Cash, NDP MP
Elizabeth May, Green Party Leader
Hassan Yussuff, Canadian Labour Congress
Syd Ryan, Ontario Federation of Labour
Chris Hedges, American journalist, activist, author, Presbyterian minister and humanitarian.
Judy Rebick, Canadian journalist, political activist and feminist
Josephine Grey, Human Rights Activist and founder of LIFT (Low Income Families Together)
Mohammad Ali, Hip-hop & spoken word artist
..............and then join us for a MARCH to 277 Front Street; the CSIS Toronto office building. (Front & John)
More details to come.
Donations Gratefully Accepted
www.gofundme.com/StopC51?fb_action_ids=10152873899049064&...
To be involved in organizing the event message one of the admins or post saying so on the page.
We encourage every one to do what they can on this national day of action, rally, march, take direct action, spread information, write MP's, whatever it is you think will make a difference, do it.
This rally is endorsed by;
Leadnow.ca - À l'Action
OpenMedia.ca
Youth Vote Canada
Action for Civil Liberties - A4CL
Idle No More Toronto
COMER - Committee on Monetary and Economic Reform
Toronto 350.org
Millions Against Monsanto Toronto
Greater Toronto Workers' Assembly
PipeLeaks
Toronto Coalition to Stop the War
Ontario Federation of Labour (OFL)
International Association of Machinists & Aerospace Workers (IAMAW)
Occupy Canada
Canadian Unitarians for Social Justice
Greater Toronto Area Council (PSAC)
LIFT (Low Income Families Together) www.lift.to
Centre for Social Justice
Network for the Elimination of Police Violence
Greenpeace Canada
Elementary Teachers of Toronto
Common Frontiers
Amnesty International Canada
The Zeitgeist Movement Toronto Chapter
The Council of Canadians
If you would like to endorse the action in Toronto let us know!
Go here for information on communicating securely: ssd.eff.org/en
FOLLOW UP EVENT:
Opposing this bill doesn't end with this event, come to our follow up townhall meeting to discuss this Bill and it's implications.
www.facebook.com/events/855612024506128/
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National Event Page:
www.facebook.com/events/1576309639319839
OpenMedia.ca campaign:
Leadnow.ca - À l'Action campaign:
Read The Bill:
www.parl.gc.ca/HousePublications/Publication.aspx?Languag...
News releases on impact of Bill C-51 by the BCCLA:
Mark Powers / Heftreihe
Staff Caine / Der tödliche Ring
Erich Pabel Verlag
(Rastatt/Deutschland; 1962)
ex libris MTP
Austin Powers impersonator and look-alike Richard Halpern is the very best in the business. Hire him for YOUR next event, baby, yeah! (213) 739-3377 www.richardhalpern.info BASED IN LOS ANGELES. Available Nation/Worldwide
Mark Powers / Heftreihe
M. Wegener / Der Zeitverbrecher
cover: Rudolf Sieber-Lonati
Erich Pabel Verlag
(Rastatt/Deutschland; 1963)
ex libris MTP
Mark Powers / Heftreihe
Alf Tjörnsen / Uran und Gespenster
cover: Rudolf Sieber-Lonati
Erich Pabel Verlag
(Rastatt / Deutschland; 1962)
ex libris MTP
Three exquisite marble sculptures by Hiram Powers: California, Clytie and Hope. They are in the Smithsonian American Art Museum in Washington, D.C.
These ARM instruments will collect measurements in La Porte, Texas, during the yearlong TRacking Aerosol Convection interactions ExpeRiment (TRACER). In the distance are radars and containers that are also part of an ARM mobile observatory set to operate from October 2021 through September 2022 at La Porte Municipal Airport.
Terms of Use: Our images are freely and publicly available for use with the credit line, “Image courtesy of the U.S. Department of Energy Atmospheric Radiation Measurement (ARM) user facility.”
Photo by Heath Powers, Los Alamos National Laboratory